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

11-1-1915 Volume 33, Number 11 (November 1915) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 33, Number 11 (November 1915)." , (1915). https://digitalcommons.gardner-webb.edu/etude/619

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE November 1915 Founded 1883

Edward Mac Dowell

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CONTENTS NOVEMBER, 1915

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The slogan of the day, “American made goods for Americans,” entails no sacrifice of quality when applied to pianos, for American pianos admittedly NOVEMBER, 1915 VOL. XXXIII No. 11 lead the world. Embodying half a century s expe- rience and preferred by over 400- of our prominent Educational Institutions and nearly 60,(AJO homes, the Music All the Way Organization Among Teachers Ivers & Pond occupies a leading position among this country’s best pianos. In ultimate economy and in¬ It is very gratifying to note the number of men who are mak¬ Beginning December 28th and continuing for three days the trinsic value it stands unsurpassed. A catalogue de¬ ing an avocation of music. By starting to learn the art in their Music Teachers’ National Association will hold its thirty-seventh scribing our complete line of attractive grands, up¬ youth and giving just a little time to it every day or so they contrive annual convention in Buffalo, New York. This Association, started rights and players mailed free on request. ITrite for by the founder of The Etude with the aid of a group of zealous to have music all the way through their lives. The late Charles it today. pioneers way back when Ulysses S. Grant was President of the United Heber Clark (Max Adeler), whose beautiful soul illuminated all States, has passed through many vicissitudes and changing phases of How to Buy who came near him, once told us that one of the great joys of his activity. At first it was very directly concerned with the more prac¬ long life was that he had had music all the way. Just think what If we have no dealer near you, we can supply you from tical problems of teaching. Then the festival idea took hold and our factory as safely and satisfactorily as if you lived near that means,—“music all the way.” Think what it means to be with¬ many of the meetings were accompanied by huge concerts. Vast by. We make expert selection and guarantee the piano to out it. At best, it must be music made in one’s own brain—music numbers attended the conventions and the Association was voted a please, or it returns at our expense for freights. _ Liberal that is expressed through the body, in the throat, with the fingers, allowance for old pianos in exchange. Attractive easy most prosperous one. payment plans. For catalog, prices and full information, or with the bow-arm of the violin. It is lovely to hear music but Our country is large. The convention might be held in Pitts¬ write us today. far lovelier still is the joy of making music. Mr. Clark had been an burgh and the members in Los Angeles might be very anxious to organist in his youth and he kept up his interest in the art through attend. But between them would stand ovei* one hundred dollars in his busy life which brought happiness and consolation to so many railroad fares, a w'eek’s travel and the additional expenses. Conse¬ Ivers & Pond Piano Co. others. If you would “keep sweet,” Mr. Business Man, right in the quently the need for local or State associations rose. These were to 141 Boylston St., BOSTON, MASS. midst of life’s bitterness learn a little music and give yourself a half be the larger numerically as a matter of course. Thus the Philadel¬ hour nightly at the keyboard. The parent who denies music to the phia Music Teachers’ Association is much larger numerically than the boy is handicaping him in his life work. Start him young and let National Association. There are now probably a score or more of him have “Music all the Way.” strong state or local associations with a membership of upwards of five thousand teachers. The National Association has in recent years become more directly representative of men engaged in institutional work,—col¬ leges, seminaries, etc. It is the ambition of these men to make the National Association a kind of assembly or congress which shall be expressive of the American voice in musical education and in its way Twenty years ago Americans were praying that America might bring together the opinion of the music workers who may belong to become the music centre of the world. Two years ago we were pro¬ the local associations. Accordingly at the coming Convention which testing that it already was that, but to-day we are overwhelmed with will be presided over by J. Lawrence Erb, of the University of Illinois, riches. The war has exiled most of the great keyboard artists of there will be Round Tables upon Community Music, Standardization, Europe, many of the foremost singers and some of the noted com¬ Public School Music and other topics in addition to those frequently posers. For years a certain class of Americans paid annual visits This i to the European shrines of these men. Now let us be sensible. l should not be i become merely a little America is glad to be able to give haven to these teachers. Let us the same purpose as the Na- welcome tliem warmly and make them want to feel as did Joseffy, sir,Association does in relation to the public schools. of teachers from all parts of the Emil Liebling, Thorn* “ * ~ “ ' ~ ' s and there is no concert or festival others who put their names * put out as a bait. The meetings are animated, broad in their scope, This is surely the land of be and popular with the members. Why would it not be possible for ourselves of these men of genius in the great * teachers in all parts of the country to belong to the National Associa¬ our country. In the meantime we are brought to realize that < tion even though they could attend only one convention in four—say own native-born teachers and artists deserve equal rank, eq the convention held nearest their homes ? Those who desire to j oin the patronage, equal support w ith the best that Europe can send us. Association may obtain information through the secretary, Mr. the American Dollar has become the standard of the f m N. Boyd, 4259 Fifth Ave., Pittsburgh, Pa. Any person let, us have American integrity, t interested in music may become an annua’ r upon pay- become the standards of the artistic world. of $3.00 yearly.

