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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
7-1-1893 Volume 11, Number 07 (July 1893) Theodore Presser
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This work is concise, practical, and comprehen¬ Hints and Helps. 145 The Department of Violin and Orchestral Instruments On the Use of the Damper Pedal. Perlee V sive, and is used and recommended by the principal Jervis. 146 is under the direction of Clifford Schmidt, the eminent The Classical Music Fad. 14(5 concert master of the Seidl Orchestra. teachers. A Word to Parents. 146 Its association with the celebrated Stern School of Analysis and Logic in Music. B. Boekehnan. 147 How to Study—How to Teach. Geo. T. Bulling 147 Languages insures its pupils the beBt opportunities for The Scales and How to Practice Them (Pnpin), 30c. Understanding Classical Music. 147 that branch of culture. The correct and rapid execution of the scales is A Thought on Teaching the Scale. Henrietta A special feature in connection with the College is the Harcourl. 147 the fundamental necessity in piano playing, and any Notes on the Works of Some Living Composers. Residence Department for ladies, where pupils from a Bon iV. Long. 148 distance are accommodated with board and every facility work that assists in establishing the correct princi¬ Opinions. E. A. Smith . 148 Letters from a Music Teacher Thirty Years Ago. for practice and study. ples is invaluable to both teacher and pupil. No I. 149 The studies of Harmony, Counterpoint, and Fugue are Teaching the Gifted Pupil. Chas. W.Landon.. 149 conducted on a scale of excellence not to be found in any Tiepke’s Musical Writing Book, Volumes I and The Effect of Romanticism Upon Technic. 149 Paderewski and Liszt. 150 American college. . II, each,.25c. Musical Education of the Masses. L. Lombard 150 Special Normal Classes for teachers in each depart- Flotsam and Jetsam. A. L. Manchester. 151 ment. The waDt of perfect familiarity with musical nota¬ A Plea for the Soft. Pedal.. 151 Robert Schumann—Poet. Frederic Dean. 152 Also Conducting and Choir Directing a specialty. tion is certainly the greatest obstacle to the rapid A Musician. W. H. Dana. 152 The Managing Board of the Metropolitan College progress of the musical student; this familiarity Letters to Pupils. John S. Van Cleve. 153 of Mubic are:— Time is Money. E. B. Story. 153 cannot he better acquired than by writing musical Publisher’s Notes. 154 DUDLEY BUCK, President. A. R. PARSONS, Vice-President. exercises. MUSIC. H. R. SHELLEY, Director of Dep’t of Theory. PRICE SHEET FORM. C. B. HAWLEY, Musical Director. W. A. Pond & Co.’s Musical Slate, .85e. A Twilight Meditation. T. L. Carpenter.50 Sarabande. Handel.20 EMILIO AGRAMONTE, Director of Opera Sch. Teachers and students will find this slate an in¬ My Alpine Love. Rich. Goerdeler.35 H. W. GREENE, Secretary and Treasurer. Sequoia Gavotte. H. \V. Patrick.25 valuable aid in demonstrating musical examples. Sing, Birdie, Sing. Op. 263, No. 4. H. Necke.30 Each slate has a series of staves ruled with indelible SEND FOR CIRCULAR. lines, and being made of silicate is both light and 19 and 21 E. 14th St., New York City. convenient. Gift of I4re • t.aoal 3- Gleason 139 and I4AHT TILLABD 9LSASOK •Y.aJ-.M THE ETUDE I’rota tiie Library ->f THE ETTJHE. re-SDlER rmc SjLfcJTT GLEASON JUST TIPS TBIRG “THE MARCH KING REIMS SUPREME.” NEW YORK VOCAL INSTITUTE, Extracts from the Catalogue of BREITKOPF & HARTEL, 97 Filth Avenue, New York. TO PRESERVE Music Publishers, JOHN PHILIP SOUSA’S UNEQUALED MARCHES. NOVELLO, EWER & CO. G. Schirmer, New York. YOUR COPIES OF THE ETUDE. 39 East 19th Street, New York. You can hear them from the Atlantic to the Pacific, from the This School for Singers has original ideas. All teachers use the Lakes to the Gulf. These Grand Harmonies and Divine Melodies same voice-method. Voice Culture and Singing are taught only in private lessons, educational subjects in classes. The voice-method SCHEMER'S LIBRARY are played by the bast, in the land. Mb PnMishers ait Importers, LATEST PUBLICATIONS. is that arranged bv Mr. Tubbs. He was a student of Manuel trarcia, OP TP ETUDE BIDDER Emil Behnke, and Wm. Shakespeare, of London, and Antonio san- THEY ARE MATCHLESS, giovanni of Milan. Sin e the Institute began, no pupil lias failed VOCAL MUSIC. to make good progress. You, if a student, would do the same, bo NEW YORK AND LOINDOIN. Our Flirtatious, MUSICAL CLASSICS. Songs for One Voice. PEICK The TkuBiderer, would your friend. It is simple but complete, cheap but durable, Sound Off, The Corcoran Cadets, At present, students prefer New York as a centre for study. One It is a real pleasure to use stitched music that does not and can Meyer, .Tnl. E<1. The Minstrel’s Love Song...... SO 40 The Occidental, becomes educated by association in a large city. Our students are not fall to pieces at critical moments, that lies flat and smooth on and beautiful in appearance. National Fencibles, found comfortable boarding-places. Can you have one or two terms the rack, that is clearly printed from handsomely engraved plates on S;»wy e rIlT"l*. i Thrust my Soui’s Strong Passion. an The High School Cadets, Semper Fidelis, in New York this year? Perhaps, when prepared, you would teach It has a solid wooden back, which always keeps it • .. r_:_il— vovrlnn. o return Tf int.ArPRtftil. KftTHl heavy paper, and that exhibits on every page, as a crowning merit, — The Early Drops are Falling. The Triumph of Time, The Picador, 500 Fugue Subject**. Arthur W. Marchant. evidences of the most careful editing and revision by thoroughly competent musicians. When we add, that every piece for pianoforte in shape, and it does not mutilate the contents. The Gladiator, Washington Post, Hand OyninaHticN. T. Ridley Prentice. Scli»rwenka^'l»h.'"Op!^62a.'" At the Sign of the Linden. is provided with an adequate fingering by masters of technical The Crusader, The Loyal Legion, Musical Ornamentation. Ed. Dannreuther. (In the B and A flat, each...*•••’*"’..”*.\T art, that the leading number (marked *) in each series contains a _ On 62h No 1 In May. F sharp min. and E mm., each The copies are instantly but securely bound by the The Belle *f Chicago. Press.)...—••• portrait and biographical sketch of the composer, and that the price Op. b2b. *o.i. ^om/Return flafc and E flat, each. MUSICAL GAME. Pianoforte Method. Walter Macfarren.SI 25 is very low, enough has been said to show that this Library of — Op. 88. Three Songs (Eternal Love; Somewhere; Dost thin slats which run the length of the periodical, and yet Musical Classics, which is wholly a product of American iudustry, Thou Remember?) Ed. for soprano or tenor, for mezzo Price, Piano Solo, 40 cts. each. Violin Method. Otto Peiniger. 1 50 is in all respects fully the peer of any similar European edition. soprano or baritone, for alto or bass, each.... can be removed at pleasure. Celebrated Violin School. Louis Spohr. 6 00 Price, Four Hands, 60 cts. each. Strong Templeton. Op. 43. Five Songs. Each Binder holds twelve copies, or a full year’s sub¬ ALLEGRANDO. Voice Training- Exercises. Emil Behnke and Charles The following numbers are ready: No. 1. How Fair the Night. 40 NO. PRICE Sent by mail, postpaid, on receipt of the price. Instruction and Pleasure Combined. W. Pearce. 60 No. 2. By Chance... ™ * 40. CLEMENTI. Twelve Sonatinas for the Piano. Op. No. 3. Misunderstanding. ~r scription, of the Etude. ■ A SPLENID GAME FOR EVERY HOME. Twenty-five Lessons. Concone. 50 36, 37, 38 (Koehler).$0 50 PUBLISHED BY No. 4. To One Who Offered Pansies. This game consists of cards, on which the different notea and rests * 42. FIELD. Eighteen Nocturnes for the Piano (Liszt).... 60 Forty Lessons for Contralto. Concone. 50 No. 5. If. 40 are printed, one on every card. After a number are distributed among (Munich). Songs from Foreign Lands by Fifty Lessons, Medium Voice. Concone. 50 * 52. KUHLAU. Twelve Easy Sonatinas for the Piano. Vog'5. Heinrich HARRY COLEMAN, the players, the cards are played in succession and added together as Op. 20, 55, 59 (Klee-Koehler-Roitzsch). 50 young Werner: they are played until the value of a whole note is reached, when it Treatise on Choir and Chorus Singing. Fetis... 40 No. 1. Joy Was to Me Unfailing. «J0 counts one for the person who played the last oard and completed the Supplemental Book of Exercises. Henry Gadsby. 40 * 58. MENDELSSOHN. Songs Without Words for the No. 2. A Lonely Boulder Jutting. 45 228 N. NINTH STREET, PHILADELPHIA, PA. whole note. This gives a general idea only. Full directions, with Piano (Kullak). In paper, $1.00; in cloth. 2 00 No. 3. The Summer Night is the Cause of All . Jjj A. Singing Book for Public Schools and Choir rules for a number of different games, tables showing the notes, rests, * 90. SCHUMANN. Album for the Young, Op. 68, and Boys. Alfred Gilbert. 20 No. 4. Sunset Gilds the Sea’s Calm Waters For Sale by all Music Dealers in the United States. Scenes of Childhood, Op. 15, for the Piano (Vogrich).... 50 No. 5. O Roman Maid. ^ keys, Ac., accompany the game. . . Two-Part Solfeggi. James Higgs. 40 Those learning to play the Piano, Organ, Violin, or any other instru¬ * 134. WEBER. Concertstiick, Pieces and Variations for the No. 6. The Town Now Lies. 45 ment; those who sing; those who wish to read music faster; in fact, all Five Minutes Exercises. Florence A. Marshall. 20 Piano. Edited, revised, and fingered by Dr. William No. 7. Now Lies the Earth. 36 who are interested in music, need this charming game. Thorough Bass School. Mozart. 40 Mason. 75 No. 8. Hark ! Now the Madding Crowd. 46 Tesori Antichi. 12 Old Italian Airs (M. Boeder). Italian It teaches the value of notes and rests. * 135. RERTINI. Twelve little Pieces and Preludes (Vog¬ The names of the notes. Manual of Singing. Richard Mann. 40 and German Text.Net, 1 50 FOR rich).. 40 The various keys in which music is written. Voice and Vocal Art. Sabilla Novello. 40 Becker, Albert. 14 Sacred Songs for Soprano or Tenor, 136. —Op. 100. Twenty-five Easy Studies without Octaves The different kinds of time. Vocal School. Sabilla Novello. with Organ Accompaniment. English and German. (Vogrich-Buonamiei). 40 (Write for Special List.) Practice in musical fractions. Daily Vocal Exercises. Pinsuti. 1 00 137. —Op. 29. Twenty-four Studies (Vogrich-Buonaraici).... 40 Kenscliel, G. Op. 51. Five Quartettes for Soprano, Alto, MUSIC TEACHERS. The easiest way to learn to read music. The Elementary Principles of Music for Pub¬ 138. — Op. 32. Twenty-tour Studies. A sequel to Op. 29 Tenor, and Bass, with Piano Accompaniment. Score and You learn, while playing an interesting game. (Vogrich-Buonamici). 40 By E. M. SEFTON. It 1b readily learned, even by ohildren. lic Schools. Edward D. Rendall. 75 Parts .. 3 75 153. CZERNY, CARL. Op. 139. Hundred Progressive 4®- Recently performed for the first time with great success Time devoted to playing this game is not wasted, as in most games. Instructions for the Guidance of Singing A splendid game for evening parties. Studies without Octaves (Vogrich). 50 in London. Frit*t, » - SO Cents. Schools ami Choral Societies. Silcher. 20 * 154. — Op. 740. The Art of Fiuger Dexterity. 50 Studies in Roe«ler, M. Op. 53. Three Duets for Soprano and Alto (or A new departure—entirely unlike any other game. Parents can teaoh their children the rudiments of musio, even if no Method of Singing. Stockhausen. 2 00 Brilliant Style (Vogrich). Complete, in paper $1.25; Soprano and Baritone), with Piano. in boards... 2 00 musicians themselves. No. 1. Love’s Philosophy. 65 The book contains everything for keeping Account! Harmony. Henry Gadsby. 1 00 155-160. — The same in 6 Books, each. 30 No. 2. A Lament. 65 Interesting to old and young, beginners and advanced alike. Practical Harmony. W. S. Rockstro. 75 161. — Op. 299. The School of Velocity (Vogrich). Complete 60 No. 3. Night Song. 75 Those intending to study music will find it to their advantage to play of Music Teachers; Index; Daily Programme, a page this game a while before beginning lessons Key to Practical Harmony. W. S. Rockstro. 60 162-165. — The same in 4 Books, each. 25 Speer, W. H. Op. 3. “To Music, to Calm his Fever.” For ADDRESS PUBLISHER two Sopranos and two Altos, with Piano. 75 for each pupil; Cash Account, Bills, Receipts, etc., etc. History of Music. W. S. Rockstro.,. 75 * 242. CONCONE. Op. 9. Fifty Lessons for the medium PRIOE 60 CENT8. part of the voice (Randegger). 50 Wagner, Rich. The Love-Feast of the Apostles. Score Address publisher, Address Publisher, The Rules of Counterpoint. W. S. Rockstro. 75 * 243. — Op. 9. The same, transposed for Contralto (Ran¬ (English, French, German).Net, &00 THEO. PRESSER, The Music of the Bible. John Stainer... 1 00 degger). 50 THEO. ERESSEB, THEO. PRESSER, A Treatise on Harmony. John Stainer.. 3 00 244. —Op. 10. Twenty-five Lessons for the medium part of PIANO MUSIC. the voice (Randegger). 50 1708 CHESTNUT ST., PHILADELPHIA, PA. 1704 Chestnut St. Phnadetphis, ta 1708 Chestnut Street, Philadelphia, Pa. A Theory of Music. Louis Gibson. Three books.each 40 247. — Op. 17. Forty Lessons for Contralto (Randegger) 50 Piano Solo. The Growth of the Musical Scale and of Modern 248. — Op. 17. Forty Lessons for Bass (Randegger). 50 Arnold, M. Turtle-Dove. Harmony. J. M. Capes... 2 00 255. MOSZKOWSKI. M. Op. 12. Spanish Dances. Bach. Chaconne. Arr. (Basoni). 1 50 For Piano, four Hands. 1 50 Godfrey, P. Op. 11. Album blatter. (Easy). 1 00 Harmony and Thorough Bass. A. R. Gaul. 1 20 Kolb. Th. Op. 8. Golden Rod. 40 A Treatise on Counterpoint and Fugue. 257. BRAHMS, JOH. Hungarian Dances for Piano, Mae Dowell. Op. 45. Sonata Tragica. four Hands (Scharfenberg). . 2 00 THE SCIENTIFIC METHOD Cherubini. 2 50 (Other volumes in preparation.) Militar-Marsehe. 11 Prussian Military Marches. Arr. Net, 1 50 General Musical Instruction. Dr. Adolf B. Marx... 2 50 Pommer, W. H. Op. 79, No. 1. Barcarolle. 40 Reinecke. Menuet d la Reine (after Gretry). 25 A Treatise on Modern Instrumentation and Sartorio. A. Op. 54. 2 Menuets. G maj., B min., each 65 FOR RAPIDLY GAINING THE NECESSARY TECHNICAL ABILITY FOR Composition. Hector Berlioz... 4 00 Schumacher. Etudes. (Medium difficult). 100 A Dictionary of Musical Terms. Sir John Stainer... 3 00 NEW SONGS. Sehuppan, A. Variations. 1 25 Yilhar, F. S. Op. 152. Kroatische Tanze. No. 2, 65 cts.; A General History of the Science and Practice Nos. 1, 3, 4, each. 50 of Music. Sir John Hawkins. Two volumes.each Three volumes, containing the Portraits. 6 40 Four Hands. NYMPHS AND FAUNS. Scfaarwenka, Ph. Fruhlingswogen. Arr. 4 00 The Organ. Fred. Archer. 2 40 (Nymphes et Sylvains.) Tncasek. 8 Easy Pieces for Beginners. l 50 MODERN'-PIANOv PLAYING. The Art of Organ Playing. W. T. Best. Part 1. 1 20 The Art of Organ Playing. W. T. Best. Part 2.3 00 WALTZ SONG WITH ACCOMPANIMENT OF PIANO Two Pianos, Eight Hands. A Progressive Introduction to Playing the (ENGLISH-FRENCH) Arnold, M. Op. 30. Valse Elegante. 2 00 Milde, L. Op. 16. Grande Marche. 3 00 The inadequate results from technical exercises at the piano are well known to piano players, and form Organ. John Hiles. 2 00 BY Daily Studies and Complete Pedal Scales. H. BEMBERC. VIOLIN AND PIANO MUSIC. the great barrier to a proper advancement in piano playing. G. Lake. 50 For Soprano (Original) in F, Soprano or Tenor in E, Mezzo- Practical Organ School. C. H. Rink Oblong Folio. Violin. Soprano or Baritone in E flat, Alto or Bass in D. Afferni. Lullaby. 75 Science, having investigated this Cloth, $-4 80; or in 6 books, each. 1 00 Ajfiiiez, E. Romance. . 1 00 Complete Practical Organ School. F. Schneider. PRICE 75 CENTS EACH. (Also with Orchestra.) —THE- subject, has discovered and can explain Paper, $1 00; boards.„. 1 25 Centola. Op. 3, No. 1. Preludio. — No. 2. Scherzo. . 50 Studies for Pedal Playing. F. Schneider.2 25 In the sub-title, “ Waltz Song,” the essential feature of this delicate . 75 STUDENT’S TECHNICON. the reasons of such uneconomical re¬ dance of wood sprites is aptly characterized. By a device masterful — Op. 4. Souvenir de Naples.. 1 75 Chorals, Scales, and Exercises. F. Schneider. 1 15 in its simplicity, the four-times repeated introductory bass-pulse on Hofmann. J. Op. 7. Nocturne...!!”!!"!!!! PRICE SIS. Forty-eight Trios for Manuals and Pedal Ob¬ the dominant in the accompaniment, a feeling of expectancy is IInet, F. Berceuse. G .!.*.*.*.!*. ! 50 sults, and can now supply at a cheap — S6renade d’Arlequin....I".!!!!!!.'.. ligato. F. Schneider. 2 15 subtly yet naturally awakened, and is kept on tiptoe by the refusal . 50 of the bass to touch the key-note till the very beginning of the — Joyeux Carillon .I..'.*.*!!!”.*!.' 50 The Organ Primer. John Stainer. (Novello, Ewer A — Ilistoire Terrible. cost a better and more direct process waltz-rhythm of the actual dance. The sprightly melodious setting — Toccate. G min. 50 Co.’s Primer, No. 8.) Paper cover, 75 cts.; paper boards... 1 00 of the text is in every way charmingly effective. , 1 00 Joachim. Romance. Op. 2, No. 1. . 75 for developing and enlarging the technical dexterity of the hand. Instruction Book for the Organ. Charles Steggall 1 20 BUCK, DUDLEY. Five Songs for Mezzo-Soprano : Speer. Op. 4. Sonate. D.. The Organ, Its History and Construction. No. 1. In June. 40 2 50 No. 2. Love’s Remorse... 40 Employed by eminent pianists in their teaching, and for their own per¬ Edward J. Hopkins. Complete in one volume, $10.00; Violin Solo. No. 3. Alone. 40 Hi rnuinii. Op. 27. Double-stop Exercises.. also in five parts, cloth, each. 2 60 No. 4. Spring’s Awakening. 40 , 1 00 Schmnlz. 2 Da capo Pieces (Humoresque, Lied), each".. sonal use. Hundreds of teachers testify that it is invaluable to both them¬ Life of Mozart. Edward Holmes. 1 volume.2 00 No. 5. Crossing the Bar. 40 25 — The same, transposed for Alto, each... 40 Frederick Niecks. 2 volumes.10 00 ORGAN. Life of Chopin. Within a narrow' compass, these five songs have a wide selves and their pupils. Life of Mozart. Otto Jahn. 2 volumes.„10 00 scope; their changing moods are marked by the delicate yet Caecllia. 100 Pieces of Diflerent. Character, Ancient and Life of Bach. Philip Spitta. 3 volumes.12 00 powerful touches, the dignity of sentiment which spurns Modern. For Harmonium or Pipe Organ. Edited by C As this new method marks a most important reform in technical teach¬ Sehweich (Br. Ed. 1368)...y U sentimentality, that are characteristic of Mr. Buck’s best 3 00 Letters from Bayreuth. Joseph Bennett. 40 StehXe. Op. 61. Concert Piece." work. 2 50 The Literature of National Music. Carl Engel. 2 00 ing, all piano players should make themselves acquainted with its principles DE KOVEN, REGINALD. Ask What Thou Wilt. Sop. BOOKS. E flat, Mezzo Sop. D, Alto C, each. 50 by reading a lecture delivered by Mr. Brotherhood, at Chautauqua, N. Y., — Love’s Ecstasy. Sop. G, Mezzo-Sop. E flat, each. 50 Jat'assolin.^ ^ExCTdses for the Study of Counterpoint. — Norman Cradle Song. Sop. F, Mezzo-Sop. E flat, each. 40 2 00 — Where Ripples Flow. Barcarolle. Sop. G, Mezzo-Sop. F, Bre*V*,*r- A Complete Course in Musical Penmanship upon “Sensitive Piano Touch, and Ways and Means to its Acquire¬ Alto C, each. 50 With annotations and translated by Gans. 4 Books — Only in Dreams (Hendrick), from the Comic Opera, “ The complete...... 1 FOR SALE BY — Singly, each...... '’. 75 ment,” sent free, on application to Knickerbocker,” Ten. F, Mezzo-Sop. E flat, Bar. D flat, 20 Bass C, each. 40 Mth-6 New England Conservatory of Music’Boston.) — Spinning Song (Katrina), from “The Knickerbockers.” Goetze. lleinr. Exercises m Writing Music (and at the THEO. PRESSER, Sop. G, Mezzo-Sop. F, each. 50 same time Exercises in Singing). 