Mac Dowell 783 THE ETUDE

782 THE ETUDE ,1 f oil a friend capable of straightening out and he begged for the privilege of playing a little while. The Boy Who Would Not Practice I think his mother devised a plan permitting 'n\ S k4in”’i» »“ S—fc •*•>» •< use the piano to play what he liked on agreement that B An'.bTa"’ Stein, SaOA foaafe „f changing from time to time, is surely not Ey Ruth Alden he would do an equal amount of practice. Further, she laree branch of German piano making. He invented IN speaking of the power of sugges¬ worthy of the strange worship it has afterwards told me, that when his practice amounted the shift of the keyboard still used in the soft pedals tion in music I wish at the outset to .received. A form of so doubtful an to three hours she agreed with him that he might call A lecturer once said that when he found his audi¬ of our grand pianos, and made other important im- make certain reservations. In the ’identity that the first movement of a cer¬ on me, it being understood that I would then hear ence disregarding his efforts, and actually talking to • provements of the action Nanette was born a year first place I speak for myself, and tain Beethoven, sonata can be dubbed, by what he had accomplished. one another for their diversion, he knew that he was before Beethoven. She played before Mozart at eight what I have to present is merely an ex¬ 1 one authority “sonata-form,” and by an¬ “It happened (by agreement) that I was .too busy to utterly failing to hold their interest. But he said: ‘‘I rears of age. Her father instructed her at an early pression of my personal opinion; if in other “free fantasia,” certainly cannot see him the first time he called, but subsequently he a

78 6 THE ETUDE Beginnings of Modern Instrumentation grew from had to worse. I expected an outburst ot anger, but the Master was in a philosophical mood, By Arthur Bird and took it merely as a joke. Audibly he soliloquized: * discover ~the~~waters of ‘‘Aha! A sentimental lover’s proposal.” Then a mo¬ It takes much t : to learn 'to sail on them.—Bekuozt. ment later: “Now we have a funeral." At the next scientiously believed i wn ways and means; as exhibition of’dolefulncss: “Here we see the hearse.” The dream, of almost every student of music is, “*ho notwithstanding the most unscrupulous oppo- Finally, in distress he left the piano, exclaiming: most certainly should be, not only to be able o ' and vilest intrigues, trod his chosen path with “Gracious! Now the sexton himself is being buried.” and understand any orchestral score but likewise unshaken conviction. Hans Sachs would have said of After some moments of silence, during which he had orchestrate, if not his own, other peoples ideas, nav been gazing out of the open window with a far-off ing successfully overcome all the obstacles nec . y Des Ritters und Weise, look over the ducal park, he turned to a small group, to accomplish this, the road thereto may be pave wi . Sie fund ich neu, dock mcht vermrri; of which I happened to be one, and with more earnest¬ rood intentions, but it is certainly rough and steep, Verliess er uns’re G'leisc, ness added: he is not only become a musician worthy of the name, Schritt er dock jest und unbeirrt. “Girls do not play seriously until they have had but his mastery of the intrica of orchestra seven love affairs—but unhappy ones,” he amended, orchestral score permits him enjoy. To the general concert-goer Berlioz, taken as a , , i. - will be, more or less a arching his shaggy eyebrows. a thousand times n(^ than- he--- who would if he could whoIe> ;s and probably but can’t. , the father of modern musical bore; as but few amateurs have the interest, strumentation, on being asked if he considered it patience, or what is far more necessary, the musical Fingering the Minor Scales absolute necessity for a student to study it, is said to . intelligence to grasp his kind and method of expres¬ have declared that an M. D. (Dr. Mus.), or evt‘n a sion his ideal intention, to understand his complicated scores Thus teachers put Berlioz into the hands of By Wilbur Follett Unger less titled one; in fact, anyone who considers himsett a cultivated musician, to whom instrumentation is a pupils with mixed feelings—on the one side, his treatise world unknown, is as consummate a quack as an M. U. on instrumentation, which is highly instructive to all It sometimes happens that for. the want of being (Dr. Med.), to whom anatomy is a riddle. If this and harmless to the most sensitive; on the other, his toward the school of that wild man, Liszt.’ The Ameri¬ shown how, a pupil will struggle along aimlessly and Some Intimate Scenes in the Life of Edward MacDowell stowed both on his playing and his compositions, and is perhaps a trifle exaggerated, it came nevertheless scores which, if imitated, misunderstood. — —"- by the invitation to play his first piano suite at the can had to confess sorrowfully that he had, and when almost hopelessly discouraged in the attempt to master himself a genuine musician, modern sym- .f.def-icjently digested, are rank poison and beget In The Outlook for December 22, 1906, Henry T. from a man, himse next convention of the Allgemeine Musik-Verein, over he got home he found a note saving that the place was some key-board difficulty. phonist, a masterlaster of musical effects, and from one ous orgies.oroies. Berlioz compositions, 1taken as a whole, ai Finck, writing on “Edward MacDowell, Musician and not suited for him 1 It was not the first time, and far I have found by teaching pupils to follow a certain which Liszt presided. There was, to be sure, more who knew perfectly well t of what stuff and how like a hollow mountain covered with a thin crust, from Composer,” also had something to say on Edward from the last, that devotion to an ideal cost him a system in the mastering of these difficulties, that the honor than profit in this. A man cannot live on com¬ musicians should he made. which, if you can climb to the top without a mishap, MacDowell the man. At all events, he recounts some worldly advantage.” pliments and applause, and MacDowell, like most other pupils with a little practice are enabled to cause their Berlioz and modern instrumentation are insepar¬ you may have a good view, but probably not. Instru¬ sayings and incidents which are treasure-trove to those musicians, found it extremely hard to make a living in troubles to disappear as if by enchantment. Such a ables; for Berlioz as a composer is scarcely conceiv¬ mentation is one of the arts which is strictly individual, who love the most noted American composer. “To his MacDowell During His Last Illness system applied to the fingering of the minor scales may unless he used up all his vitality in teaching, able without modern instrumentation, and the same or better, personal; for nobody ever did or can master friends,” writes Mr. Finck, “his droll and truly Ameri¬ Mary Mcars in “The Craftsman,’’ July igog. help many struggling pupils. can be said of modern instrumentation without Berlioz. can gift of humor has always seemed one of his most leaving none for creative work. Luckily, his wife had it by hearsay or by reading. Thus, to understand and It was on a beautiful morning in May, 1906, that I This system is to classify the scales according to their It is necessary right here, so far a and spacg apply the theoretical part successfully, it is indispens- charming traits. In a letter to me he once referred to a little money, so they took the daring risk of dropping first saw MacDowell. I had accompanied my sister, various natural fingerings, and applies to the “Har¬ permit, to describe his kind and art. His principal his student days at the Paris Conservatoire. Life in ... hear a full orchestra as much and as often as who was making a bas-relief portrait of him at the monic” minor (in which the 3d and 6th tones of the works are: Requiem, Romeo et Juliette, Symphonic Paris seemed to him ‘a huge but rather ghastly joke.’ possible; the better the orchestra, the more the benefit. time, to his home. The room which we entered was major scale are flatted both ascending and descending), Fantastique, Damnation de Faust, Carnival Rornain. His fellow-students ‘never seemed to miss the absence The appropriate and characteristic use of the flighty flooded with sunlight. The tops of some trees in a and it is, of course, taken for granted that the pupil Berlioz was A most brilliant writer, not a composer of the word “home” in their language. Most of them flute, the nasal hautboy, the soothing clarinet, or the nearby street, all covered with tender green leaves, is perfectly familiar with all the major scales. by the grace of God, and that he was a daring and looked as if they had been up ever since they were playfully suggestive bassoon, to say nothing of the could be seen through the windows. They danced con¬ The three classes are: fearless one nobody can deny; also that his orchestra brass, demands not only mature judgment, but refined , born. They seemed to live on cigarettes, odd carafons (1) Fingered same as C-major scale; (2) Same as overthrew all tradition and firmly established a new stantly, seeming to tell of a happiness without end. And taste, and he who has of this last the most is the bora of wine, and an occasional shave.’ their message had entered that room! Never have I the major way; and (3) specially fingered. school is equally undeniable; but that he was a great “The ‘occasional shave’ is delightfully characteristic orchestral writer. seen an apartment so essentially radiant 1 The musi¬ Following are the groupings for the right hand: creative musical genius few maintain to-day. Had he of MacDowell’s wit. In his conversation he always cian sat there in his invalid chair, in Ills clothes of soft been able to clothe his highly poetical ideas in corre¬ Berlioz and Beethoven kept the listener amused with such unexpected turns— Eb, Ab, Bb, E. He who has talent for inventing new. quaint, strik¬ white flannel, childlike, wondering, very beautiful, with sponding and equally spiritual notes, he would have as he does in his music. Scherzo is Italian for joke, finger.) the naive simplicity which had ever characterized him; been the genius of our late century. Positive it is ing, non-previous combinations can revel in good things and it is in his scherzo movements that we often hear and find opportunities innumerable to make use of while coming and going in and out of the apartment Following are for the left hand: that through his bold and characteristic treatment him at his best. His famous teacher, the Venezuelan as her duties summoned her, was the musician’s de¬ 3 M.1J of the-orchestra, he is one of the most brilliant, re¬ them as soon as the theoretical and technical part is pianist, Teresa Carrciio, hardly ever plays his second C. D, E Db and Ab. Gb (fourth). mastered. This can only be acquired by making a voted and heroic wife. She approached, and he turned Eb (second). markable, original and epoch-making musicians of all pianoforte concerto without being compelled to repeat Bb (second). .. These scores of his are priceless gems of refer- special study of every instrument, which does not toward her with a movement of which it is a profana¬ the presto giocoso. tion to speak, save that which is most beautiful is most It will be found on trying them that E flat and B ence for both ripe musicians and students of music, necessarily mean to learn to play each one, but it Another of his traits was revealed during his Con¬ ever open. He lifted to her eyes in which there was flat (minor) for the left hand are the most awkward showing them the richness, and likewise the emptiness, most certainly demands a positive knowledge of each servatoire days. Though but fifteen years old, he soon a steadfast, luminous trust such as I have never seen •of all the scales to play, on.account of the position of of modern orchestral coloring. His treatise on arches- one’s special nature, compass, tone, effects of. low. discovered that it was not the right place for him. the black keys. tration is a standard work, and even to-day one of the middle, high positions, natural and unnatural possi- There was too much striving for effect for its own in any other human countenance. I have seen pupils who took all of ten minutes to very best. He was an inventor of orchestral cotnbina- bilities, and few but certain impossibilities. A certain sake, and not sufficient reverence for the masters, to Mrs. MacDowell directed our attention to a sketch play through all of the minor scales with one hand lions, not of musical ideas; hence, figuratively speak- class of ultra modern composers misuse instrumenta- suit this American lad. Famous professors like Mar- of Liszt, which was hanging on- the wall, and (two octaves ascending and descending) improve so ing, lie often clothed a lean, dirty beggar in silks and tion to cover their musical nakedness, and if they ai montel, Mathias and Ambroise Thomas did not hesi¬ MacDowell seemed to recall making the drawing. He much in two weeks’ practice by this method that they satins, but passing curiosities, their scores are most dangerous tate to mutilate a composition or to