1 00 J. HOWARD FOOTE, The well-spring of graceful and pleasing melody, of which the THE TEACHER’S TECHNICON. author of “Robin Hood,” “The Knickerbockers,” and “The Fencing COMPLETE STOCK OF MUSICAL INSTRUMENT Sole Agent for the Brotherhood Technicon, 1708 Chestnut St., Master” is the fortunate possessor, flows on through these new PRICE 828.60. songs in unabated freshness, happily wedded to the melodious verse special lists: of their text; they should prove as genuinely popular as anv of their Violins, String's, Mandolins, Gnitars, 307 and 309 Wabash Ave., 33 Maiden Lane, UISCO T7ITT TO TEACHERS. predecessors. Philadelphia. Zithers, etc. CHICAGO, NEW YORK. 141 140 THE ETUDE. THE ETUDE. LAWRENCE ORGAN MANUF’G CO., IPJLLIMIIEIR/S Manufacturers of the Original Famous Portraits of Sreat Musicians. HALLET & DAVIS’ PIANO PRIMER. SEVEN-OCTAVE LAWRENCE CONCERT GRAND ORGANS, LIFE SIZE, 22 X 28 INCHES. 320 and 322 S. Tenth St., and 939 and 941 Walnut St„ EASTON, PA., U. S. A. Price $1.00. Postage and Tube, 10 cts. Extra. ESTABLISHED 1885. lSth EDITION. PIANOS. _ “ $5.00, with Frame, Antique Oak. have no stops, but are so con- Packed to go by Express at purchaser's charge. Notes and Remarks by such Musicians as Dr. Our Concert Grand Organs tiful Effects by the use of two levers Win. Mason, Mr. Will. H. Sherwood, structed as to insure the Most Beau- The following are now ready:— away with a complicated stop action, Mr. Albert It. Farsons, etc. operated by the knees. This does BEETHOVEN, MENDELSSOHN, MOZART, More than 200 Pianos Sold to Schools causes much trouble and annoy- It is concise; it is exhaustive; it is endorsed by most which often, through damp weather, of the great American Pianists and teachers. Letters of ance. The appearance of the Organ ^Jjjj is that of a handsome Upright WAGNER, HANDEL, CHOPIN, LISZT, and Colleges in 1891. commendation of it have been received from the most Piano. By a peculiar construction Kip-— of the Case, hitherto considered im- SOHUBEET, AND HAYDN. prominent musicians in more than twenty different a remarkable resonating Pipe qual- possible, forming a qualifying box, F= OTHERS TO FOLLOW. States. It is adopted as a standard work in most of Reed Organs, and the most exquisite the Colleges in America. Its sales have been phenome¬ ity is obtained, differing from all The elegant portraits have given the greatest satisfac¬ CORRESPONDENCE SOLICITED. The Reeds are the best patented nal. Its price is very reasonable, viz.: In Cloth, em¬ gradations of tone become possible, tion wherever introduced. The former price for these bossed, $1.00; in Board covers, 75 cents, and in paper design, and voiced so that the most brilliant Allegretto or Staccato music was $4.50 each, without frame. Suitable for the most covers, 60 cents. Address can be executed without difficulty, the same as on a Piano. Beware of elegant Studio, Music Room or Parlor. ment styled “Piano Organs” and THEODORE PRESSER, bostoust, - mass. worthless imitations of this instru- Address THEO. PRESSER, PHILADELPHIA. kindred names. WRITE FOR PRICES. 1708 CHESTNUT ST., PHILAD’A, PA. Raeig ffumbert of ¥he Etude Lessons in Musical History, JUST ISSUED. BY SELECTED OCTAVE STUDIES Unbound Volumes for 1886, $1,50, Postpaid. JOHN COMFORT FILLMORE. School of Four-Hand Playing, FOR " “ “ 1887, 1.50, Equal Development of Both Hands. “ “ “ 1888, 1.50, VOLUME III. Price $1.50, postpaid. WITH .. 1889, 1.50, 2.50, COMPILED BY THEO. PRESSER. PREPARATORY STUDIES BY THEO. PRESSER. Bound “ " 1886, " " 1887, 2.50, A comprehensive outline of musical history from the PRICE $1.00. IP RICE 75 CENTS. “ “ 1888, 2.50, beginning of the Christian era to the present time; espe¬ cially designed for the use of schools and literary insti¬ Contents.—Reinreke, Christmas Eve; Ijacliner, Marche These Octave Studies are of medium difficulty, and selected from " “ 1889, 2.50, Spiudler, Hunten, Bertiui, Kullak, etc. They are of great educa¬ tutions. Celebre; Loescbbom, Dance Hongroise; Schubert, Op. 78, tional value. “ “ 1890, 2.50, Menuet; Banmfelder, Minstrel Song; Chopin, Funeral “ “ 1891, 2.50, Address Publisher, March; Schubert, Marche Heroique. SPECIAL EXERCISES IN These volumes contain from 18 to 20 dollars worth of music in Theodore Presses, each year. The various articles give a great amount of information 1708 Chestnut Street, SCALE PLAYING, of permanent value. It is a peculiarity of The Etude that its MELODIOUS AM EASY STUDIES articles are of substantial and lasting worth. Address the Publisher, Philadelphia, Pa. With Particular Reference to the I>evelo|micnf ot FOR the Thir
SOLE AGENT IN THE UNITED STATES FOR MANUFACTURES AND LIBERAL ARTS BUILDING, Section I, AND Henry Litolff, Brunswick, Germany; Edition Chanot TOUCH (Violin Music), and the Vienna Conservatory WILL BE FOUND THE EXHIBIT OF Edition of the PIANOFORTE CLASSICS. TECHNIC. TEACHERS’ FAVORITES. BY DR. WM. MASON. A List of Standard Educational Works. fIC REVIEW
Foundation Studies in Pianoforte Playing. AND OTHER THEODORE PRESSES, 1104 CkestMt St, By Stephen A. Emery. The very best method yet published for use with beginners, and especially adapted ior children. Price $1 50, net. me v IDuGATIDN •> PUBLICATIONS PlilaipMa, Pa, Piblisler. Head and Hands. Of Especial Yalne to Teachers of Mnsic By Stephen A. Emery. Fundamental Technique for the Piano¬ forte. An introduction to Tausig’s Daily Studies. published by Price $1.60, net. IN FOUR BOOKS: CLAYTON IP. SIMM!) Preparatory Exercises in Pianoforte Playing. PART I.—The Two-Finger Facer cises VOL. XI. PHILADELPHIA, PA., JULY, 1893. NO. 7. By Carl Faelten. Price 75 cts., net. 174 Wabash Avenue, Chicago. (School of Touch).
24 Short Melodious Studies for the Pianoforte. An invitation is also extended to all to visit my place of business FART II.—The Scales Rhythmically The fifth annual meeting of the N. Y. S. M. T. Associ¬ fixed. Regular musical features of the entire Exposition By A. D. Turner. Op. 30. Price, Pt. 1, $1.50; Pt. 2, $1.25. and examine the extensive stock of sheet music and music books. Treated (School of Brilliant Passayes). ation was held June 27th, 28th, and 29th, at Rochester, period include semi-weekly orchestral concerts in Music Your attention is particularly called to the excellence of the stock, THE ETUDE. N. Y. It was a brilliant gathering of the New York Hall, daily popular orchestral concerts in Festival Hall, 30 Easy aud Melodious Studies for the Pianoforte. both as to variety and character, and to the superiority of editions. PART III.— Arpeggios Rhythmically State musicians and presented fine programmes, literary and organ recitals. By Henry Maylath. Op. 163. In two books. Price $1.25 each Treated (Passage School). PHILADELPHIA, PA., JULY, 1893. and musical. hook. FOREIGN. CLAYTON F. SUMMY, PART IV.—School of Octave and Bravura Mrs. H. H. A. Beach, composer of a jubilate for the 100 Original Daily Exercises for the Pianoforte. Playing. Mascagni has made his debut as an author in a story Music • Publisher • a ml • Importer, Columbian celebration, is authority for the statement that of his life, entitled “Dark Days.” By Edmund Neupert. Op. 57. Price 75 cts. A Monthly Publication for the Teachers and Students ol between 1615 and 1885, women composed 153 musical Music. 174-176 WABASH AVENUE, PRICE OF EACH $1.00. works, including 55 serious operas, six cantatas, and 53 Schubert’s 92d Psalm was sung in Hebrew, under the 13 Easy Octave Studies (In the Major Keys) for the Subscription Rates $1.50 per year (payable in advance). comic operas. direction of George Henschell, in London, on June 23. Pianoforte. CHICAGO. Single Copy, 15 cents. By A. D. Turner. Op. 20. Price 90 cts. Music at the World’s Fair has been successful from Hauslick asserts that Nicolai’s “Merry Wives” will detract from the success of Verdi’s “Falstaf” in The Better Class of Music a Specially. THE ENTIRE SERIES OF DISCONTINUANCE.—If you wish the Journal an artistic standpoint and has been planned upon a Etude Albnin for the Pianoforte. stopped, an explicit notice must be sent ns by prodigious scale. There have been too many contro¬ Germany. A co'lection of Etudes for the Pianoforte selected and arranged in letter, otherwise, it will be continued. All arrear¬ versies and a great deal of criticism from various quarters, Thirty-three compositions have been sent in competi¬ progressive order. By Arthur Foote. Price $1.00, net. Touch and Technic ages must be paid. and while mistakes have doubtless been made, yet, as the tion for the Beethoven prize to be awarded on his birth¬ London Musical Times has said, there is no question Special Studies in Presto Seales for Pianoforte. comprise an original system for the development RENEWAL.—No receipt is sent for renewals. On day, December 12th. METRONOME the wrapper of the next issne sent yon will be that at the World’s Fair Music has its first commensu¬ By Stephen A. Emery-. Op. 20. Price $1.25. Jacques Blumenthal, the well-known song writer, of a complete technic, from the beginner to the printed the date to which yonr subscription is paid rate hearing. The various orchestral, choral, as well as states in a recent interview that he wrote an album of 13 Etndes for the Development of Technic and Style. finished artist. Its distinguishing characteristics up, which serves as a receipt for yonr subscription. solo works are of the highest order, and the various or¬ ganizations which take part are the leaders in musical twenty songs in twenty days. By E. A. MacDowell. Op. 39. are: An active use of the pupil’s mind in techni¬ BARGAINS. THEODORE PRESSER, life. The charge of a dollar for admission to the con¬ A society called “Concerts of the Modern School” Method of Pianoforte Technique. cal work, with the resultant rapid and thorough certs of classical music appears to be a failure, the ad¬ has been formed in Paris, the design of which is to pro¬ 1708 Chestnut St., Philadelphia, Pa. missions being very few. Damrosch, with his New York By Charles Buttschardt, with additions by Arthur Foote. duce annually 30 new scores of French or foreign com¬ Price $1.00, net. development; the application of accents, thus Symphony Orchestra, played to only about 50 people, and posers. developing a true rhythm; a discriminating touch vacant seats are the rule. The coming of the European Two Pianoforte Pedal Studies. TVE are reducing stock in all departments pre¬ celebrities will undoubtedly do much to attract, and it It is shown by a London musical directory that nearly 4500 persons and firms earn their living by the trade or By Arthur Foote. For the proper use of the Damper Pedal. paratory to removal. 20 to 50 per cent, dis¬ that leads to every variety of tone color and dyna¬ will be a rare opportunity to see and hear these eminent Price 35 cts. profession of music, and 5600 more do so outside of mic quantity, and an effective system of velocity musicians. The following is the programme for July, count on all goods. HOME. with other items which are to follow:—- London. The Art of Phrasing. practice that secures the necessary facility and July 7th, Friday; July 8th, Saturday, and July 10th, Dk. Pachmann returns to America and plays in Chi¬ Charles Santley, the English baritone, whose inter¬ 30 Vocalises by C. Gi.oqbner-Castelli. Edited by G. Federlein. Monday.—Concerts by New York Liederkranz; con¬ Book I, price $1.50. Soprano or Tenor, Contralto, genuine speed of execution. All of which is applied to cago in November. esting volume of reminiscences was recently reviewed in Baritone, or Bass. ductor, Heinrich Zollner ; Music Hall. The Etude, has gone to the Cape of Good Hope in Book II, price $2.50. Soprano or Tenor, Contralto. the artistic and expressive rendition of musical The Conductorship of the Boston Symphony Orches¬ July 11th, Tuesday.—Concert by Cleveland Vocal seaich of health. MAELZEL + METRONOMES. compositions. They are printed in separate vol¬ tra is still unsettled. Society; conductor, Alfred Arthur; Music Hall. Progressive Vocal Studies for Medium Voice. July 12th, Wednesday, to July 14th, Friday.—Festival At a recent performance of Bach's “St. Matthew Pas¬ Gustav Heinrichs is giving various Eastern cities By Alfred Arthur. Price 75 cts., net. umes, in order to enable teachers who are still by second section of representative choral societies of sion” the chorals were sung by the audience. The ef¬ Without Bell, only good opera at popular prices. @3.00 the Western States. Three concerts in Festival Hall, fect is said to have been overwhelming. It were well Etnde Album for the Organ. dependent upon some other system of technics to could such be done in America. With @5.00 Materna has renewed her artistic triumphs in her re¬ massed chorus of 1500, orchestra of 200, organ, and A collection of Etudes lbr the Organ. Selected and arranged in add to their present stock the particular part of cent reappearance in New York. eminent soloists. Programme: J uly 13
opportunity to do worse. I” ^ -4l H -i n— -i m b i
I —#-H to the origin of the word, “ scala—a ladder,” I place tion. A beautiful and artistic use of the pedal depends Schumann’s “Romance” in F sharp. This lamentable state of affairs exists all over the —©J-1-1->/■• country, and the greater portion of the blame can be before 'he eye of his imagination a ladder which has almost entirely upon keenly sensitizing the ear. A *r g; p -p- Liszt’s “ Liebestraueme ” No. 3. laid at the door ot conductors and teachers. It is not ' fv._ 1 distinguished American composer once remarked, jok¬ twelve rungs, calling it the “ Diatonic Ladder.” Schubert’s “Momens Musicale,” Op. 94, No. 2. so much on account of conceit or ignorance with them, i J „ J, , 'l f P i—i ^ To climb it, we begin by stepping upon the first rung, ingly, to the writer, that he contemplated writing a set as it is of cowardice. They know we speak facts, and -0-m—0-0— -J=\\ of pedal studies for the training of the feet; but even Many teachers instruct their pupils to raise the pedal that the evil ought to be remedied, yet they hesitate to (- j =*t'-ti a , i m j i ni i7! hi- ; / - / p-m •-m ~ ~— “ Mr“ ^ • m ■— Ml •* - . i1 ■ ■ - 7 -Ar 5,-f g # i <- |--m-S7- m- irS tli 7-kL iff)17 ‘’■■■^Kprrp -*h~ w- ^— ■-7-p ft--1- -Mf :=t=1 i 1 1 ■ ~ J \r~ cresc jtr «/ f « s m • * 1 ■ J « « pn- il m m a m r m M ~a f w ty. T —®n - -i I a / n fl ViV II- ... \M •1- -»~t _ —1—Tj 3 7 3 : ^3 i # - -7--7 —J— 2r - - TV ^ \ J- ~r- r-r -A-=M“ r • • r 1 i 1 , 1 . _/■ .# .* . ■r • 2 *7 iJjjy 1.-.--g h] =] „. „jrr i pB’^LrPTT = —- ^ H * 1 : jrjd 1 « XI Itu m E5P « tempo J i?P V smorz. rail. e dim. ^ « ."-j*- ! t -j % =-y;. j. j d l l- h*fj y !>-]?—- j*—^— —6~*- —p-*-:L-- V I L . a. • —±p z ‘5T* V £3- r T "~l S3s £ £ £ m W^> TfJYT rad. SEPa tempo PFTO *1-0 0 • 2 33 ( r T1 r f r uT i Or ^.'J m i==3 «[ .j ii«r r r r r r fry I r r r r =■r A Twilight Meditation. 5 r A Twilight Meditation. 5 5 I •" • --- - ■■■ ■ ■■ ■ >—F5-^— 1—-=L-k—1 -i^‘^3. It ta. #• "® * ffffV f « tempo / __ _rail. pp Kr~ 1 1 mj r-==3= .. i i i H 7 0 0 0 0- \ o-—:—■ "'H?- —0—0—0 0 d -d— : sr r r r * , — I " ^; • /?S /-yTH,_i_ -■J- —i- —-]— -fi ^-: —Hd -1"" " i J-m —d— -6 u- —«- 1 Hw—*—d-i-d l— -—-A1 1 —-w—-^ - cJ • <9* 1 i f morendo f r ppp PMP ’ f f /TV. -e— —T" rlr-zt i — 1 L ^- \ —/v1-^t-?--- —d—d— —L—«L ^ ^ —izjk—a— 5-i-! r-y5-- ■ \-3-*—V 1-mw— -6 r——-t- r- •s A Twilight Meditation. 5 NQ1457 Sarabande. Andante sostenuto J = ^ marcaro il basso — Mb- # 4 5 5 2 3 2 5 J_ _ 3 __. T 5—6 :X sr-—(5- <©-® § sempre f It 1 z P p A J j P Cl± i * T ir 4 3 5 3 4 5 4 5 — 3 a 6— i m w \ M-l !■■•■* $ *) 4- S- \ f- & P -©-• p r. erase dim f P l, 3 Jt £== 19-r- 3 “ST" f 3 & f * %b,~ # VARIATION I. ' , Poco pin animato J = 9fi "B £ pii _—O 3E 2 £ T TW^ W m 2> lega(l/,0, 9 r^r? f— * j .j j: 3 & T %b. 1 4 3 —8-1- T -e- cresc ~Z-^ 4 rffTf? EC 3 llB I©-1- 1 Sarabande 2 Copyright 1893 by Theo Prssser. 9 N91462 My Alpine Love. 5 Jl 1 ^ r~ ‘ 1 g- ? The idea is this: A young Ameri¬ ev - er in my dreams I see Thy pret - ty face, my Swiss Ma-rie; And can who was taught to warble by a eve - ry night in dreams I see On moun-taintop my Swiss Ma-rie; And pretty Swiss peasant girl thinks of that episode in his life and wonders • "--fc ¥ anna ¥ Words by Geo. Cooper. if the Judge would not have been Music by Rich. Goerdeler. FT far happier if he had married 9 n i Maud Muller. 1'ennyson. Andantino. 3K ¥^¥ £ s i 3 of ten make the ech - oes ring With warb-ling as we used to sing: with her make the ech - oes ring And war - ble as we used to sing: V I ¥ ¥ ™ -i- 1=4 i I I ■w if m 2=3 3=¥ m ¥=¥ ¥ a» Allegretto Copyright 1893 by Theo Presser. Alpine Lore.4 11 Andantino. I won-derif Ill ev - er see A - gain my dear my Swiss Ma-rie, And I seem her gen _ tie voice to hear A voice so sweet and ev _ er near “Thy £ % £ p \ % i » T I ; s ji-t- * ►.- —: h" h t A— —i F— h~ — r r :F— > ^ '5 j E-- J’ t=«==f f=t f-- * n 1M* -V1- —j hear the mo un . t ain ech . oes rin g With warb_ling as we use d to sin g- own, thy ow n [’ll ev . er be Come back, come b< ackto Sv ■ /iss Ma ri( t—i—' J —>- 1 * f i=|=q J ---- i -■ : F=S= J 4 1F 1 -4 =± i 1 L- £=t=l — Alpine Love.4 Alpine Love.4 12 13 N Sequtoa Gav.2 15 14 m 1449 slower 3 4 Tempo I • Sing, Birdie, Sing! 3 2 Sing lieb’Voglein sing. pff.r .K^4:.; BS- rSa ■* fl,l ? -=f=^=f= Hermann Necke.Op.263 No4. Slowly. p= mf =■ - P P * * 1 ; )Lr-g f , i * i».-J--z (1 ■ i . i, . £ 1 / &-—t2=Sz±: =^==l =p=^=±= / A /» ^ V~'$~y ——*)*■— yL—^ $r-—fty—1—\-j— y1— . ■ / (a)j* - j) fr f 41: /4 _ ==tet k~„ ; %J* \ \ *j* ' -itl ( . * 7P 7 - 3 5 1 2 'M'x ’ §§$msH—y v y- yyy ^ fPffI mf(b) f ft . 4 2 Hiil ? rP-yjM'-r j y Jb - ? 1 3 4 3_2»—\ 3 2 > . . . . • > 2 _ 1 , £Ti»—s s f f rg-f-**99 cfj*rn P 1 ■LLJJ > . > /4): 0 f f 00 ■ ■ :JM-Qi \ —* / -) . y » \§±lLy l-y y4p y p ^p~~n 1L1 ^ UjIt1 3_ 2 /i £**J: 2r- U Vp. U» E~f i -p-7*—-—-J— —f ^f'TT^T 5 ►5 \f^L1 ri M r-i. P 1 UUJ 5 n 5 ^ 4^- > 1 pp 1 2 1 [ ^ I* (• f ES *1^ *f#tvs= c '2 T 4 11 &k / —ij-y-0 y— ~)y JV ■- -# V^-uJk—C\^^jL.jy . \ ^-rj ■*■ Y ‘ T-1 1 --—*__ _ ^E=zl±^Ez:^z phi mosso > / --'V—5- i __k-k—^ -zatrai^l§ j- 1 f—1—f~ f i f f 1 1 44 y= 4 5 5 4 2 5- > 3^ • 1 3 Yfi f # 0 # ft- ’ ? ft ff ? ► rff - 9 *- 1 ti -tf-f-i :i|_j m pp s PS HP- f if 4 1- #- y ftf Vf- ► :l ft -Vi^jCC 1 „. - fcr—: ft V &3Z ^— JH—fr—3fcr±t r ---— |7 L^=4 2za =hH (a) This should be played espressione and with a certain reserve in order that it shall sound (fe 1 like a march. The tempo for the same reason must not be too rigid 4Ji4= (b) The grace notes very short and delicate. (C) Tempo rubato. Copyright 1893 by Theo Presser. Sing Birdie etc. 3 the etude. 149 LETTERS EROM A MUSIC TEACHER THIRTY tempt her to play before others, and we could only hear lie dormant and unused. Between the two, one needs YEARS AGO. her through closed doors. not to choose. Choice must lie between the right and The last piece on the programme the evening I allude wrong in this, as in everything else. The wrong is in No. I. to was a “ take off” on the writer of this. misuse and non-use ; the right is in good use. In looking over a trunk containing old letters a few Nellie appeared dressed as the Goddess of Liberty, ****** days ago, I found a package carefully tied with ribbon standing under a tent made of red, white, and blue, and In the writer’s experience it has sometimes proved a and marked, “From Nellie, the Music Teacher, 1863.” sang “The Gypsy’s Warning,” keeping time with a large very difficult task to inspire the gifted pupil to a better The envelopes were of every hue, shape, and size American flag. Before she had finished the first line, quality of work. Such pupils too often rely upon their imaginable, an indication of the mood of the writer at shouts of laughter, and cries of “The Great American superior endowments for ultimate success. While they the time they were sent. Instantly memory rushed back Gypsy Countess ” were heard all over the room. may admit that it takes work to win success, they forget over the many years, to the days when Nellie Phillips I rushed upon the stage and bribed Nellie to stop by that there is a difference in the result of the work spent pin mosso and I were room mates in a large boarding school near promising to treat all the girls—herself included—to in polishing a pebble or a diamond. While the work Philadelphia, and I seemed to see her in her r61e as candy and cake. spent in polishing a pebble would be a worthless prima donna as plainly as though she stood before me. A few weeks before, we had been asked to sing “ The waste, although comparatively easily done, polishing a M-L. -j—rrr-fT = =t -i i n -4- The following letters were written several years after Gypsy Countess” at an entertainment, Nellie taking the diamond, although much more difficult, is labor spent in —0 * -0—0- 0- filif Him *>* we had left school, and perhaps will prove amusing to Count’s part and I that of the Gypsy. I unfortunately producing a brilliant result. Leighton has said What¬ • • -#- V f f i ■f some of the “ weary and worn ” teachers who have passed neglected to find out what my costume should be, and ever noble fire is in our hearts will burn in our work.” through ordeals as trying as did the fun-loving teacher at the last moment, without consulting any one, donned The reader will please observe the word “noble” in of music some thirty years ago. a suit I had worn as the Goddess of Liberty at the the above terse sentence. It is the legitimate work of To fully understand the letters, a brief description of previous fourth of July celebration. the teacher of the gifted pupil to do all that he can to¬ Nellie when at school will be necessary. Nellie was dressed in great splendor as a Count, and wards the rounding out of a strong character. Admirers She was generous, amiable, without a particle of when I emerged from the dressing room just before our of genius often unthinkingly influence the gifted youth jealousy in her disposition, and was a favorite with both song was called and asked anxiously if I were all right, in ways that prove detrimental to a true development of teachers and schoolmates, but her chief charm lay in Nellie gave me one look, and the next moment was character. This is one reason why it is so difficult to her musical ability. lying on the sofa doubled up in spasms, I thought, not thoroughly impress them with the necessity of hard There were several in the senior class that could play dreaming my costume was the cause of the sudden work. One of the worst ideas to counteract is the more difficult music, but none could vie with Nellie in collapse. I called for water, and camphor, and the popular opinion that one possessing genius is not to be song singing, imitating others, or improvising. Many girls in the dressing room were greatly alarmed, and the held to as strict an intellectual and moral accountability were the concerts she was coaxed into giving in the Count had a narrow escape from being deluged with as are ordinary mortals. large dancing hall of the school, when she would im¬ water, cologne, and cosmetics. Tempo I. personate the noted musicians she had heard—Jenny Nellie recovered sufficiently to say, “Don’t, girls 1 It One of the teacher’s most necessary duties is to teach Lind, Madame Sontag, Parodi, and many others. was only the Gypsy’s dress that overpowered me.” his pupil the necessity of being “severe with himself.” % Then a “ Guess Who?” concert would be given, and I went through my part of the song very creditably, Nearly all pupils have to be taught that the self-satisfac¬ i - •f B 4*-^-. r+ir Nellie would imitate the music pupils in our school, and it but when the Count sang the lines, “And a coronet, tion enjoyed from a duty well done, is a sufficient reward I-2-3--Z-3-A--L* ., T~: 7 f 2r Zillah (my great American Gypsy Countess), thy brow U4 p 7 IJJjLtzzi u-py-^ was seldom we made a mistake in guessing the right one. for the labor expended in its doing. Besides this re¬ I have one of these laughable entertainments in mind shall entwine,” it brought down the house, and I left ward of self-satisfaction, well directed effort brings the \ P now, when Nellie came running on the stage with music the stage mortified, angry at everybody and at myself crown of success. Luther has rightly said, “Success 0- in one hand, a large stick of candy in the other, over¬ in particular. treads on the heel of every right effort.” It is very Jb- turning the music stool, and placing the music bottom Nellie soon made me see the fun in it all, however, common to find many wrong and false ideas regarding b - ■ j r Jfy ^ .= 4b side up in her haste. Then, taking a bite of candy and and tried to comfort me by saying “ Gypsys ought to labor. In fact, many pupils never learn that labor is a placing the remainder on the piano, she slowly picked dress in red, white, and blue, and now that you have man’s greatest blessing instead of his worst curse. A up the stool and, seating herself, played several strains set the fashion perhaps they will. I am certain they recent writer strikes a medium ground when he says, of the piece without glancing at the notes, then suddenly, would if they could see you now,” and off she went in “ It would be worth while to labor if it produced no seeming to forget, looked at the upside-down piece in a spasms of laughter again. reward but the joy it brings the tired to rest.” blank sort of way, took another bite of candy, and com¬ The title clung to me during the remainder of my ****** menced playing “Pop goes the Weasel.” Instantly school days, and letters from Nellie always contained Fortunately there is an element in human nature, es¬ there came a shout, “ Jennie Ellis,” from the audience, some part of it, if not all. I have not heard that the pecially prominent in the youth, that delights in overcom¬ at which Nellie made one of Jennie s characteristic bows “first pupil” described in the following letter ever ing difficulties. This is shown in contests of feats of and danced off the stage. became a celebrated pianist. a \ c strength and agility, and in the solving of puzzles and In a few minutes a stately young lady, dressed in enigmas. This innate love of contest is a providential pink silk with long train, hair Pompadour, eye glasses, equipment for the battle of life; for as the “Barn's fingers sparkling with diamonds, moved majestically TEACHING THE GIFTED PUPIL. Horn ” tersely remarks, “Every land that flows with across the stage to the piano, giving us a very super¬ milk and honey, has giants in it.” But the lions in the cilious glance as she did so. After deliberately taking BY CHARLES W. LANDON. way generally prove to be chained, and therefore harm off her rings, smoothing the lace at her wrists, rubbing less as Bunyan’s pilgrim found in his journey toward the her hands together, she played a few minor chords, then, The greater one’s talent and intellectual gifts, the celestial gates. “ The road to success is not to be ruu with a frown upon her face, began the Moonlight more dangerous to him and the greater loss to society if upon by seven leagued boots. Step by step, little by Sonata.” We all knew that Miss R., of Boston, one he makes a false start, or begins badly. The destiny of little, bit by bit—that is the way to wealth, that is the of the senior pupils, was being represented, but we stood a pupil to a large extent is in the hands, of his teacher. way to wisdom, that is the way to glory. Pounds are so much in awe of her that no one dared speak the Where there is a fair amount of talent, it is often more the sons, not of pounds, but, of pence,” says Charles name. Nellie, understanding our silence, after playing necessary to inspire the pupil to become something Buxton. the first movement, said in the deep contralto voice that more than ordinary. It is not often that musical gifts THE EFFECT OF ROMANTICISM UPON no one could distinguish from Miss R.’s: are accompanied with a “genius for hard work.” It “ Young ladies, you have failed in announcing the should be a part of every musical pupil's course to read TECHNIC. name, but of course you cannot penetrate the future far the lives of the great composers and musicians. By The whole character of our contemporary technic enough to see that this is Miss Phillips, the music teacher reading these lives, he will learn that in every instance is the result of romanticism in music. It has come from that is to be, when she lives in Boston.” And still where eminent success was attained, the genius for the efforts of romantic writers to imbue the piano with a greater power of emotional utterance, to make it a hard work was fully equal to their genius for music. frowning upon us, she left the stage. dramatic force, and, even more than that, a personality. We had scarcely recovered from this explanation when ****** Classification means perfection of form, unfailing beauty a young girl in white muslin, hair in braids, came on t e of thought and utterance. It is the science of the The Great Teacher spake some of his most striking platform. She closed the door and carefully locked it, beautiful in music. But romanticism means personality, parables to those of mankind who had been given tal¬ characterization, individual expression, even universal tip-toed to the piano, placed a large book on the soft ents. The two parables of the talents and the parable revelation ; and it has no hesitation in pouring for.th pedal to keep it down, then, after looking first over t e of the steward and husbandman of the vineyard might abrupt rhythms, harsh dissonances, startling progres¬ sions, when these speak the thought of the composer. right shoulder, then the left, to be certain there was no well be read to those pupils who do not appreciate the one around, began improvising. For about teen Schumann, Chopin, and Liszt—two immortal com¬ responsibilities as well as the talents with which they posers and one the Stanley of the piano unlocked the minutes we sat spell-bound, and thoughts o at er, have been divinely endowed. An editorial note in a treasures that lay concealed in the instrument. The mother, and all the loved ones in the home nest came well known educational paper says, “ Capability implies first and second, having immortal creative genius to let to us as we listened to the sweet, soulful melodies. ere loose, developed technic along the lines suggested by risk. Any one who has a specific gift or power in any were tears in many eyes as Nellie struck the last c or , their own individualities; the third, having great gifts direction—and every one has—must know sooner or without the divine spark, developed technic in a but we found voice to say “ Neita Gale. a later that Nature has forced risks upon him, whether he direction suggested by the various possibilities of the special pet of Nellie’s, and a sweet little child, but so would or not. One risk is of misusing and misdirecting instrument as it yielded up its hitherto unexplored timid she always reminded one of a frightene ir . power. Another is of suffering power or capability to territory to him.—IF. J. Henderson. Sing Birdie etc. 3 She played beautifully, but no amount of coaxing would 150 TSB ETUDE. THE ETUDE 151 PADEREWSKI AMD LISZT. women’s hearts it has always gone well with my art; admit that even the sonatas of Beethoven bored them PHRASING POE BEGINNERS. in the equal training of both hands to melodic perform¬ erroneous principles inculcated. There is, as I say, a during their youth. One ot the best reasons, after all, and probably because, amid the prevailing vulgarity, it ance. tremendous talent for art in America, but it is turned to The question of nationality plays a curious role in the is always most difficult for women to let their souls be¬ for the existence of the unpretentious composition is BY F. HERBST. When the pupil receives his first piece, which is writ¬ money making as soon as possible. Art students, who history of pianolorte playing. For a long time most of come as thoroughly hardened as has been so completely that it may give joy to the many, while a scientific should still be in the class room, are hired by money¬ the great pianoforte composers and players—the Bachs, the case with our political men-folk.” work can reach only the privileged few. ten in counts and figures for the fingers, or in the form That music refines man is incontestable. Where no making institutions as art teachers. They are, of course, Mozart, Beethoven, Weber, Schubert, Mendelssohn, In local musical annals the season of 1892-1893 will To teach the elements of phrasing in the first and suggested in the Etude of February 1891, the teacher Schumann—were Germans. But with Schumann the go down as the Paderewski year. The Polish pianist melodies are heard cruelty characterizes the people. unable to teach. Their pupils make no progress, and Brutality grows in inverse ratio to musical feeling, for second grades is the wish of every teacher, and its ne¬ should make a mark (perhaps |/) the end eac^ list of Germans great in this department practically will take his farewell of New York next Saturday, not consequently and naturally come to the conclusion that came to an end (unless we except B'tilow and Brahms), to be heard again for several years, as he intends to music is as natural to gentle natures as perfume is to cessity becomes more apparent every year. The piano phrase, and require the hand to be raised at the mark. they have no talent. They never dream that if they had and the field was left open for Slavic and Hungarian devote his time to composition. No doubt it is more violets. Is this gentleness the cause or the effect of music of to-day requires more knowledge of this branch Example: the art? Both, I think. If my conclusion is just, been properly taught their success would be unlimited.” competitors. Russia gave us Rubinstein and Pachmann; important for the cause of music that he should do so in every grade, than that of even ten years ago. The Hungary, Liszt and Joseffy ; Scotland, D’Albert; but than that he should continue playing ; yet it would be music, then, may be made a potent factor in civiliza¬ 1234 I 123411234 12341123411234 How much truth is contained in the above clipping 1 best composers and the leading teachers unite in this 1 y I 3453 | 2342 !/ the land preeminent for pianists is Poland. Chopin was an incalculable loss if he should present one more tion, because the tenderest feelings of man, cultured or 5 4 | 3 y 1 2 3 4 2 1123411234112341 Every teacher of experience meets, again and again, a Pole, and so was the brilliant young Tausig, who,’ had parallel to Liszt by abandoning public playing alto¬ uncultured, can be awakened by it. But this result demand. Dr. Hugo Riemann has supplied the scientific • 123411234 11234 3453I2342TI5 4 I 3 y | 2 3 4 2 | 1 y \ pupils who expect, after a few—very few—lessons to he not died at the age of thirty, would, in the opinion of gether while he is the greatest living interpreter of the may be obtained more easily when the heart alone is analysis, and Mr. W. S. B. Mathews the practical enlisted because the more exercised are our analytical his pupil, Mr. Joseffy, and many others, have surpassed genius of the great masters. It is to be hoped that he synthesis; there remains only the application to the be¬ The pupil quickly discovers that a shortening of the begin teaching. even his master, Liszt. Rubinstein, too, was half a Pole will combine the functions of composer and pianist, giv¬ faculties, the less agita'ed become our emotions. In a large measure this accounts for the great amount Let me say that I do not mean that the standard ginner. last tone is required, and not a break in the rhythm. by descent. Little Josef Hoffman is a Pole, and now, ing concerts when his brain needs time for the maturing of bad work done among music pupils; the many faults to cap the climax, Mr. Paderewski has appeared; so that of new ideas.— The Nation. of music should be lowered. Artists must always offer The obstacles are mainly the lack of appreciation of Write out also for left hand and practise. Gradually of time, touch, technic and musical knowledge which musically speaking, at any rate, it is safe to say, “Noch the highest forms to all those who can enjoy or appre¬ the subject by parents, with the concurrent wish for quick add a simple accompaniment and have each hand play ist Polen nicht verloren. ciate them. But musically cultivated auditors will ever are so frequently met with in unexpected quarters. It results, and the shortness of the time which can be both parts before playing them together. Do the same Poland will some day honor Paderewski as it now MUSICAL EDUCATION OF THE MASSES. be in the minority. In their endeavor to educate the is a case of the “blind leading the blind,” and the honors Chopin; but in order to win the great fame and masses, the best among musicians might occasionally spared for this subject. Yet, with a few words about its with the first pieces in notes. inevitable result is, “they both fall into the ditch. wealth which have fallen to his lot at the early age of BY LOUIS LOMBARD. adapt themselves to the requirements of the majority necessity and an illustration on the keyboard, we may If the musical feeling of the pupil is close to the sur¬ thirty-two, he was of course obliged, like Chopin, to without degradation. And can they go far astray in Agitation was recently had in England over the hope to dissipate the prejudice of the parents ; and with face he will understand instantly; if not, persistent leave his native country and seek the great musical cen¬ It is not wise to pour only the most scientific music demonstrating that simplicity may be made the highest passage of an act requiring the registration of music a few minutes well applied we can get encouraging, effort will bring it out. tres of the world. Three years ago he played in London into the ears of the uneducated listeners. Musical expression of beauty? teachers under certain limitations. Whether such an to a $50 audience. To-day he often makes $0,000 in knowledge must be diffused slowly. The public should The tendency of modern music is to become com¬ though small results from the pupil. In explanation compare a piece of music to a poem ; act would be advisable is to be determined, but that it two hours, with $7,000 for the high-water mark. This be led by gradual steps to the musical Parthenon. plex, to appeal to the intellectual, rather than the emo¬ The technical means of phrasing are, difference in the motive a word, the phrase an idea, the period a sen¬ profitableness of his art is a phenomenon worth men¬ Light but correct composition might be performed tional element in man. Rare harmonies, strange is contemplated shows a feeling of dissatisfaction and touch, in time, and in force. tence or paragraph. Oa advancing to the second and tioning, because he never resorts to clap-trap, trickiness, oftener. By introducing into a heavy program a few rhythms, extreme dynamic effects and novel tone an effort to better the condition of things. The differences in touch are, broadly speaking, legato higher grades show the difference between reading in a or sensationalism in order to win success and applause. graceful and simple numbers many auditors could be colors are, it is true, very desirable, and yet a compo¬ Many teachers are masquerading before the public to¬ In this respect he is superior to Liszt, who, in his early coaxed that are now repelled. To explain the fine sition which would exhaust all those artistic resources and staccato. Here let me give a caution to the teacher monotone, and the proper use of the voice ; the necessity period, did sometimes resort to sensationalism, which, touches of a Shelley to a cannibal would be no more day as musicians, who, like Mr. Perry’s listener, “ like might still miss one of the noblest aims of music—the whose pupils do not recite their lessons at the same of different degrees of accent corresponding to the rela¬ however, was less a sign of immature taste than the injudicious than to give a program consisting exclu¬ education of the heart.