insert measures, of began to speak, a little hesitatingly, but not in the least could play them all in one minute or less! Berlioz’s Huge Requiem for those who have not acquired a well-founded opin- their own to make it what they deemed more effective. incoherently. He told of the finding of water with a Take away the cunning, sometimes spontaneous, i of their own; for those to whom musical genius He packed his trunk and went to Stuttgart. Here willow wand on his farm in Petcrboro', New Hampshire sometimes tentative orchestral coloring from the ma¬ and musical fireworks are synonymous. there was no lack of reverence for genius, but there —a favorite story; he told of a rattlesnake, which, jority of his compositions and the ground idea dwindles At What Age Should the Pupil Start Every one of Beethoven’s symphonies has ever been was what throughout his life he hated quite as much when a burglar entered the house of its sleeping master, to a haggard spectre, eveh to triviality itself. This is and ever will be a priceless jewel; a standard model —pedantry; so, after six weeks, he moved on again, a rattled for the police. A humorous gleam deepened the especially true of his pet score—Requiem—which i By Bessie M. Walker for those studying instrumentation, and should be a real American, in quest of the’ best wherever it may boyish blue of his eyes. But once in a while he looked likewise the best specimen of Berlioz’s art, with it constant companion in the shape of a pocket edition. be found, and bound to find it. in a puzzled way at the artist. immense chorus and five orchestras. Berlioz says He cannot start too soon. As soon as he can repeat .It is highly improbable that a Beethoven, whose un¬ “He found it at last in Frankfort, where there was MACDOWELL WHEN PROFESSOR AT COLUMBIA. UNIVERSITY That the sitting might not fatigue him, a game of while composing it he was so deeply interested, so his alphabet he should begin. I know some parents rivaled scores have gloriously withstood all the brutal a pianist, , who ‘dared play the classics dominoes was begun, and the infinite sensitiveness with have conceived the idea that children should be able enthusiastic, that his ideas came faster than he could attacks of the so-called moderners, would have the as if they had actually been written by men with blood everything but composition and settling down to a quiet which he lifted and laid down the hits of ivory re¬ to reach an octave before they begin. However, this possibly write themi down; so that he often surprised patience to hear ten measures of their expectorations; vealed the musician. One seeing him for the first time in their veins.’ Under his fingers ‘a sonata was a poem:’ life in and near . It was here that is a wrong idea. Beethoven began to study the piano himself writing in < e movement with his thoughts in for Beethoven was.. not only a master. of instrumentation,.. and unaware of his history, could not have doubted The eminent composer, Raff, was director of the Frank¬ MacDowell wrote the compositions from opus 23 to under his father, at the age of four years, by whom the next. This perhaps accounts for the many super- but a genius ©f’invention,''and’hecomposed because he fort conservatory. By him MacDowell was confirmed what he was. he was often thrashed when his lessons were not per¬ opus 35. ficial themes which were enthusiastically, but alas, too possessed priceless musical ideas, which lie clothed in in his tendency toward writing music with a pictorial As he sat there I fell to studying him. Surely long fect. Under more loving care, Mozart, also at the “Those were idyllic days. ‘The one dark spot,’ Mrs. hurriedly written down. raiment equally costly. Whereas most of the modern or poetic background. The death of Raff revealed the years of musical creativeness had added something to age of three years showed signs of a remarkable talent MacDowell writes, ‘was a long and severe illness of After having heard numberless private rehearsals men. whether Germans, French or others with the emotional nature of the American youth. His first the modeling of the face, so that now, when the poor for music and at four years could play all sorts of mine brought on by over-anxiety and trying to do and public performances, of this work, I am prepared to snobbish pretensions of an inflated peacock, strut about pupil, Miss Marian Ncvins, who became his