—Exchange. opuses.” piano on which they practice. We all know that tive importance of a word in the sentence ; the meaning wild exuberance of technical mastery bent on a frolic, sively of Bach’s or of Wagner’s works before a The successful teacher of the younger generation who and therefore not to be judged more severely than young promiscuous audience. when a key is struck and returns to the level, the damper of the punctuation signs, and the fact that we make a has, after long and careful and most painstaking prepa¬ Mozart’s feat of playing on a piano the keys of which I have no doubt that the intention of musicians who catches the strings, before the level is attained. But pause even without them, if the sense of the sentence SMILES AND SIMILES. ration battled with the problems forced upon him by were covered with a cloth. The conditions in those produce only the best works is good. But although I requires it; the difference in pronouncing nouns and days were not the same as at present. How eager the believe that the sincere aim of all artists should be to there is a great difference in pianos as to the distance his experience, and has fought his way into the front Anxious.—“There is nothing that so increases a man’s verbs as against'articles and common prepositions, etc. world was for Liszt’s show pieces may be inferred from improve the taste of their hearers, I think that they desire to work in the garden as the discovery that his below the level, at which the damper acts. This differ¬ ranks, knows the absolute need of a full and complete An investigation will not only show the analogy to be the fact that when, in the pressure of concert-giving and try too often to impart good taste in a manner that wife has misplaced the rake.—Atchison Globe. ence varies from an eighth to a quarter of an inch and traveling, he sometimes kept his operatic arrangements preparation, and feels the belittleing influence of half- savors of despotism. They should stoop to conquer. If a lazy pupil ever wants to practice it is when the more. These measurements are taken at the front edge very close, but it will also suggest many new ideas about in his head a few months before writing them down, the fledged teachers. If they always soar far above the heads of those less piano is already in use. the necessity of phrasing. publishers pursued him from town to town urging him favored than themselves, they will be lost sight of and of the key. It follows, that what is an exact legato at **** * to put them into shape for the printer. waste their sonatas on the desert air. The Beginning of Wisdom.—Tom Keyes—“Have you home may be either a staccato or a legatissimo on the To offset this early sensationalism, Liszt did more No man can hear what he has not preparation for given up the idea of taking singing lessons?” Carrie teacher’s piano. The same caution must be exercised The succeeding quotation is from the London Musical than any other musician to popularize the best music by hearing. Just as the painter sees more in the picture d’Alto—“ Yes, I found it would take me three years to FLOTSAM AND JETSAM. Times: “ An exceptionally great and refined attraction. playing his later splendid and thoroughly artistic arrange¬ learn to sing as well as I thought I sang already.”— as to a stiff or loose action, a springy or dead touch with than one who has not studied painting, so the musician —A high-class titled lady (soprano) may be secured for ments all over Europe. To us it seems strange that he hears more than the uncultured man. The latter Life. their result and differences in force. ‘at homes,’ ‘banquets,’ ‘etc.,’ by immediately address¬ should have played Beethoven’s symphonies on the being unable to derive any intellectual pleasure from Either her teacher told her the truth, or she was un¬ When the legato of two fingers is first taught we must The following definitions of musical terms are from piano at Viennese concerts; but the truth is that the commonly bright. music, evidently hears less than the musician, who is arouse consciousness also as to the exact instant when an article in Cassell's Magazine, by E. Burritt Lane. ing, * etc.’ ” orchestras and conductors of that time were unable to able to trace the development of a composition in all Official.—“ Why do you sign your name J. John B. B. Lemito is variously defined: “One note not to be How is this for snobbery? A “titled ” lady is to be interpret those symphonies satisfactorily, and many per¬ its details. finger number one leaves its key. There must be no B, Bronson?” asked Hawkins. “Because it is my secured. Of course the title increases the value of her sons exclaimed, after hearing Liszt’s inspired perform¬ But all hearts can be reached through music, although sluggishness, because it leads to lack of clearness; taken up till the next is put down;” “tentively;” “sung ance, that now for the first time was Beethoven’s genius name,” said Bronson ; “ I was christened by a minister soprano voice. it may speak differently to each. Each hearer is ad¬ who stuttered.”—Life. there must be no jerking, since it is the cause of the by a band” etc. Stringendo is explained “with a fully revealed to them. Mr. Paderewski would never dressed in a particular language. Each one sees the The two taken together—the title in particular, the Perhaps the reason why so many pupils play so poorly, much lamented mongrel staccato. Consciousness is the string; “ erging on;” “ hurghing on.” Cantabile imitate Liszt’s example of playing a Beethoven sym¬ tone-picture according to his antecedent experience, break down, stutter and stammer, and make a failure all means; “In a coloring manner;” “candidly;” and soprano voice in general—form a high-class attraction phony on the piano, for the simple reason that such a his imaginative powers, his testhetic training. The simple and unfailing remedy for both these faults. thing is no longer necessary. Our instrumentalists have around is because their teachers st-s-sta-stammer in their “with sprite.” Non troppo “Not much attention to to snobs. Are there any otherwise good musicians who uninstructed who have lived without a musical envi¬ te-te-te-teaching m-m-m-methods. Prof. E. Breslaur, Principal of the Teachers’ Normal improved immeasurably since the time—not much more ronment enjoy only the most commonplace harmonies; time.” Maestoso-, “Majestly.” Strepitoso; “Strepidly.” “to-day” do such things? than a century ago—when the leading orchestra in School. Berlin, teaches this by the use of three fingers some prefer no harmony at all. The monotonous dance They Begin Early.—Mother to her child, who had just Da Capo ; “In the head.” I wonder if this has anything to do with the status of Vienna put aside Schubert’s ninth symphony as too rhythm alone pleases many. What would Beethoven’s had some sweets given her by the man opposite : “ What as follows:— In giving Italian equivalents for English phrases the the musical profession? Mnsic teachers in colleges difficult to be played. But Mr. Paderewski does play, Adagios say to such listeners? “ Down on the Suwanee do you say to the gentleman, Mabel? ” Mabel: “ Have away from the large cities do not know the extent of and most properly, Liszt's superb arrangements of songs River” brings tears to some eyes, while to others it you dot any more, please?"—Exchange. following results are attained. “ In a speaking manner ” -] YS II II -1 etc. 0 _ and operatic melodies. Schumann once said of Thal- 0_ cliqueism and snobbery, but musicians in the larger causes a twinkle of derision. Chopin’s Nocturnes If a musician givts his services free for some charity 7^3 J1 1,1 “J is translated into affabile speakante, parlamente and berg that he had the gift of dressing up commonplace transport the refined soul into the highest regions of u fair or benefit concert, he is besieged ever afterward to fingers. cities are conversant with it. If we can but become the ideas in such a way as to make them interesting. Liszt f 1st. h r r it piacobely. “In a singing manner” greets us in the poetic contemplation, and yet they do not affect the take part free in all sorts of musical enterprises. protege of Mrs. Select Circle we are all right and the had the higher gift of taking the ideas of the greatest uncultured any more than rain does a window pane. form of radallacendo. “Dying away” is mordante, composers and transcribing them for the piano in such a He Wasn’t Collected.—“Were you calm and col¬ toadyism begins. It is not natural, that from such facts, some musi¬ 1 = raise, 11 = touch (at level)—press down. Stems up and “ smothering the tone ” becomes pendoroso, smoth- way as to make them even superior to the original. cians should have drawn the erroneous inference that lected at the battle of Gettysburg, Major?” “Well The sturdy, independent and musicianly members of represent the value of the notes, as struck, held and eringo and extinguisho. Thus he succeeded in doing with music what no poet has they alone can enjoy their art? It is, however, indis¬ Madame, I was calm enough, but I wasn’tcollected. With A fine grade of theoretical knowledge is here repre¬ the profession disdain such methods and stand upon ever succeeded in doing with poetry—translate it suc¬ putable that only musicians can feel the full pleasure a leg in one part of the field, an arm in another, and my raised; stems down the preparatory motions. (See cessfully into another language. His happiest transla¬ sented and, while it happened across the water, I am their own merits. Let these unite to overthrow all of what may be termed the “intellectual” in music left ear in another,collection was difficult.”—Exchange. Breslaur, Methodik, p. 19.) tions were the Magyar melodies, with their Asiatic gypsy Who would delight in the fugues of Bach without Many a debutant has felt more scattered than did the afraid we cannot boast ourselves too confidently upon toadying to position, and give to the profession of music ornaments, which he welded into his Hungarian rhap¬ Major. If we contract the preparatory motions, we find that having learned to appreciate them? But because our freedom from such ridiculous affairs. Indeed we its proper standing as an ennobling calling. sodies for the delight of all whose musical enjoyment Homer in the original is preferable to any translation, after the first note the third finger rises in preparation Sins of Omission.—Clergyman (examining a Sunday- are reminded of a story but recently told in onr hearing A. L. Manchester. does not consist in the pedantic analyzing of sonatas, but is it wise to read the “ Iliad” in the Greek language to simultaneously with the first finger in recovery. This school class) “Now can any of you tell me what are who take pleasure in the spontaneous melodies in which a miscellaneous crowd? Those who know not even by Mr. Edward Baxter Perry, so well-known as a sins of omission ? ” Small Scholar—“ Please, sir, they’re concerted, yet independent action of three fingers is the the naive populace, in its moments of poetic emotion, the alphabet cannot learn a tongue by listening to an leading lecturer-pianist. The incident occurred during has embodied its joys and sorrows. Mr. Paderewski sins you ought to have committed and haven’t."—Tid starting point. It can be taught without notes, is easily A PLEA FOR THE SOFT PEDAL. abstruse philological treatise, and those who listen Bits. his recent season of concerts. has revealed to us the true spirit of this delightful Hun¬ exclusively to the so-called “classical” music, with¬ understood, and can be practised by a willing scholar But music pupils omit them. They omit the hard At one place in which he appeared, he was requested garian folk-music as no pianist or gypsy band has ever out studying the principles of the art, are in an analo¬ done. places, difficult chords, the inner notes generally. They without supervision. Prof Wells, in the Christian at Work, has this gous position. Through such superficial training some by a teacher (a lady) of some years’ experience and who Liszt had the mocking-bird gift of imitating the style omit to practice their exercises, scales, arpeggios and In certain cases this exercise will be valuable as a word for the musical young women who “ practice ” on persons may acquire a taste for a better class of works possessed considerable finger dexterity, to hear her of all the great pianists, and generally surpassed them but the majority will remain unimproved. etudes, omit their lessons, and sometimes to pay their link between the legatissimo and elastic touch of the the piano and on the tempers of their sensitive neigh¬ on their own ground. Mr. Paderewski has inherited teacher. play that he might suggest some new pieces for her to The simple, no less than the elaborate style, has an Mason system. bors :— this trait, as well as Liszt’s amazing and unobtrusive study. This Mr. Perry, with his accustomed urbanity, important place in the world of art. Many well-mean¬ A Sure Thing. Pater—u My boy, when I was your Further prerequisites are the knowledge of the value Dear legion of girls, who will sit down this morning, technic and the art of getting orchestral effects from ing artists, however, forgetting the truism, “ Beauty the piano, while in the magic of producing exquisite 7u,e’ iWaS ^rr!31^ ^e8k at seven o clock in the morning.” of notes and rests, the capacity to raise the hands inde did. light-hearted, deft-fingered, to your “practicing” unadorned, adorned the most,” would reject all that e bon That may be; but I know the business is After her performance he suggested, Raff, op. 92 (I tone colors he even surpasses Liszt. In regard to their pendently of each other, and the power to broadly con (strange that in this “ practical ” age that term should which is not overelad. But if they wish to educate the pertectly safe in your hands, even while I am away.”— have forgotten the exact opus but it is not essential to early career these great pianists present a considerable masses, they must heed the fact that only the simplest Lx mange. trast loud and soft. The melody should be played forte, be all but appropriated by you and the doctors!), bethink contrast. Mr. Paderewski was almost thirty before he the story). “Oh, yes,” said the teacher, “I will be forms will ever reach the people. Music will g0 to the Too many pupils seem to rest on a similar feeling of won universal fame, while Liszt was the pet of all and the accompaniment piano. Leave crescendo and yourselves, as your fresh voices or dainty hands “ scale palaces or the cottages throughout our land, not in the surety because they are taking lessons of a celebrated delighted, I always did like opuses.” She evidently Europe as a boy. At nine, if he was asked to play a decrescendo to the second and third grades. The le i up and down” with laudable iteration, whether it is garb of a fugue, or of a symphony, but in that of an teacher. Bach fugue, he would boldly ask, “ In what key?" At classified opuses with waltzes. What entertaining read¬ unadorned song. And whether a polyphonic problem hand must learn to play melody as well as the right; the only fond mamma or watchful music teacher whose sixteen he had earned $20,000. But at present Mr. ing the incidents happening within the ken of a traveling can be called music with more fitness than would apnlv A Commendable Ambition.—Old Gentleman—“ What right hand must learn to play accompaniment as well as nerves you set beating to your “la-la’s” and “tam¬ Paderewski is undergoing the same experiences that wou d you like to be when you grow up ? ” Small Boy— artist would make if published in book form. to a beautiful melody is debatable ground even among the left. Do not phrase the accompaniment at all. tam's.”- And if you are “practicing” on a nervous, Liszt did, in the way of artistic, pecuniary, and social musicians. ® t e to be a bricklayer.” “That is a commendable successes. That some foolish persons participate in the The observance of rests and touch marks is quite * * fretting invalid, on brains trying to think, or even on Those who would have music of the most complex ambition. Why would you like to be a bricklayer?” * * * new “cult” is not his fault, nor is it gallant or just to character only, should think of the many beings that i Un6 t£r,re ?,80 manJ days wben a bricklayer can’t enough. some ugly bachelor who likes to read his newspaper in sneer at it as a feminine fad. Were it notfor the women, work "—City Paper. 3 An observer of American life, Mr. Carl Hecker, says, would be barred from all enjoyment. They might When we advance to where the accompaniment ap peace, then, O kind legion, less Chopin and more music in America and England would soon come to an “ As soon as the student is able to earn a little money remember, too, that what pleases them to-day was T°.un“ Pe°ple choose music teaching because end. Wagner understood this when he wrote: “ With pears in the form of supporting or contrasting voices, Beethoven, closed windows, back parlor, soft pedal— once distasteful to them. Many excellent artists will ey ink it such an easy, genteel and agreeable way of she stops studying and begins to teach. And that is a earning a respectable living. or connecting melodic phrases, then, and not be ore, very bad thing—bad for art. Nothing is gained and and there will be more music in the world after all! ° rr,, _tar it IPS 152 THE ETUDE THE ETUDE 153 ROBERT SOHUMANN-POET. were the believers in true and pure art. The “Philis¬ ment no longer echo his thoughts. A time when he LETTERS TO PUPILS. sense of self love as we have to when we mark percentages TIME IS MONEY. tines” were the shammers, the would-bes. would “ crush to pieces” his tinkling box. The voices or gradations and thereby arouse emulation and strife ; BY E. B. STORY. Now, in this literary work of Schumann's there is of the orchestra beckon him, and to tune and combine BY JOHN S. VAN CLEVE. I doubt, I say, very much, whether this outside pressure BY FREDERIC DEAN. this noticeable point:— them to his liking is his next desire. He complains of ever produces much valuable result in music. If you This old adage makes its impression with varying The work was not for the advancement of his own his lack of practice in orchestral writing, but sets to G. M. L.—The singer in church choir, the amateur will take the trouble to read the lives of a few musicians degrees of power, calling forth in some a spirit of There is an ivy-covered stone in a graveyard at Bonn compositions, but for that of the best music of the time. work with the old-time oneness of purpose to master its violinist, the little pianist, the organist for the reed or you will find that music in them came up not because of incredulity, in others a determination to know and that has a potent attraction for the musical pilgrim. Glilck was a literary genius, but his pen was only used details, and these once in subjection, he longs to utilize pipe organ, everybody who pretends to know anything prizes, but in spite of the most violent efforts to stamp it accept whatever truth the statement contains. It is Push aside the luxuriant vine and spell the name of the to prepare the world for his own revolutionary dramas. them in expressing his poetic thoughts. But even in about music, ought to learn sight reading, and the only out. Take, for instance, Bach, and Lizst, and Wagner, noticeable that the latter class of people are generally lodger beneath—a name that stands for the poetic ele¬ Richard Wagner was one of the most remarkable essay¬ his desire to create in freer mode, he recognizes the way to learn it is to learn it. and Schumann, and Beethoven, and many others, for in shrewd, progressive, and successful, while others look ment in modern music—Robert Schumann. ists of modern times, yet Richard Wagner’s essays were necessity of the mastery of those “ strict forms which I do not, however, wish to give you an answer that every one of these cases, either because of the parents at them with feelings of surprise, envy, and discontent. Poetic, Schumann ever was. Poetic by nature and ever in the interests of Richard Wagner’s music. It is hold good for all time.” And so in his symphonic work shall sound either caviare, or curt, or cross, so I will selecting another profession, or because they looked At the end of the year’s work piano pupils are by culture. Poetic in his work both as composer and very true, as some one has recently remarked, that one can always find the old form vitalized by the new give you this little bit of suggestion. My own practice down upon music as an unfit calling for a man, or on frequently heard to complain that their own work is as criticiser of the works of others. Poetic in his every Schumann has somewhere said that “if the publisher spirit. is to use great care in repeating many, many, many account of wordly trouble, sickness, and disaster, or unsatisfactory, while others no more talented than thought—every idea. And this poetic spirit he infused were not afraid of the editor the world would never have Schumann’s first symphony was “born in an ecstasy times the dubious region of tones between the G clef something else, it was the enormous force of a man’s themselves have made the greater progress. To such into the music of his time, and cultivated it wherever heard of me.” But the end and aim of his paper was of delight.” In it is mirrored the happiness of a newly- and the F clef. By this I mean the distance from the passionate love for the thing that caused the wonderful discontented ones who are planning for another year and in whomsoever he found it. And it is for this that to forward the music of his time—the advancement of made bridegroom. But others there are that picture middle C, first line below the G clef (the staff with result. of study may now properly come three questions with I have called him “ Robert Schumann—Poet," and it art. Nothing less would be compatible with his poetic the sorrow of his later days—that pall that first shad¬ the G clef upon it), up to the third line, B, and from Even the marvelously perfect environment of Men¬ accompanying suggestions : First, have you chosen the is as poet that I shall here regard him. Teachings after the ideal. owed and finally enveloped and extinguished the light that same B, which might be written on the fourth line delssohn and the unparalleled genius of Mozart do best teacher within your financial ability? Second, The oft-told story of his boyish fit of somnambulism— And for practical demonstration of this fact, recall of his genius. above the staff with the F clef, down to the third line, not contradict this general principle. Just picture to will you unreservedly commit yourself to his musical how, at midnight and in a dream, he had stolen down to for the moment what he actually did. The names and But upon all his symphonic work the poetic nature, D. This is a compass of seven letters upward and seven yourself little Mozart coming home to show his father guidance? Third, will you make every moment of the old piano and played a series of chords, weeping works of the foremost men were made known to the the poetic thought, the poetic idea and ideal are indel¬ letters downward, that is. in all thirteen, from D below a paper in which he was marked 10, in comparison with your student life a profitable one ? And the answers bitterly the while, is as good a key to his after life as reading public. Not only were exhaustive articles writ¬ ibly stamped, and be they grave or gay, serene or sad, middle C to B above. What I mean by calling this the all his struggling competitors. to the questions will illustrate the truth of the adage. any, picturing, as it does, the art intoxication with ten about his fellow-countrymen, Mendelssohn, Hiller, they express the poetry of his nature in whatever mood changeable or equivocal region is that every one of But then, you say, “ These men are geniuses, and most The properly qualified teacher has received the best which he was ever possessed. Franz, Brahms, but equal mention was made of the they find him. And perhaps in the very form of his these thirteen tones can be written either upon the staff men are not geniuses.” True, but do not forget that of instruction, securing ability thereby at a great expen¬ And, when in Vienna, Schumann found two treasures English Sterndale-Bennett, the Scandinavian Niels W. later symphonies there may be a truer poetic expression with the G clef or with the F clef. You observe I wonderfully profound though somewhat mystical thought diture of physical and mental force, as well as of dollars which he carried home in triumph—a blotted page of Gade, Chopin, the Pole, and Berlioz, the Frenchman. of sentiment. For how the themes harmonize with one make no mention of the tenor clef, for that is almost of Wagner, that “Music is the expression of love.” If and cents ; has gained a large experience in teaching at Schubert’s manuscript and a rusty steel pen. The pen He was the champion of a cause, and it mattered little another! And so perfectly are they in sympathy in the entirely obsolete in vocal music, although the orchestra you will think that over day and night for a month you serious loss of nervous vitality; has increased his was found on Beethoven’s grave, and was afterward whether the composer be German by birth or breeding D-minor Symphony, they run into one another and form leader needs to know it constantly for the use of certain will begin to understand something. knowledge of useful and appropriate music ; has become used by Schumann in writing some of his most beautiful or not. If he were a believer in the new faith, if he one united whole, and the symphony is as a rhyming instruments. Now the way to learn where these notes Music is the expression of love, not merely the love of acquainted with all sorts of faults in pupils and the songs. The blotted score served as an ever-present were bearing a torch of the same new light, this was stanza from beginning to end. an ardent youth for a fascinating maiden, but the expres¬ best methods of remedying them. To reimburse him¬ source of inspiration to his poetic mind. stand is to repeat them again and again, and again, up enough. It was Schumann who pointed to the light and Schumann’s name has been often coupled with that of sion of a mother’s love for her child, the adoring self for such expenditure and in proper self-respect (of Take the well-known case of his mass. Schumann and down, and cross ways, and zig-zag, and in all pos¬ explained its meaning. It was Schumann who increased Mendelssohn, and I shall couple the two names but for gratitude of the child to the father, the mystical love of course, he knows that his services are of greater value) was a Protestant, yet in this mass he goes out of his sible combinations, read them in pieces, pick them out and utilized the interest already roused, who concen¬ one purpose,—to show the restfulness of the one and in books here and there, take anything and everything man for his God, the love which we have for the beauty he charges more for his lessons than the poorly qualified way to write for an offertory a hymn to the Virgin Mary, trated the forces then in motion. the restlessness of the other. Sean the faces of the two. of nature. Wherever it exists Music is an expression teacher does. At fifty dollars per term, for instance, not from any feeling of adoration for Mary, but simply that you can think of, but, after all is said and done, it And thus did Schumann do his share in furthering Mendelssohn looks at you with the frankest of smiles. of some kind of love, and the yearning of the tones and his instruction is worth to you more than twice as much because of the poetic medimval idea of “the Blessed is simple memory, memory, memory. You have to go and making possible that wonderful modern school, Schumann’s eyes are averted, and under the half-closed their combination and harmony is more than a fanciful Virgin.” over it until you know it, and it is similar to learning as that of the poorer teacher at twenty-five dollars, for “ Romantic” by name, real by nature, whose disciples lids seem to be ever searching for the unattainable. analogy. the one can free you from all blunders, caution you Art invariably attracted him. It was in a state of the paradigm of the verb in Greek. hated the bad, clave to the good, despised cant, and Take a page of the music of each. What can be more So then I believe that all music teachers can do for The only way to learn the word“ Tithemi,” which is the against common evil tendencies, lead you in correct art intoxication that he lived. It was from art intoxica¬ impetuously proclaimed “Truth in Art” to be their calm and peaceful than the measured strains of “ 0, their students is by tact, energy, and patience to find out ways, indicate traditional interpretations, illustrate tion that he died. motto. great bugbear with the boys in Greek, is to learn it. Rest in the Lord”? what more restless and turbulent how much of the magnetic current of passionate love every point in style and technic, while the other, with The two sides of Schumann’s life-work must be Dwell upon it, repeat it, con over it again, go backward, Such was Schumann’s work as a critic. than the broken musical sentences of the writer of can be excited in them, for it is only that which springs studied together. He is not complete as composer, but forward, all around, a thousand times until it does stick indefinite or erroneous ideas, is constantly liable to Manfred and “Faust”? But poetic is he even in spontaneously that is of any value, and I think it would must be known as the criticiser of the compositions of AS A COMPOSER. and become an unconscious part of your cerebration. hinder or harm you. these broken bits of melody—poetic in the completed be far better in this country if we had fewer people study¬ others as well. And it is well to remember that it was That is exactly the way in which you are to learn the Having selected the best teacher, will you unreservedly In the summer of 1844 Schumann laid down his edi¬ symphony and the half written verse. In every branch ing music and more of them amounting to something. the regular routine work that he was compelled to do notes on the printed scale of music. I advise, furthermore, commit yourself to his musical guidance? Frequently torial pen for good and aye and devoted himself entirely of work he has carried the same beautiful touch of poetic Your second question is how to pronounce Handel, upon his paper that roused him from his “dreams at that you train pupils to recognize every note from the the teacher finds in the mind of the pupil a prejudice to composition. As a critic he had defied wrong and reverence, gilding all the treasures of his art, all the Chopin, and Paderewski. There are various authorities the piano and made him the Schumann that we know. very lowest of the piano to the very top. It can be which rebels at some course of study, some peculiarity deified right, and now in his own compositions he sought precious fancies of his soul. for the spelling of Handel’s (pronounced broad ah) To a youth, shy and sentimental, with independent done by a little extra pains. There is no sense in a pupil of interpretation, some composer or composition. If to exemplify all that he had advocated in his journal. And it is for this that I speak of him as “Robert name, and either Handel or Haendel, pronounced ap¬ means and a fondness for Jean Paul and his ilk, this being staggered the instant she sees something more the teacher has a well-defined, logical plan, by the use of And note how closely his compositions come to the Schumann—Poet. ’ ’ imperative, regular, critical and editorial work that proximately as if it were spelled Hendel or Handel, can which the progress is to be rapid and sure, every refusal realization of what he thought true music should be. than four lines above the staff. She ought to be able to was forced upon him by reason of his position of be called correct; so then pronounce it any way you to enter loyally into such a plan is a source of hindrance Schumann’s musical intuitions were remarkable. He read with absolute quickness up to the sixth line above, editor of a revolutionary musical weekly, proved to be A MUSICIAN. know how, and it is correct according to some authority, to your progress, every departure to some side enjoy¬ received no incentive to music from either his father or or the seventh space, for 7th space, 8va, is the top C of the best possible tonic. He was roused from his poetic either Handel or Hendel or Handel. For the two ment an expensive luxury. If his guidance is worth mother. He had no musical bent during his boyhood, jou want to know what constitutes musicianship? every 7J ocfave piano, and she ought also to be able to stupor and forced to become a leader in the most radical ihe ability to play if a performer, a practical knowledge possible German pronunciations, the one ah without the anything to you why not lay aside every prejudice and and even as a young man it was poetry first and music read to the third line below with an 8va under it and of parties. of theory, musical history, the technic of the instru¬ two dots, or umlaut, the other e with the umlaut, there is all self assertion and receive the full worth of his afterward. And, since his soul is upon music bent, to ment, etc. The ability to perform is no proof of know with certainty that is the lowest A of a 7J octave On the third of April, 1824, a new journal appeared good authority, but the English way, of course, would be leadership ? whom does he turn? Sebastian Bach! Without instruc¬ musicianship; as well might an individual be given piano. The way to learn all these notes is, as I say, to with this preliminary notice:— Handel. As for Chopin, it is difficult to spell it, but I will But even if you accept without reservation your tion, for he was untaught. Without incentive, for he credit for learning because he can repeat an address, or learn them by infinite repetition. “The day of reciprocal compliments is gradually show agility in making figures at a blackboard. Neither try. It is not Shoepan as some people almost get it, teacher’s plan there remains a vast deal for you to do went unurged. Schumann intuitively searched for and L. E. M.—You ask two things very unlike each other. dying out. The critic who does not attack what is bad of these efforts are proof of the individual’s knowledge nor is it Show-pang which is even worse, but imagine it to in order that practice time may not be unprofitable. found in the mysterious depths of sentiment lurking I will answer your first question to the best of my is but a half hearted supporter of what is good.” of what he is repeating or the value of figures—many be spelled this way, Chu—short—pin, only pronounce the You know the customary advice, “ Watch every detail, about the harmonies of the old canton the soul satisfac¬ years of study and practice are necessary to acquaint judgment and knowledge. You ask, Is it best to And with this banner nailed at their mast-head, young i like a and make the n with the mouth loose and open ; every smallest thing, note, dot, rest, etc. ; remember tion for which he longed. one with the different phases of theory, musical history mark pupils in a school? ” Now, I am not quite certain Schumann and his enthusiastic assistants sought to rev¬ oth general and as applied to the instrument, musical both mouth and nose open will give you this peculiar accidentals; compare lengths of notes; keep strict But Bach was the sternest of classicists. Schumann what I ought to say about this, and my doubt arises from olutionize the music world. The “honey-daubing” of literature, the technic of the instrument and its history. French “ n,” that is not nasal and yet is nasal, and is ideals of time; waste no time on easy passages; the most pronounced of the romantic school. And yet two things : First of all, what do you mean by marking ? the journals of the time was censured in unmistakable I nese efforts should be preceded by a good literary exceedingly beautiful despite the fact that we make such practice slowly with single hands. All this and much so truly is the one the pupil, the follower of the other, education. Jealousy and ignorance are twin sisters, and secondly , what kind and size of school? For seven years language. Music itself was not what it should be. The a botch in attempting to learn it—Chu-pan. more you have in mind, but does it materialize at the that in the works of no other modern writer is the union where differences arise of a musical nature, ignorance I taught in schools for the blind. In these schools, light, flippant measures of the time were criticised, and is the cause. A thoroughly educated musician is Now as for poor Paderewski, how many vile end of your fingers ? And especially when the teacher of modern feeling and ancient form more clearly marked. owing to the fact that our pupils were of so many their composers were told to go back to the writers of . Jealo“sy—presence is proof positive of pronunciations have I heard of his name, and yet it is, has called attention to a mistake, do you blunder at the Schumann at first confined himself to the composition different ages and grades of talent, and peculiarities of the olden time, ‘ since it is only at those pure sources intellectual weakness somewhere. An education makes like all Slavonic names, terrible in aspect, but music to same place many succeeding times? Think a moment of music for the pianoforte. And there is something one charitable, obliging, kind, willing to aid : and he character and temperament, no class teaching and no that new beauties in art can be found.” But, after all the ear, and easy as oil for the vocal organs. Such in passing. At fifty dollars per term of twenty half-hour truly pathetic in his seeming concentration of all thought who is ignorant tries to cover the weakness by back- strictly satisfactory graduation of work were practicable, the chief idea of the new journal was to accelerate the names as Rassoumogfsky, Tschaicowski, and Paderewski lessons each minute of your lesson costs you nearly ten and interest upon this one instrument. Seven hours a ing, being uncharitable, unhappy, unwilling to aid. though I made strenuous efforts to introduce them. coming of a new poetic era by the encouragement of TTnr\ mi,sical Pander, good Lord de¬ are enough to prevent the Muscovite and Pole from cents. If you should see upon the street any one day are given up to the practice of such scales and exer¬ liver us.