wife two mind was bewildered and deranged, the suggestion of little pieces on the piano. Do you think they could work which I was not weli* used to; hut in spite of it say that with all its originality, its pomposity of effects, the “sphere 6f the blessed” in gaudy garments of silk years later, says regarding this tragic event: creative distinction did not vanish. It was the fact of reach an octave at such a tender age? If so, their all, we were very happy. The six Idylls, op. 28, of its homhastical orchestration, its immense climaxes, and ermine to hide their musical impotence. The clever “ ‘He came to me at the hour for my lesson, looking the rare beauty and meaning of the face remaining hands must have been out of all proportion to other which I am very fond, I associate with our little flat how many a theme stripped of its cloak ,s wretchedly tailor can cover many a bodily defect erase all crooked sor white and ill that I was frightened. His voice broke intact, while into the eyes flashed at moments a fleeting . children’s of their age. No, good parents, you are naked; how theatrically the whole structure steams lines, hut stripped of his artifices, the corpus delicti in the Jahnstrasse. I had been ill a long time, and felt perception that something had befallen him which he mistaken in your theory. But you do not hesitate to as he said only the words, ‘Raff is dead.’ There was a forth odors of paint, powder and gaudy stage dresses, turns out to he a shakv scaffold of bones with scarcely Edward was neglecting his work in his care of me. So could not understand, it was this union of the outward let them go to your' piano and amuse themselves by sweet hero-worship of a shy hoy for an almost equally instead of incense and solemn reflection. The Tuba a grain of marrow. Tschaikowsky once said to me: I made him promise he would write a daily sketch for form which retained its dignity, with the confusion of making hideous noises and training their fingefs into •shy man, and for months after Raff’s death he was in minim is the most original movement; m fact, one Tt is a great mistake to believe celebrated orchestral a week and these six were the result of this promise. the inward forces, that made MacDowell, at this time, all sorts of bad habits. Yet you think their fingers are a morbid condition. He gave me eighteen marks—all of the most interesting and remarkable m the whole composers ought to be splendid teachers. They are I in bed and he writing music in the next room! Of a most tragically symbolic figure. The whole problem too weak to learn to play. This you allow them to do he had at the time—and said, ‘as I knew more about ones; lor ,h„ l,„e no pn.ience course, he changed and “fixed” them later on, hut the of the soul and its struggle for attainment was there.” by the hour. But the mischief is done, and when you up their themes and blow to the four v ___ flowers than he did, would I get him some roses to truly teach the theoretical part, and the practical part is actual music was written in those six days.’ do think of letting them have lessons it is going to if the day of judgment had dawned. The effect is their send?’ So I bought a mass of roses and, what was '"'f 4 Jf“ own secret and cannot be taught.” Berlioz says take many months of patient work on the part of the fearful, appalling, and never fails to nearly annihilate unusual in Germany, had them sent not even bound “After nearly four years of Wiesbaden it became the preface of liis instrumentation: “This book h— imperative to replenish the exchequer, and. an attempt teacher and very hard work on the part of the little the patient audience, ■ which, after recovering suffi¬ together, and these were put about Raff, nearer than T. P. Currier in “The Musical Quarterly.” been written for the sole purpose of explaining the pupil to undo. You will make no mistake to begin your ciently, fervently praises God that it was only a false the grand, beautiful floral things sent by the dozen.’ was made to secure a position as local examiner for The wear and tear of MacDowell’s high-strung nature, etc., of all the instruments in a modern orches¬ boys and girls early, as there is much to. be learned alarm, a public rehearsal, as it were, of Gabriel’s last “Like all students of the pianoforte, MacDowell the London Royal Academy of Music. MacDowell had organization was constantly going on. He could not tra. The further use of them and their combinations and accomplished before beginning octave work, though blast, Berlioz’s name will ever live among the most always adored the personality and the works of Liszt, been specially recommended for this position, and the hear music of any kind without listening with extreme the octave work has its place in music. Let some good extraordinary lights of the nineteenth century, and th^'disc'over^oTUC^-t?,° fal\a"d 1,ntf° un’Known to whom his first concerto is • dedicated. Following matter finally rested in the hands of Lady Macfarren. intensity. One evening I inveigled him into going witli teacher have the pleasure of .training the little fingers. will be handed down to posterity as one who con- genius a^onef” mUSt be ,efl t0 the the advice of Raff, he had visited Weimar, where he She was a nice old lady, and things seemed certain me to a social gathering given in their rooms by a club was greatly encouraged by the cordial praise Liszt be¬ until she suddenly said: ‘I hope you have no leaning of artists. Some one among others played a violir THE ETUDE 789

788 THE ETUDE tv,at of its suggestion in the field of instru- ment of pianistic technique. But different conditions P°eTl tmisic where a single line may be elaborated solo—not very well at that. A lady remarked to me confront the ordinary man or woman who has pe^ upTn 1 The value of poetry is what it makes you think. afterwards, “Did you see MacDowell? The poor fel¬ haps, but two years in which to he helped in ev J A short poem would take a lifetime to express; to do low couldn’t keep his head still during all that dreadful TS rection musically, after perhaps years of plodding in as many measures is impossible. The words clash playing!” with the music, they fail to carry the full suggest.on of It was largely due to this pull upon his nerves that through endless studies. Toward he kept away from concerts as much as possible. At “But/ after all, the things that made Edward tie poem. If the music stuck to the meter of the poem the Symphony concerts his had become a familiar fig¬ MacDowell a great teacher was not metll°?*. t would often be vulgar music. Verses that rhyme at teachers. It was the infinite patience, the undivided The Artistic Musical Temperament ure in the second balcony of the old Music Hall. Curi¬ thr end of every phrase make poor settings to music. interest and the untiring enthusiasm that he bro g Tl!e main point is to hold closely to the ideal of the ous people soon began to notice that frequently during And What a Few Kings Did in the Tonal Art the performances of “classics” he would disappear, to each student. The one of, comparatively ,sPeakl«S> song-to sustain the balance of art. English presents small talent was for the time being just a? 1™portant great difficulties in the matter of accents, but the French return when some modern number was to be played. By Louis C. Elson “What is the matter with MacDowell?” they said, as the most brilliant. This sometimes did harm—a none. In the choice of words for song settings Heins “he can’t seem to stand a Beethoven symphony.” And, student, not realizing that he was rto exception to e proves the most singable.” Etude Readers will find the noted Boston critic in his happiest mood in this very readable and instructive article general rule in this infinite care, assumed he must, be “Why doesn’t MacDowell go to concerts like the other MaeDowell’s Varied Compositions fellows (referring to his brother composers) ? The of unusual talent, which led to disappointment. More truth was that MacDowell knew the classics from often, however, there was a keen appreciation oi tne Following is a list A to Z and did not care to waste his strength on them. great opportunity presented. “One may sum up this estimate of Edward Mac¬ New and other modern works were more interesting issued. "Works With Opus Numbers. . and their scoring more important to him. To take in Dowell as a teacher : He was free from pedantic rules, more than one such work of large dimensions was all yet thoroughly practical in working out individuality .