—W. H. Dana, in The Echo. Since I left the teaching of the blind, in 1879, I have what was best in the work of the younger writers of the being received in the world of polite letters or art. throwing away a handful of nickels or dimes you would cises as will make his fingers perfect executants of his been fourteen years in Cincinnati, and all of my work day. And thus did this new critic and his fellows fulfill Nevertheless they are pushing their way in. Now doubtless consider him somewhat unbalanced mentally, meaning. Does he go to ride, he carries in his lap a We do not see how any one can justly lay claim to has been with private pupils, consequently, I am not the requirements of their office. They tore down the Paderewski, whom they shorten in New York into but each time that you cause your teacher to explain dumb key-board, and the evening is spent playing piano musimanship who doesn’t understand harmony. No very well fitted to answer your question. I should say, bad and built up in its place and stead all that was really “ Paddy, ” is to be pronounced Pad-er-eff-skl. an old matter or point out a mistake made by your duets with a friend “ for pleasure.” MmnrehpL^;1 °D6 Tg and P1** lle cannot fully however, that marking in music is open to this serious good, all that reflected the true beauty of the olden haTnnfa d H® TP® arJd,meaning of his music if he Simply imagine when you see it, that the w is not w, carelessness the wasted moments represent a similar Can anything be more engrossing? objection, that music differs from most other studies in time, to which they ever pointed as the source of the ;.at\“°v a practical knowledge of harmony. Harmony but f—not Paderooski, but Paderfiffski. lamentable (because culpable) loss. Memory should be The piano is the most unpoetic, unromantic of instru¬ good, the true, and the beautiful. bu d avrpUf TS1C’ and 0ne mi«ht a3 well expect to its extreme vagueness and indefiniteness. Not only will exercised more vigorously and constantly; critical ments. But Schumann forces it to utter the poetry of ‘ s.tr“Cture upon a tottering foundation as to one pupil learn as much in an hour as another will in analysis of the music should be cultivated more But even in this prosaic work of criticism Schumann thoroughly; a determined purpose should be persist¬ his soul. Surely, if Schubert could “set a handbill thoro^h kr31?1? m ft fu" sense wi'kout acquiring a four, but the performance of the same pupil is so ex _X believe teaching to be a gift. It is not alone a must be the poet. And so he gathers about him an thorough knowledge of harmony.—Journal. ently applied; a conscientiousness that sees in each to music and write an opera with a menu card for a matter of knowledge. It is also the ability to impart imaginary companyand calls its members “ Davidites," ceedingly varied at different times that it vastly exceeds knowledge. A teacher should be able to make a correct moment of practice a religious duty should be increased. libretto,” Schumann weaves romances out of five-finger and the mission of these “ Davidites ” is to wage unceas¬ the variability of recitations in Latin, or algebra, or diagnosis of a voice. That is, place it, see its possi¬ Under such conditions greater progress will be made, exercises. 6 a tim^d 18 U S,°-ul,of «enius- Great talents to preparation for life work the more speedily accom¬ ing war with the “Philistines.” The “Davidites” mental philosophy. bilities, its faults and weaknesses, and then adapt the to a miser whU ?8 KttIe value t0 ‘he owner as gold plished at less expense, and all regretful thoughts But the time comes when the strings of his pet instru¬ to a miser, who is afraid to use it— Washington Alls- Again, I doubt very much whether outside stimulants teaching to its peculiar needs.—Clara E. Munger, in Musical Record. avoided. in the way of prizes, or the appealing so grossly to the 154 THE ETUDE THE ETTJ T> E . 155 R. TAPPER will be in Europe until September 15th. The work is all in the hands of our printer, who will M PUBLISHER’S NOTES. All correspondence may be addressed, as usual, to habit in pianoforte playing, finish it during the month of July Those who send 156 Tremont Street, Boston, Mass., and will receive as BOGSEY & CO., Nei Exercises for SiiM-SiiM Classes, in twenty-five cents now will receive a copy of the work prompt consideration as the forwarding of letters will BY CARL HOFFMAN. Before going on your vacation tour, arrange with the NEW YORK. LONDON. By W. W. GILCHRIST. In Three Books. post office or with some friend to have your copy of The when issued. Every teacher should have a copy of this admit. ZPiRIOE - - 35 CENTS. PUBLISHERS OF Etude either sent to your address or retained till your work. It makes interesting reading. Remember, the prices in these special offers are for introduction only, THE EXPRESS DUPLICATOR is used by many MSS There are many excellent works on the theory of sight-singing, but return. Our subscription department is called upon to writers of music and ordinary writing. It produces a Presents an analytical study of control of move¬ in the matter of reiterative exercise there has always been a great and do not cover the cost of paper, printing, and postage, a great extent to supply numbers lost by the want of a very large number of copies from every original. Ben- ment and habit forming, as well as a succinct out¬ English+Songs+and t Ballads. lack. Mr. Gilchrist’s work, representing, as it does, the accumulated little forethought on the part of the subscriber. Back to say nothing of the cost of plates. singer Duplicator Co., New York. Send free informa¬ line of mechanical and expressional technic as re¬ experience of years, most completely meets this want, a large amount tion, or Theo. Presser, Philada., Pa. spects the logical use, singly and combined, of of practice being given on each point as it comes up, and the whole, numbers of The Etude are often impossible to supply, * * * * * fingers, hand, upper and lower arm, shoulder, and while avoiding catchy melodies to lead the ear, being characterized because of the great demand for them in making out The latest successes are— oston training school of music.—in- foot, in playing the piano. by a very high type of musicianship. the yearly subscriptions that come in late. We are in the midst of moving to our new quarters, B corporated according to the laws of the S'ate of The Holy City (with Organ Obligato). By BOOK I consists exclusively of Time-Lessons, in one, two, and 1708 Chestnut Street. We expect to have one of the Address Publisher, Massachusetts. Special object: Training Teachers of Stephen Adams. 75c. four parts. No intervals greater than the second are used, and the finest musical establishments in the country. Our Music Courses of Instate tion. The Normal Course THEO. PRESSER, pupil is thereby enabled to concentrate attention entirely on the We are issuing a series of most desirable sheet music for Teachers,—a well-defined curriculum ; systematic The sale cf ihis Song is now breaking the rec¬ facilities will be doubled at our new stand. 1708 Chestnut Street, - Philadelphia. ri*7»«-principles involved. Price 50 cents. for the reed organ. These pieces are carefully edited training and broad education, providing for a thorough ord made by Snllivan’s “ Lost Chord.” equipment in the teacher’s profession. Teaching under BOOK II is given entirely to interval exercises, without special and fully annotated by the well-known educator, Mr. supervision. Entrance examination required for the Nor¬ Adieu, Marie! By Stephen Adams. 60c. relation to keys, beginning with the simplest and progressing gradu¬ Charles W. Landon. The pieces are out of the common, ally to the more complex. Price 50 cents. TESTIMONIALS. mal Course. Preparatory Course, in which beginners are Beautiful Song for Tenors Snng by Mr. Ed¬ hackneyed style, and are especially arranged for the reed received. Intermediate and Advanced Courses—Sing¬ MIDDLE GRADE TECHNICAL EXERCISES, BY CARL HOFFMAN. ward Lloyd wiih tremendous success during his BOOK III is divided into two parts, the first consisting of ten organ with many new and striking effects pointed out ing, Piano, Organ, Violin, Moslem Public Schools, Guitar, recent tour in Canada and the United States. exercises in each major and minor key, without modulation; the sec¬ in the annotations. These pieces show the use of the I cannot express to you my appreciation of “ Mason's Mandolin, and all Oichestral Instruments. Piano taught ond, of the same number, with modulations. This book, with its 260 System” and of Mathews’ “ Course of Graded Piano by means of the Virgil Clavier Method. Department of PRICE - - #1.00. exercises, in one, two, and four parts, is a most valuable one, and true reed organ touch, and how to make music on the Two Songs, (as) “ Auf Wiedersehn ;” (h) Studies.” They are an inspiration to pupil and teacher. Elocution, Emerson College of Oratory. Department of “ Queen of all the Roses.” By Hope entirely unique. In fact, the work as a whole stands quite alone in reed organ beautifully effective. The selections will be The Etude I simply cannot get on without. Art, in charge of the well known artist'. Henry Sandham, New and revised edition. Based upon latest Temple. 60c. its exhaustiveness and systematic arrangement. in all grades, and are calculated to supplement any Mrs. Taylor Frye. R. C. A. Lectures and Concerts by eminent men. Tuition, technical ideas connected with touch, rhythm, ac¬ It is, as its name implies, merely a collection of Exercises. The¬ course of reed organ instruction as profitable recrea¬ $5 00 to $25.00 per term. For calendar and further in¬ cent, dynamic shading, freer independence of mem¬ Exquisite is the only term which can be given oretical instruction is left entirely to the teacher, and the exercises Having used “Melody Playing, No. 2,” I find it just formation address George H. Howard, A. M., Director. bers’associated in piano playing, among themselves to these compositions. ARE ADAPTABLE TO ANY SYSTEM. tions for home and public playing. the work to follow No. 1, and shall use it. and in combination. In the hands of thoughtful The exercises are so arranged that they can be used by either Mrs. Sada Yost Moyer. FIRST-CLASS ACCOMPANIST would like engage¬ teachers and students most excellent results will Spring. New Song by George Henschel. 60c. male, female, or mixed-voice classes. They give the teacher just what he wants for any kind of class, It may not be “mal-a-propos ” to send you what the ment for Concert party. “ Reader,” Etude office. follow the use of these Exercises, which need only “May. without overstatement of the case, be We have in preparation the second volume of save him an immense amount of black-board work, and give the great operatic composer, Massenet, just wrote about to be thoroughly tested to be widely used for teach¬ written down as absolute inspiration, so enchant¬ Landon’s “Reed Organ Melodic Studies.” Thefirst vol¬ pupil plenty of practice at home. “Observations of a Musician.” A TRIO FOR PIANO, VIOLIN, AND CELLO, by ing purposes. ing are its gracious phrases and so sweet its ring¬ It is, without doubt, the largest and most complete set of sight-singing ume has been rapidly gaining favor with those teachers A Monsieur Louis Lombard, Directeur du Conservatoire Michael H. Cross, price $4 00. This work is one Address Publisher, ing, bird-like music. Lying aptly within the exercises ever published, and must soon become a necessity in every who enjoy having their pupils play better than ordinary. de Utica. of high merit, and is recommended to lovers of class¬ singer’s range, it was snng by Miss Florence in a well-organized school where music is taught, as well as to every To a still greater extent than does “Landon’s Reed My Dear and Illustrious Confrere:—It is with ical chamber music. THEO. PRESSER, manner that, fell nothing short, of absolute perfec¬ gratitude that I receive your book, so well written. How teacher. Price, 81.00. Organ Method,” do these studies develop touch and 17OS Chestnut Street, - Philadelphia. tion.”— The London Daily Telegraph. much I admire you I What great courage and authority 1 AN EXPERIENCED TEACHER, having certificate Price, Book 1.50 technic for the organ, looking toward fine and artistic Bravo with all my heart I” Jules Massenet. Ae Fond Kiss. By A. S. Gatty. 60c. Book II.50 from Mr. Jacobsohn, desires position as Director NEAT AND SUBSTANTIAL playing. The pupil is taught phrasing, expression, and of Conservatory or Violin Teacher for the coming year. Beautiful setting to Burns’ poem. Book III.$1.00 the kind of touch to use for the various pleasing effects I have read “ Observations of a Musician ” with much Address Jennie Gratz, La Grange, Ill. interest. Judicious views, the result of unusual oppor¬ 4MUSIC FOLIOS.^ Carnival. By J. L. Molloy. 60c. Complete, 3 Books, $1.50. that even an almost beginner can produce. The selec¬ tunities, are clothed in charming diction; and the book OUR OWN MAKE. tions, while furnishing technical work, are musical, they is one of the few which will hold the attention of the OUMMER NORMAL MUSIC SCHOOL, to be held Crossing the Bar. By A. H. Behrend 60c. Sample copies sent upon application. in Ohio Pyle, Pa., commencing Tuesday, July 25th, cultivate' taste and a love for good music as well as reader until he reaches “ the end.” Price $1.00. $9.00 per dozen, by Express. PUBLISHED BY and closing Friday, August 18th. W. if. Pontius, Mans¬ Rose of Kenmare. By F. Bevan. 60c. technic, a musical as well as a mechanical technic. Peter R. Neff, Presiden t College of Music Cincinnati. field, Ohio, Principal and Teacher of Vocal Culture and This folio is without spring back or ornamental work. It is a simple THEODORE PRESSER, Singing, Harmony, and Chorus Director. A full corps folio in cloth, with three strings to tie the open ends. Never a Rose. By I. Cowen. 60c. of eminent teachers has been engaged, including J. M. In a letter recently received from Xaver Scharwenka Address THEO. PRESSER, Phila., Pa. AND MANY OTHERS BY 1708 CHESTNUT ST., PHILADELPHIA. This is the time of year when progressive teachers get he says the following concerning the “Scale Studies” Dungan, Piano and Organ; Mrs. IF. II. Pontius, by Wilson G. Smith :— Piano ; D. Wilson, Sight-reading, Elocution, and Music themselves in form for better work for the next season. WELLINGS, RODNEY, M0IR, CARYLL, The special exercises in scale playing contain, besides in the Public Schools, and Daisy Gertrude Market, New Cantata for Small Chora/ Societies. The Etude office can supply any book or method for the necessary technical material, much to arouse the Physical Culture. For circulars giving full particulars, R0ECKEL, ETC., ETC. THIRTY the purpose of self study, putting the teacher in the way ambition of the student, and I trust they may receive the send to W. H. Pontius, Mansfield, Ohio. “JOHN GILPIN.” extended recognition their merits deserve. of thorough preparation for the introduction of improved COMPOSED BY Xaver Scharwenka, NEW VOLUME JUST ADDED TO KOVAL EDITION, ways of working for his next year of teaching. A GOOD Vocal Teacher and Chorus Director can HOME RULES FDD MUSIC STUDENTS, Director Scharwenka Conservatory of Music, N. Y. learn of a desirable field for work in a town of ALBERT W. BORST. 20,000 by addressing “ H. W.care of Etude. SONGS FROM THE ORATORIOS, Practical Advice. Hints, and Suggestions I heartily recommend “Landon’s Piano and Reed May be bad, together with press notices and musical synopsis, ftom all music stores. Containing a Selection or Solos for Soprano, Con. Organ Method.” It is just what I needed. I regret for Ihe Young. We have in press another volume of Heller’s tralto. Tenor, and Hass in Original Keys. now I did not have it months ago. Thanks for copy. WANTED—Teacher of Violin and Voice. For “ Selected Studies.” These are taken from Opus 125. Mrs. M. Mahorner. particulars, address J. Alleine Brown. Chapel Paper, $1.00. Cloth and Gilt, $2.00. 33 HERMANN ls/L O H H. . They are not so difficult of execution as Ops. 45, 46, and Hill, Texas. The works from your “ extraordinary offer” arrived Studies in Melody Playing. PRICE 5 CENTS EACH. 47, but are fully equal to them musically. The rhyth¬ Now being used in the Principal Academies safely. I am very much pleased with them. I take this ^ TITHE LAST FAREWELL,” the latest and best BY of America and England, mic element is strongly characteristic of Opus 125. opportunity to say that all works I have had from you song, by IF //. Pontius. Very effective, and THEODORE PRESSER, The volume will be a refreshing relief to the teacher have been “ extraordinary.” Miss M. E. Stone. becoming quite popular. Sung by W. H. Rieger and NEW EDUCATIONAL WORK, HAMILTON O. MACDOUGALL. 1708 Chestnut Street, Philadelphia, Pa. who has never yet used these charming little etudes. other eminent artists. Arranged for high or low voice, Second book of “ Melody Studies ” by McDougall re¬ and can be obtained from any first-class music house. Mr. C. B. Cady has done some brilliant work in editing ceived and thoroughly examined. I find them excellent 50 SOLFEGGI, Price 60 cts. Published by The John Church Co., PRICE $1.25. By TOST!. this volume. They are refingered and phrased, with for developing independence of hands and o-eneral Cincinnati, Ohio. musical ability. o. E. Robinson. Something New and Remarkable! remarks on interpretation. An extract from the preface $1 EACH BOOK-IN TWO BOOKS—$1 EACH BOOK. The phenomenal success of Volume I has en¬ will be found in the reading columns of this issue. I have used “Touch and Technic” since first pub¬ TXARPIST desires position in Orchestra. Best of (Written in this composer's most melodious style.) The usual special offer for new works will be made lished, and consider them the best in the world for JLA references. Address M. Lessing, 43 Coleman couraged Mr. Macdougall to issue the second vol¬ for those who wish to subscribe for copies of the work finger training. W. L. Hofer. Street, Cincinnati, Ohio. ume, which will be similar in style to Volume I. PANSERON’S METHOD FOR SOPRANOS, MUSICAL'('DOMINOES. in advance of the publication. Twenty-five (25) cents This makes five names for me, and I hope during the It is a collection of chaste, easy, short, and interest¬ Paper, 82.50; Cloth, 83.50. will purchase a copy if cash is sent with order. The year to make it not less than a half dozen more, for as “TH? TEfR’S SWEETHEART.” Ballad. Music Invented by C. 1V. GRIMM. -L by Leila France, words by Madeline S. Bridges. yet have hardly had time to more than mention it to ing pieces, with annotations and close fingering. offer may be withdrawn next month, as at this writing I All things beautiful love her NAVA’S METHOD FOR BARITONES, ray friends. To be without The Etude in music is to the plates are nearly ready. Send in your orders early. , The Sweetheart of all the year, The collection will surpass anything in this line Paper, 82.50; Cloth, 83.50. be without salt on food. Mrs. Frank Willman. r or sale by all music dealers. The Chicago Music PRICE, - 75 CENTS. Co., Chicago, Ill. yet published. Sainion-Dolby's Celebrated Tutor for Lady Singers, ***** Am inreceipt of Vol. Ill “School of Four-Hand (in 3 PARTS.) A game for every home.—Desirable by young and old.—Excellent We must advise our patrons once more to place their Playtng, and like it very much indeed, and later “ Lan¬ CONTENTS-VOLUME II. don s Melody Studies for the Piano or Reed Organ \ GENTLEMAN with an extended reputation as an A large choice of Tutors by well-known Mas¬ for parties. names on package when returning music. So many WILM, N. v. Op. 81, No. ...To Figuring in notes and rests is the feature of this game. they are so beautifully graded and so fine in every wav ^ instructor on the Piano, Organ, and Vocal Music, ters, from 50 cts. upward. packages come to us of which we are unable to identify an whose compositions are widely known, desires a TSCHAIKOWSKY. Op. 39, No. 17.^umnSong So ingeniously is this game constructed that the musical matter in fingering, phrasing, etc. Mrs. S. Buffum it is never felt as a burdensome appendage. the sender. position in a school in Philadelphia or neighborhood, gurlitt, c. Op. 140, No. .. SORE AGENTS FOR The instructive and amusing qualities of the game have been so i. M., 2125 Bellevue Ave., Tioga, Phila. perfectly and harmoniously blended that the Musical Dominoes will ***** form an everlasting source of enjoyment. SPECIAL NOTICES. ENOCH & SONS, London, CROWN PIANOS AND ORGANS. £ILvMa^ Each set is accompanied with instructions how to play the various The special offer in Grade VI of Mathews’ “ Graded fames possible: Block, Draw, All-Quarters, Bergen, Sebastopol, and PATEESON & SONS, Edinburgh. ’iddle-a-Wink. These contain a wonderful amount of information Course of Pianoforte Studies ” is hereby withdrawn. Notices for this column inserted at 3 cents a word for one insertion The finest Pianos and Organs now known, TSCHAIKOWSKY, Op. 39, No. 18.- ong concerning computation of note-values. payable in advance. Copy must be received by the 20th of the The work has been delivered to those who ordered The instructions explain also the value of notes and rests, so that of ®msb- for compass and tone, LICHNER, H. Op. .T'foU'Uw.S JAMES BATH, London, copies in advance. previous month to insure publication in the next number. T'I?rfi0riJamei.ntVwear’ and responsive elTects any on© may learn how to play this game, and became proficient in To the touch of such keys as the player elects SCHYTTE, L. Op. 69. No. 11.-.Fairy late figuring note-values. ***** The f onoeded to be, by common consent, ’ FOR SALE BY TWO ladies desire positions as Teachers of Languages The instruments furnished by Geo. P. Bent. THEO. PRESSER, THEO. PRESSER, There is no work on the pedals of the piano in English. and Music. Graduates. Diploma, F. S. C., German THEODORE PRESSER, Publisher, This subject has been exhaustively treated by Hans Method, Mason’s Technic. Several years’ experience, CHESTNUT STREET, PHILADELPHIA 1708 Chestnut Street, Philadelphia. wit reference South preferred. Address “ F.” 161 PHILADELPHIA, PA. 1708 Schimdt, of Vienna. Our translation is by P. S. Law. I hird Street, Muskegon, Mich. No^ne whojhaa1 trietTthern0ia loth*to confessT’*"*1 8'uccess 156 THE ETUDE LATEST PUBLICATIONS. TEACHERS’ THEODORE DRESSER, 1704 CHESTNUT ST., PHILADELPHIA, D^A. The Improved Davis Patent POCKET METRONOME. GRADE I-X. IX. ORDER BY ORDER BY ORDER BY PRICE NUMBER ONLY. PRICK NUMBER ONLY. SPRING BACK CHAIR, SIMPLE, tllOEIT. IEEE, 111 IIEIPEISIIE. NUMBER ONLY PRICE 1390. Geibel, Adam. Morning Time March. For Piano, Typewriter, Sew¬ 1357. Volkmann. Op. 27, No. 5. Polk 1375. Delahaye, L. L. Op. 18. Valse. 35 Grade V.. 80 Grade II. ing machine or Desk. It af¬ Song. Grade II. 15 A melodious piece in an easy grade, which will be This waltz is not hackneyed either in melody or Price, Nickel-plated, 50 Cents, Net, Postpaid. This is a selection from MacDougaFs “Studies in hailed with pleasure by both teacher and pupil. It fords the most delicious com¬ style. There is originality about it aud fine work for Melody Playing,” Vol. II. It demands a Blow delivery furnishes a good study iu wrist touch as well as in and a very sustained, firm tone. Impassioned delib¬ intermediate students. Like all this set, it requires fort to weak backs. It is beau¬ finger action. eration is its characteristic. taste and intelligence for its proper understanding. tiful and artistic in design. Giving the correct Metronomic Marks after the 1358. Tschaikowsky. Op. 39, No. 17. 1391. Geibel, Adam. The Jolly Picnicers. 1376. Colomer, B. M. Serenade Galante. 35 Adjustable to fit large or small, German Song. Grade 11. 15 40 Grade II.... Maelzel Standard, together with the Grade V. A tarantella after the order of Heller. Graceful short or tall persons. A very graceful piece in % time. It should not be Another interesting piece for both teacher and pu¬ True Tempos of all the Danoes. played too fast, like a wallz. A good exercise in light pil. The style is elevated, and the effects good and pretty. Will send any style on ap¬ wrist playing. throughout. 1392. Geibel, Adam. In the Shadow. There is a touch of mixed rhythm, and the left-hand 35 proval, to be returned at our 1359. Gurlitt, O. Op. 140, No. 7. Fes¬ work is valuable, because of the exercise it gives in Grade II..—. expense if not perfectly satis¬ tive Dance. Grade JI. 15 wide accompaniment playing. It cannot be com- This can be used early in Grade II, and will serve These instruments have been especially manufactured A spiriiei waltz, givingopportunity for phrasing, meuded too highly. an excelleut purpose in acquiring a light ai m and factory. Ask your dealer for expression, and light left-hand playing. for The Etude, and will be sent as a premium to any one wrist. the ‘ ‘ Davis Chair. ’ ’ Send for 1377. Vilbac, Renaud de. Pompadour 1360 Schytte, L. Op. 69, No 12. Good 40 1393. Geibel, Adam. Eventide Reverie. sending two subscribers. Address (Gavotte). Grade III..... 35 catalogue of full upholstered Night. Grade II. . 15 A quaint gavotte, furnishing a first-class study in Grade II.— A very effective short piece. The work for both styles, with price lists and dis¬ staccato work. To phrase it properly and render it Another of the same set. It is written with the THEODORE PRESSER, hands is good, and the whole is interesting and with a crisp staccato touch and light arm careful well-known fluency of this writer. Useful for counts. Agents wanted. attractive. practice will be necessary. teaching. 1361. MacDougal, H. C. Christmas Pas¬ 1378. Thome, Francis. Minuet. Grade III.. 40 1394. Geibel, Adam. Fames’ Serenade. DAVIS CHAIR CO., Marysville, Ohio. 1708 CHESTNUT ST., PHILADELPHIA, PA. 20 torale. Grade 1I. It is a pleasure to commend such pieces as this. It, Grade II. — 35 Both bauds have important work in this piece. It when properly taught, will do much to awaken musi¬ This is the last of a set of five pieces by a well- is well calculated to develop young students in taste cal taste, and a higher understanding of musical known writer. They form a very welcome addition to Introduction to Studies in Phrasing. and intelligence. It must ho studied to be properly form. the list of easy teaching pieces. This last number is rendered. The content is excellent, and will be of decided in¬ very graceful, and when played with a light arm 1362. Von Wilm, N. Op. 81, No. 13. terest to teacher and pupil. and delicate touch produces a very pretty effect. “.A. NOBLE ART,” Cradle Song. Grade II . 15 1379. Delahaye, L. L. Op. 16. La Ronde 1395. May, Walter H. TJne Petite Rhap¬ GROVES’ DICTIONARY FIRST LESSONS IN This is a melody aud accompaniment for the same 40 60 BY FANNY MORRIS SMITE. hand. The bass has also an effective figure. The du Serail. Grade ill . sodic. Grade IV. OF The melodyis principally iu thirds (semi-staccato), The theme is good and quile well developed. Tho phrasing is indicated. It is a good sludy in melody with occasional chords, while the climax is given in bass affords good practice in theme playing and PRICE $1.00. playing. full chords. The left hand has an effective accompani¬ broken chord work. It can be recommended as a MUSIC AND MUSICIANS. 1363. Kavanagh, I. Andante. Grade II. 15 ment, the occasiona. iteration of E flat, first line of good piece of teaching music. treble, giving a good effect, which is heightened later A book wbi'-h will possess a peculiar interest for all lovers of This piece approaches Grade III in difficulty, and is on by bringing ibis iteration into more prominence. 1896. Bohm, Carl. Op. 309. The Hunter’s music, being a collection of the lectures on the evolution and con¬ The only Complete Encyclopaedia of Music in worthy of hearty commendation. Melody aud accom- Useful aud pleasing. 60 struction of the piano. the English Language. W. S. B. MATHEWS. p initnent are both in one hand, while the interest Call. Grade IV.... These lectures are a careful study of the science of piano-making, of the other (the leu) is fully equal. Thirds and A characteristic piece by a popular writer. The —a practical study, made not alone in libraries, but in piano-factories chord* iucrease the difficulty of the piece. 1380. Godard, Benjamin. Op. 14. Les horns first call the hunters together, wheu the chorus Bound in handsome Brown Cloth, Gilt Tops. Put up in boxes and Hirondelles. Grade IV. 30 and work-shops. They present a most picturesque aud graphic de¬ sold only in complete sets. This new edition includes the Index. PRICE ----- $1.80. 1364. Rummel, J. Romance. Grade II. 20 begins. A good study in btaccato chords. scription of the triumph of the piano-makers’ art. The information A rather odd theme in minor, with occasional A good study in cantabile playimr. A broad sing¬ they contain is procurable in no other form, for many of the “se¬ lapses into the major. A good exercise in rapid ar¬ 1397. Lebierre, O. Op. 33. Fidelia. Grade Price for 5 Volumes, (including Index,) $18.50. ing tone is required, an i figures of sixteenth notes crets of the trade” have been for the first time turrendered for the The author has brought together a valuable collection peggios and iu two-finger work. A. useful teaching 40 Price for Index, .... $2.50. require fluency. Worth trying. ... use of this author. The lectures excited unusual interest upon their of little pieces, musical and poetic in quality, within the piece. A dance of Spanish character, graceful and airy in delivery, and Miss Smith was obliged to repeat them before a num¬ ability of children’s fingers and within the range of the 1305. Kullak, T. Op. 62, No. 12. Even¬ style, but with a very decided ihythiu and sharply ber of other audiences. Address THEODORE PRESSER, 20 1381. Chaminade, O. Op. 35. Filieuse. marked accent* Thu bass with its rhythm of eighth “A Noble Art” makes a volume of 160 pages, illustrated with children’s minds. They are taken from the most suc¬ ing Bell. Grade II. (Etude de Concert, No. 3.) Grade and sixteenth notes is good practice. more than sixty engravings. It is issued in dainty form, printed on _1708 CHESTNUT ST„ PHILA. This also approaches Grade III in some respects. cessful collections of this class of tone poems for chil¬ The hell effect Is made by a reiterated B-flat in the 90 fine paper, the leaves uncut and with broad margins, the cover of VI . 1398. Elleneureich, A. Spinning Song. Japanese paper printed in dull red. dren the world can show. treb e. The melody begins in the left hand and is re¬ A good concert dtude, requiring well-coutrolled sponded lo by the right. A crossing of the hands arm and wrist and flexible fingers. Both hands are 20 For sale by Grade II.••••.. ..••••• The pieces are all closely annotated, fingered, takes place in the latter pai t of the piece. given opportunities for work. While a good techni¬ An excellent, easy piece, bright and taking. The THEO. PRESSER, etc. There is also, at the beginning of the work, 1366. Tschaikowski. Op. 39, No. 18. cal study, it is also tuneful and capable of a musical bass carries an accompaniment of broken fifths and THE MUSIC LIFE rendering. This, with the numbers from 1370, was octaves, while the right plays the melody, which, 15 1708 Chestnut Street, Philadelphia. AND a few chapters on the object and manner of Italian Song. Grade II. revised aud fingered by Mr. Richard Zeckwer, a fact later, is transferred to the left hand. A hit of musical Inn at the expense of an early which enhances their value. They comprise a set using the work; Rudiments of Musical Form; Italian style. Of iulerest to a young student. of teaching pieces prepared for the press by an emi¬ 1399. Cheeswright, F. Song—One of Us HOW TO SUCCEED IN IT. Phrasing; What it is to Play with Expression; 1367. Wilm, N. v. Op. 81, No. 2. Hilarity. nent musical authority and teacher, and commend Two. 30 STUDIES IN PHRASING. 15 themselves to all teachers. A singable melody with a rather quaint accompani¬ VOL. II. Grade II.. ment. It is not hard, and being of moderate compass, BY THOMAS TAPPER. Subjective and Objective in playing, etc. Valuable for staccato practice. Figures in both 1382 Fillmore, T. H. Barcarolle. Grade it will suit a middle voice. By W. S. B. MATHEWS. The work is intended to precede the two vol¬ hands respond to each ot her. Bright and lively in IV.•••. .. 40 style, united with pedagogic value, it will he a A thoroughly good piece. The running accom¬ 1400. Goerdeler, R. I Think of Thee. PRICE . . $1.50. umes of “ Studies in Phrasing,” which are among PRICE $1.50, NET. favorite. paniment of the left hand Is good ; the melody sim¬ Grade III...... 30 ple but eflective, A contrast is afforded by the the most popular musical text-books now used 1368. Lichner, H. Op. 24. Scherzo. A popular piece, well on—in parts—in tirade III. This work is'a companion volume to 20 short middle part in six sharps, the original key being Syncopation, sixths, and arpeggios form the features A collection of a higher grade of Piano Compositions. in the country. As a work of genuine useful¬ Grade II.-. A major. Also containing an extensive treatise on expression, A good piece by a popular writer. Scale passages of the piece. It is melodious. “ Chats with Music. Students ” by the and staccato chords alternate with each other, lhe 1383. Reed, Chas. H. Gavotte a la Fan- which is as practical as it is valuable. The principles ness in teaching, the volume cannot be excelled. 1401. Godard, Benj. Op. 66, No. 6. Mar¬ scale passages, later, are passed from band to band. tasie. Grade IV. 60 iven in the treatise are exemplified in a series of the same author. Numerous phases of art An accompaniment of eighth notes in the left band cel (The Huguenot). Grade V. to f A good study in wrist and arm playing. It con¬ affords excellent finger practice. Introduced into this composition is Luther’s chor¬ nest compositions of the greatest composers, including tains a short but interesting trio. and art life are talked about in a thor¬ ale— Ein E’este Burg ” Tne piece abounds in octave selections from Bach, Schubert, Mendelssohn, Schu¬ 1369. Bohm, C. Op. 169. Little Love and chord work and affords a good study in full-arm mann. Chopin, and Rubinstein. oughly practical way. It points out the 20 1384. Rathbun, F. G. Elfin Dance. Grade COURSE OF Song. Grade II...:••• 60 touch. Rather more difficult than some of the foregoing. in...;. way of success to teachers and students in It is a beautiful melody and accompaniment, givmg A very delightful and interesting piece. Popular, 1402. Carpenter, T. Leslie. A Twilight an excellent chance for tasteful and expressive play hut uot trashy. It contains excellent practice in Meditation. Grade III. to art life. Mr. Tapper’s informal and touch and phrasing, aud can be given a distinctly ing. Its octaves increase its difficulty. This piece will present no especial difficulty to a educational value. thoroughly pertinent manner of writing 1370. Schytte, L. Op. 69, No. 11. Fairy student well on iu Grade III, and will be found to be PIANO STUDY, very interesting. . „ 20 1385. Moter, Carl. Op. 1, No. 1. Menu- Tale. Grade II...•:•**:* Tiie melody is good, and the entire piece is well has a real value in it, that will make this Somewhat on the tarantella style, giving practice in 35 etto. Grade III. worked out. . ,, IN TEN GRADES. broken chords and in the light arm movement. Attractive aud useful. Of good form and melody, The crossing of hands is effective, aud the piece is MENDELSSOHN. companion volume indispensable to every The pieces from No. 1356 to 13/0 are from II. R and introduces bits of octave work for left hand. musicianly. musician. MacDougal’s “Studies in Melody Playing, Vol U. Critically Revised by Calvin B. Cady, The fingering, phrasing, and pedaling are careful!/ 1386. Moter, Carl. Op. 1, No. 2. Capric- 1403. Presser, Theo. School of Four-hand and critically marked. They aie cho-en for 40 1 00 educational value and form a valuable addition to the cietto. Grade ill. Playing. Grade III. With Portrait and Biographical Sketch by 6,000 SOLD. By W. S. B. MATHEWS. A good study in scale playing. The piece of imita¬ This volume of the “ School of Four-hand Flaying ” list of interesting teaching pieces in Grade .Li. me tion with which lhe piece begins is interesting, and includes duets by Reinecke.Loeschhorn.Baumfelder, convenience of securing them m single form wi Theodore Presser. =30= throughout the entire piece excellent opportunities Schubert, Lachner, and Chopin. Each number is appreciated. are given for improving practice. valuable, and, as four-hand playing is a most import¬ SELECTED STUDIES. Six Grades Now Ready. $1.00 Each Grade. 1371. Lamothe, Georges. Op. 262. Estu- ant featu re of piano study, their usefulness to teachers PRICE 75 CENTS. diantina (Cap. Espagnol). Grade 1387. May, Walter H. Entre Nous. can hardly be overestimated. This volume pres nts 60 60 a seriei of four-hand pieces, graded, carefully edited, BY STEPHEN HELLER. .. Grade III. and finely printed, and it should be in the hands of A bright, effective polka caprice. It will be found Selected from Opus 45, 46, and 47. A characteristic piece of Spanish type. Thexhythm every teacher of piano. This edition is beautifully printed on good W. S. B. Mathews, with the help of other noted mu¬ of thedanceis in it, and it is valuable for acquiring .a useful and pleasing, while it does not sink to the level light arm loueh. ItisinterestiDg as well. of trash. 1404. Loeschhorn, A. Op. 88, No. 3. PRICE >1.50. sicians and teachers, has taken the whole field of etudes, paper. It is annotated, and newly phrased and 1372. Vilbac, Renaud de. ValsedesMer- 75 Dance Hongroise. Four Hands. 75 1388. Presser, Theo. Octave Studies. 35 fingered. The critical notes will be found es¬ Revised by Albert Ross Parsons, Calvin B. Cady, and from them selected snch as are most useful for veilleuses. Grade V... Octave studies which are neither too hard nor too Grade III. Arthur Foote, Edward Baxter Perry, John S. Van Tli is piece requires musical intelligence for its mechanical are in demand, and this is a set of such A melodious piece for two young players, giving proper rendering. It belongs to a higher ord good practice in staccato-playing. Instructive, but pecially practical and valuable. There are (J. and meeting every necessity in a teacher’s experience. studies as will meet the requirements of the case. Cleve, W ilson Smith, Charles n. Landon. composition, aud will not give out its vaiueunWHS They are decidedly interesting, and are carefully not difficult. Teachers will be delighted with the sterling musical and there is study. It serves an excellent purpose, both graded. Each study is prefaced by a preparatory ex¬ nineteen of the songs, printed on 56 pages. These dtudes are carefully fingered and phrased 1405. Baumfelder, F. Op. 161, No. 5. metronome marks given, use of pedal made clear and technically and musically. ercise to be repeated a number of times, aud which The selections were by the advice and co-opera¬ useful technical qualities of these fitudes. It is a piece which affords full opportunity will prepare the hand for the work to follow. A list Minstrels’ Song. Four hands. concise, and each one is described, named, and anno¬ teaching of modern technics of touch. of pieces and studies, also graded, is given which contains works of this class. These octave studies Grade III. tion of many leading musicians of this country. tated, the remarks containing valuable hints and sugges¬ There are ten grades, a volume to each grade, each 1373. Ten Brink, Jules. Op. 12. In the Another piece for four hands. 60 can be used as a complement to Mason’s Touch and tions as to touch, style, and methods of study. This is Forest. Grade IV... The prirao has a taking melody which may he containing about thirty pages, and the studies in each Technic, Vol. IV. phrased effectively, while the secondo has passages of Address the Publisher, the finest edition of these valuable etudes ever published. The m-lody is carried by the left baud to arj accom- thirds which will require a little practice. volume progressively arranged. The selections are paniraent of broken chords in the right. . * Address Publisher, close the same theme is delivered by the thumbs of 1389. Smith, Wilson G. Op. 55, Book I. both hands, while the remaining fingers are busiea Special Exercises in Scale Play¬ 1406. Schubert, F. Op. 27, No. 1. Marche THEODORE PRESSER, carefully fingered, phrased, edited, and annotated. Every 20 THEODORE PRESSER, by the accompaniment. It is also a gjjoj g ing, with particular reference to i Heroique. Four hands. Grade ill difficulty is prepared by being first introduced in its most piece, but will require work of an intelligen the’ development of the 3d, 4th, A short march which will impress itself upon the 1708 Chestnut Street, - Philadelphia, Pa. young players. Simple, but strong in its character. 1708 Chestnut Street, - Philadelphia, Pa. 1374. Ohaminade, C. Op. 24. The Dragon and 5th fingers of each hand...... 1 simple form. 60 Flies. Grade V.•.. *•••• These exercises comprise a set of short studies 1407. Schubert, F. Op. 78. Minuet Four Arm, hand, and finger control are nec^in mechanical in their nature—for ihemore rapid devel¬ hands. Grade ill. 85 opment of the weak fiDgere of the hand. in full measure. Charming effects canjbe“iff The celebrated Minuet, from Op. 78, arranged for They are based upon the experience of the author, this piece. The left hand plays as an acc PIIITADIOTC Send address for SAMPLE PHILADELPHIA SCHOOL OF MUSIC, CLASSIC SONGS. bUIIAnlolO, MUSIC in Lick’s COCC ] GENUINE METRONOMES. Wonderful Simplified Method. Most ri1 1511 GIRARD AVENUE. XHe -Musician. complete and simple yet. published. MUSIC KAS- (INCORPORATED 1891.) A COLLECTION OF OEMS ILY READ 4T SIGHT. H. L. Stewart, Private and Class Lessons in all Branches of Music. TWO CONCERT ALBUMS Publisher, Norwalk, Ohio. Terms, $7.1*0 to $30.00. llfie ©Sjeet of ©Sf/otif? iA to fiePp We have just received a new importation of OF BY THE the finest Maelzel Metronomes direct from FREE ADVANTAGES. Classes in Harmony, Symphony, and to tRe better PIANO CONVERSATIONS. Ensemble, both Vocal and Instrumental. Concerts and Lectures. BEST COMPOSERS. France. KATE H. CHANDLER, Principal. etjjo^/ment of Rectufi^uf Mu&ic. Miss Amy Fay desires to announce that she is ready to receive en¬ Pianoforte Compositions. gagements for Piano Conversations next season. Miss Fay promises “Classic Songs” presents, in a comprehensive and concrete form, Without Bell, - Price $3.00. fine programmes, selected from the best works of both classic and In six grades, each, 75 Cts, the gems of vocal music of the great tone-masters, from the time or modern composers, and embracing a wide field of musical literature. Mozart to the composers of to-day. The collection comprises all She is in the habit of prefacing each piece with short comments, PRICE $1.00 EACH. The work contains analyses of many of the best varieties of grade—lively and sedate, sacred Bongs and love poems, With “ - “ 4.50. biographical of the composer or descriptive of the composition, THEORGAN songs of nature and simple lullabies. The characteristic qualities which render it clear to everybody when played. These “conversa¬ compositions by Classical writers. Starting with the of all musical countries are herein embodied, as the representative A MONTHLY JOURNAL tions” are heartily enjoyed by audiences, and serve to bring them A glance at the table of contents of these two Albums very easiest pieces for beginners, it leads on, in pro¬ composers of Italy, France, Norway, Russia, England, and Germany into a pleasant personal relation with both the pianiste and the will show their superiority over most collections of piano gressive order, through six grades, to the most difficult have contributed their best thoughts. Care has been taken to have THEODORE PRESSER, music, and are a great stimulus to musical students. Addxess, Devoted to “THE KING OF INSTRUMENTS.” most of the songs within the compass of the average voice, yet some music. They are full sheet-music size, well printed on works written for the Piano-forte. require a voice of extra range. We have no hesitation in making 1708 Chestnut Street, - Philadelphia, Pa. MISS AMY FAY, Contains articles and illustrations of vital interest to every organist good paper, durably bound, and attractively gotten up. It presupposes no knowledge of harmony, but, the claim that this is, without exception, the best and choicest collec¬ and organ builder, the organ news of the day, a department of ques¬ tion of songs ever printed in book form. 33 West 31st Street, New York. starting with the simplest forms of composition, ex¬ tions and answers for students and teachers, and eight pages of The music is such as you hear at concerts and mnsicales. “ Classic Songs” is printed from new plates, engraved especially for MADAME A. PUPIN organ music. Yearly Subscription $2.00 (in advance). Sample copies plains the most essential points, just as occasion pre¬ this work, and each plate has been carefully read and corrected. It Contents— WILL ACCEPT ENGAGEMENTS FOR RECITALS ON THE WM. COURTNEY, 25 cents. Concert Album, Vol. I. Classic. sents itself in the different works under consideration, is printed on fine toned paper and the cover is tastefully illustrated Chopin, Op. 9, No. 2, Nocturne. using such concise and lucid language as will be under¬ by a portrait of E. Grieg, the popular composer. Mechanically, the NEW JANKO KEYBOARD. THE WELL-KNOWN NEW YORK VOCAL TEACHER, Editor and Publisher, Tschaikowsky, P.. The Skylark. book is far superior to anything of its class, and, to suit all tastes, It WILL HAVE CHARGE OF THE VOC’AI, BEPABTUENT Moszkowski, M., Op. 15, No. 1, Serenade. stood bv mentally less-deveioped schoiars. The work has is bound in two styles, paper and half cloth. We print the Permanent Address, 84 Broad Street, Elizabeth, N. J. 149 A TREMONT ST., BOSTON. MASS. EMINENT ARTISTS Hummel, J. N., Op. 52, Rondo in C. met w.th the unqualified endorsement of all those wht* Mitcheson, Mary F., Petite Berceuse. Madame Pupin gives her Recitals with a brief Lecture on the Ad¬ IN ALL BRANCHES. have examined it. CONTENTS. SUMMER Kavanagh, I., Op. 2, Polonaise Antique. vantages and Possibilities of the New Keyboard. S ecial terms to of the Afl I I 8E? B ^ Semi for Von Wilm, N., Op. 14, No. 2, Canzonetta. Lullaby (Cradle Song).Mozart schools and conservatories in Pennsylvania and Ohio the next two NORTHWESTERN MUSIC Summer Catalogue. Blue Eyes of Spring.Ries months. SCHOOL OF MUSIC, Houseley, Henry, Dance Antique, Bye-Gone Days. Charming Marguerite, Mad ri gal.Chaminade CONSERVATORY of MUSIC, Commencing Bendel, Fr., Op. 92, Nocturne. DE PAUW UNIVERSITY, GREENCASTLE, IND. Old French Song Maiden and the Butterfly, Minneapolis, minn. June 20th, SCHOOL De Kontaki, A., Op. 370, Menuet, Louis XY. Come to Me.Denza !)’Albert Instruction given in all Departments of Music. Chopin, F., Op. 40, No. 1, Polonaise. IMPORTANT TO ORGANISTS. Could I.Tosti Maiden’s Song...Meyer-Helmund Pupil, Classical, Artist, Choral and Orchestral Concerts, Schumann, R., Op. 23, Nocturne in F. Crown of Glory.Tours Maiden’s Wish.Chopin Observations of a Musician. Rubinstein, Anton, Op. 3, No. 1, Melody in F. Solo, Duet, Trio, Quartette, Ensemble and THE Dream.Lassen Nocturne.Denza By LOUIS LOMBARD. HUGH A. CLARKE, Mus. Doc., Oratorio Work. Heller, St.,Op. 45, No. 20. Village Fete. Florian’s Song...Godard Oh! How.Oft Those Words SS3 South. 38th Street, FIVE COURSES OF STUDY. Schumann, R., Op. 124. Slumber Song. Forever with the Lord...Qounod of Thine.Bendel Room, Board, Practice and Sheet Music at reasonable rates. Delioux, Ch., Op. 14, Marche Hongroise. Good Night . Massenet Oh! Let Me Weep Now...iftfnd«f Price SO Cents, bound in Cloth. Bach, J. S., Loure in G. I Love Thee.Grieg Since First I Met Thee, PHILADELPHIA. For Circulars, apply to Rubinstein, A., Marche a la Turque. I Trust in God.Faure Rubinstein JAMES H. HOWE, DEAN, QBEENCABTLE, IND. Beethoven, Op. 14, No. 2, Andante Celebre. Id le Poet.Cowen Sleeping Infant (Berceuse)...fii0a A neat and va’uable book of special value to musical students, but Moszkowski, M., On. 23, No. 2, Germany. Is It For Me.Bamby Soldier of the Cross..Piccolomini anybody can peruse it with entertainment and profit. Though a In Harmony, Counterpoint, For Circulars of other University Departments, apply to Chopin, F., Op. 28, No. 15, Prelude. A MONTHLY MAGAZINE King of Love My Shepherd Is, Song of Sunshine.Thomas first-class artist. Louis Lombard is that rarity among artists, a prac¬ President, John P. D. John, a.m., d.d., College of Liberal Arts. and Composition. Mendelssohn, Op. 62, No. 6, Spring Song. FOR Gounod Still as the Night.BOhm tical man, and his advice and every-day nhilosophy are full of sug¬ Itev. Hillary A. Gobin, a.m., d.d , Dean of School of Theology. Schubert. F., Op. 78, Menuetto in B Minor. Little Bird Sang All the Night, Sunshine Song.Grieg gestion and merit. He has been an extensive traveler, and some Augustus Lynch Mason, a.m., Dean of School of Law. Rubinstein, A., Op. 10, Kammennoi-Ostrow. 0BGANISTS AND ORGAN STUDENTS. Ries Thou Art So Like a Flower, chapters communicate the results of his observations abroad. Mr. ORGAN OPENINGS, Etc. Henry A. Mills, Dean of School of Art. Schumann, R., Op. 12, No 2, Soaring. Little Dustman.Brahms Rubinstein Lombard is thoroughly imbued with American ideas, which he Thy Voice Doth Thrill My happily applies in his efforts to cultivate his art among the growing Love in Summer-time, MR. ALBERT W. BORST, Contents—Concert Album, Vol. II. Popular. VOL. 3. Meyer-Helmund Heart.Saint-SaBns generation. His little volume is a gem.—Rochester (N. Y.) herald. Teacher of the Venetian Song.Bemberg Doppler, J. H„ Op. 181 I Think of Thee. TT7HIS work is published by subscription. Each vol- Love Voices.Kjerulf New York College of Music, Vow.Meyer-Helmund Moelling, Theo., Elfin Dance. ® I 4 ume is complete in 12 Parts. All the leading Lovely Spring.Coenen ORGAN - AND - PIANOFORTE 128 and 130 East 58th Street. Lover’s Petition.BOhm Y earnings.Rubinstein THEO. PRESSER, Publisher, Howoczek, P., On the Hills. 3602 Hamilton St., Philadelphia, Pa. Muller, W. A., Op. 112, No. 2, Polonaise. A Professional and Amateur Organists throughout ALEXANDER HAMBERT, Director, 1708 CHESTNUT STREET, No Charge for Organ practice. Full arrangements made for Foerster, Ad., Op. 68, Peace of Evening. the country endorse it. Classic Piano Solos for Young People, Vol. students studying for the profession. Goerdeler, R., Angels' Voices. The success of the first volume has been unprecedented in the I PHILADELPHIA, PA. flme. FERSCH-OQHDI Geibel, A., Bohemian Melody. annals of Organ Music in this country. Classics for young people are, necessarily, of a different grade Biehl, A., Op. Ill, Chiming Bella. EDWARD BAXTER PERRY. Principal of Vocal Department. The music is selected from the most practical and latest compo¬ from those offered to matured minds. It is often—too often—the Meyer, L., Alice, Vaise de Salon. sitions of the best German, French, American, and English writers, case that the “Classics” presented for the young performer are of FIVE VALUABLE PAMPHLETS: Concert Pianist and Lecturer. Dorn, E., Break of Morn. etcu, etc. the dryest character, and the student absorbs the idea that good Lecture Recitals at Colleges and Conservatories a Specialty. All branches of Music taught. Macfarren, W., Golden Slumbers. We would like to impress upon you the fact that— music must be dull. In preparing this collection the requirements “On Teaching and Teaching Reform.” By A. R. Parsons and Goerdeler, R., Italian Peasants’ Dance. 1st—The music is edited in the most careful manner. Special of youthful minds has been the principal object in view, and the Address, 178 Tremont St., Boston, Mass. Waddlngton, E., Op. 19, No. 2,1 n the Grove. Constantin Sternberg.25 cts. Faculty comprises the most eminent attention given to the Phrasing, Pedal Marking, Registration, etc. selection of works of living and dead writers has been made to “What Shall we l’lay, or Musical Education in the Home.” Mr. Perry makes an Annual Western and Southern Tour, from Sept. Hofer, W. L., Op. 12, TarantelleBurlesque. 2d.—The Music is printed from Engraved Plates (not type). prove that music of an advanced standard can be pleasing as well as Letters to a Lady Friend. By Carl Reinecke. Translated 10th to the holidays. Special Terms to parties on his direct instructors. Le Hache, W., The Sailor Boy’sDream. 3d.—No other work gives so much music for so little money. useful in the formation of a correct and pure musical taste. The by John Rehmann,.25 cts. route desiring recitals at that time Goldheck, R., Op. 12, L’Amazone Mazurka. 4th.—None of the pieces are too difficult for the Amateur or the Student, names of Chopin, Beethoven, Gounod, Schumann, Wagner, Rein¬ “Elementary Piano Instruction for Teacher or Pupil.” By Aloys SEND FOR DESCRIPTIVE CATALOGUE. Golduer, W., Op. 36, Air, Moldave Mazurka. and the Professional Organist will find a large number of compositions ecke, Scbarwenka, Lichner, Bohin, Lange, Loeschhorn, Bachmaun, Heuues, .15 cts. Gan*. W., Op. 11. Words of Love. which are only to be found at present in expensive editions. Gillet, Gurlitt, and Low are a guarantee of the variety of style, as “ Advice to Young Students of Pianoforte.” A collection of about HARRY CLYDE BROOKS, De Kontski, A., Op. 369, Persian March. And in addition there are eight pages of reading matter, consist¬ well as solidity of character, of the music contained in this col¬ 60 rules for beginners. By Albert W. Borst,.10 cts. Wieniawski, H., Kuyawiak, Polish Dance. ing of articles on Organ Playing, Registration, Choir Training, Har¬ lection. We teel assured the work is not equaled by any book of “ Method ol Study.” fFor Amateurs.) By C. A. Macirore,.10 cts. TENOR AND INSTRUCTOR mony, etc.; also descriptions of new Organs, Biographies of noted corresponding grade. The Five sent by Mail for 50 cts. In Voice Culture and Artistic Singing, according to Italian Organists and Organ Composers. CONTENTS. Methods. Every topic will be discussed that will stimulate and aid in the Address Publisher, SIOKNEE development of the Art of Organ Playing. Ball (Le Bal) Waltz, Op. 30.Ludovie Studio, 8 Euclid Ave., - CLEVELAND, OHIO. The Organists’ Journal contains Twenty Pages in Each Part. Bluette Waltz. Duvernoy THEO PRESSER, 17C8 Chestnut St., Bonne Humeur (Good Humor)—Rondo, Op. 274.Baumfelder Mr. Brooks is a pupil of Sig. Antonio Sangiovanni, Milan, Italy. PHILADELPHIA. PA. SUBSCRIPTION, $3.00 PER YEAR. 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A highly approved edition and endorsed by the following promi- Sonatine—Tres Facile.Beethoven The design of the work is to furnish a thoroughly Song Without Words—Pastorale, Op. 34.Curlier nent artists:— and a faculty of the highest excellence and efficiency. Lippincott’s Magazine... 3.00 3.50 Genius, Success in Professional Life, Schopenhauer’s Sounds from the Rhine—Gavotte, Op. 247.Latann artistic school for beginners, embodying all the latest Music. 3.00 3.60 Established twenty-two years. Catalogues free. Spinning Song. EUmenreich Musical Philosophy, Music of Nature, Head and G. W. Chadwick, E. A. McDowell, A. M. Duvernoy, Arthur Foote, results of the best criticism. The exercises have been Atlantic Monthly (new subscribers only)... 4.00 4.75 Heart. Sanctity of Music, Church Music, Hints JCIVIUS DANA, Secretary. Succ6s Mazurka. Bachmann Niels W. Gade, Fr. Gernsheim. Alex. 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Scribner’s Magazine. 3.00 4.00 Wiegenliedchen (Cradle Song), Op. 124, No. 6.Schumann Music, Harmony, Imagina¬ .. 75 Copies for sale by National School for Cornet. borrowed from; but every piece in the work is e Demorest’s Magazine. 2.00 3.00 Zigeunertanz (Gipsy Dance).Lichner tion, Expression, Maxims. .. 2 50 Progressive Studies for Violin..’.’.7.7.’." .Each 1 00 result of careful study of the requirements ot a comp e Voice Magazine (Werner’s). 2.00 3,00 Paper, Cloth Back, $1.00. Half Cloth, $1.25. The work l» alike indispensable to the teacher and pupil. To THEODORE PRESSER, Address the Publishers, elementary school for the pianoforte. both it offere valuable advice and encouragement. It contains over Wide Awake. 2.40 3.50 For Sale by THEO. PRESSER, Philadelphia, 200 pages and is printed in most excellent style. DANA’S MUSICAL. INSTITUTE, 1708 Chestnut Street, - Philadelphia. Address Publisher, Leisure Hours.*... 1.00 2.25 AND BY ALL MUSIC DEALERS. WARREN, OHIO. a THEODORE PRESSER, PHILADELPHIA. Cosmopolitan... 3.00 3.50 THE ETUDE. A Successful and Popular Text-Book for Piano Classes. THE HISTORY OF STEINJflffiY Piano-forte Music, Grand and Upright Pianos. With Biographical Sketches and Critical Estimates of its Greatest Masters. The recognized Standard Pianos of the world, pre-eminently the best instruments at present made, exported to and sold in all centres of the globe, preferred for private and IB IT J. O. FILLMORE. public use by the greatest living artists, and endorsed, among hundreds of others, by such as: Carl Wolfsohn, PRICE $1.50. Kichard Wagner, Theodore Leschetizky, Franz Liszt, Arthur Friedheim, Theodore Eeichmann, Anton Eubinstein, F. Von Inten, Adolph Neuendorff, The work gives a clear exposition of the different epochs Hector Berlioz, Franz Eummel, AND BY 5IESDAMES. into which the history of Piano-forte Music divides. Felicien David, A. Marmontel, Adelina Fatti, William Mason, Etelka Gerster, A lucid statement of the principles of composition which Charles Gounod, Ambroise Thomas. S. B. Mills. Teresa Titiens, have governed the creative activity of those epochs. Theodore Thomas, J- Moscheles, Annette Essipoff, The relation of each epoch to what preceded and followed A. Dreyad'ock, Albert Niemann, Anna Mehling, it. Stephen Heller, Nicola Eubinstein, Marie Krebs, It gives an account of the work of the great composers oi Adolphe Henselt. Camille Saint Saens, Adele Aus Der Ohe, Parepa Eosa, piano music—a trustworthy estimate of their relative rank Alfred Jaell, Anton Seidl, Joseph Joachim, W. Taubert, Minnie Hauk, and place in history—a biographical sketch of them, suffi¬ Bafael Josefiy, Eudolph Willmers, Emma Jnch. ciently full for the general reader; a notice of the works and Moritz Eosenthal, Carl Baermann, &c„ &c., lives of minor composers and performers. The development of technic is clearly traced from the earli¬ est time to the present. Illustrated Catalogues JViailed free on Application. A description of the various instruments which preceded the piano-forte, and their relation to that instrument. STEINWAY & SONS, THEO. PRESSER, Publisher, Warerooms, Steinway Hall, 107-111 E. 14th St., New York. 1704 Chestnut St., Philadelphia, Pa MASON & HAMLIN IMPROVED PIANOS Represent the same High Standard of Excellence which has achieved a Reputation for their -ORGANS- -A.S THE STANDARD OF THE WORLD. These Instruments have been supplied to Churches, Convents, Sisters of Charity, Missionaries, and Schools the world over. MASON & HAMLIN ORGAN AND PIANO GO. Headquarters, 154 and 155 Tremont Street, Boston. Hew “Liszt” MODEL, Ao. 804. New York Branch, 158 Fifth Avenue. Chicago Branch, 185 and 187 Wabash Avenue. PHILADELPHIA REPRESENTATIVES, GOULD A FISCHER, 1221 CHESTNUT STREET.