^s^oTS-suSW Pianoforte. (1883.) he could possibly do without exhaustion. Therefore, the problems confronted with each pupil. He gave of himself unsparingly, and there were few who studied he was actually compelled to save himself whenever On. 14—Second modern suite for pianoforte. (1S83.) possible. with him who did not feel that music was only a part Qp* 15_First concerto, in A minor, for pianoforte and of what had been learned in their lessons with Edward MacDowell and the Classics Some years ago I read a book on The Ethics of proper conduct. The first composer, in our modern Some Ante compositions and an entire opera—H Nr MacDowell.”—From an article by Mrs. MacDowell tn °rOn.S^l&— So^rcnata for pianoforte. (1S83.> Op’ 17_Two fantastic pieces for concert use, for piano- Music, in which it was stated that as music was the sense of the word, may be considered Adam de la Pastore—written by Frederick himself, and numerous [Editor’s Note.—The following is nn extract from an The F.TiinE November. 1014. article appearing in the London Musio Student from the pen most inspiring and ennobling of ah the arts it was Hale, a trouvere-. His chief work, Robin et Marion, flute compositions written by Quantz for his royal mas¬ of MaeDowell's friend, Templeton Strong, an American com¬ f°Op. IS— in F and humoreske in A, for piano- self-evident that musicians were better and nobler was the earliest comic opera. But he also wrote ter and pupil, attest the artistic temperament in this poser of European renown.] MaeDowell’s Harmonic Methods f°Op. in—Wald-Idylien, for pianoforte. (1884.) Op 20—Three poems for pianoforte, four hands. (1885.) than the average of mankind. I had a little doubt another work called Le Jeu d’Adam, in which he held case and show that it may be wedded to military genius. “Of the classics MacDowell seldom spoke and, while Lawrence Gilman in his biography"Edward MacDowell.” Op. 21—Moon pictures, after 11. C. Anderson, for piano¬ about this conclusion, and that doubt grew larger when his wife up to ridicule. The conceit which led modern imbued with all due respect and admiration for them, “His method of harmonic manipulation is ingenious forte,’ four hands. (1SS5.) . composers to throw bouquets at themselves (and mis¬ I imagine he felt, their possible restrictive influences and pliable. An over-insistence upon certain formulas Op. 22—Hamlet and O/ihclia, two poems for orchestra. I found, in the study of musical history, flaws more or A Royal Artistic Nature upon his modes of expression. He had a sincere admi¬ —eloquent and vital in themselves—has been charged (18S.j.)^—gocoll

i THE ETUDE 795

THE ETUDE have been neglected. The 794 Concertos and Sonatas, as . .... a bronze tablet well as the Twelve Virtuoso These significai hme?iotrfar0from the little log cabin in don, Frankfort and Paris. He applied on the —■"* "* ' Studies (Opus 46), repre. pianoforte teacher at the Wnrr.~ composer ^wrote Jrif r oharahcter;i1stind,,! sent the more pretentious fortunate in not receiving it- of MacDowclVs works and compelled to turn hifattentlon to composition, and ^hereby MacDowen’sUfimplicity and ^^^ns^nd^e^nbewed rod in many ways his highest Educational Notes on Etude Music thatKSt'Sl lays abovewK5KSM his last resting place? manifestation of musician, —-- purchased a house Wim ship, but at the same time ic£>o”'“..jnd11 f'* time to MacDowell as a Pianist many of his smaller pieces •orks. The following y sold show inspiration which By Preston Ware Orem aturn to the Unit"-1 ic-life Of his native As we have already noted, it should not be discounted . ,ue muo.c. ; life much +u>„ nal desire t0 become a pianist. Those w d t, c ALLA MARCIA—W. W. SMITH. THE FOUR-HAND NUMBERS. his liking. his playing well, among whom may be reckoned plcxity in their expression. CARLOTTA-G. A. QUIROS. MneDo well's piano works Franz Liftl is a well-known contemporary German present writer, felt that it was rare because of the Mr. Quiros is a Cuban composer who has been repre¬ Alla Marcia means in the style of a march. In this performer’s wide understanding of the mustcal d.men are exceedingly grateful, in particular case the march is of the type known as a composer who has not been represented previously in frequently Mo(,noajpll niavea U1B »™uu " that their performance sented occasionally in our music pages. His Carlotta „„ „w,„ ...acDowell played his second concerto with me sions of the masterpieces he attempted to P<^tray a our music pages. His specialty is educational pianoforte New York Philharmonic Society^ unde brings that response from is a very tuneful teaching piece, a graceful waltz parade march. The parade march differs from the e New York mac DOWELL WHEN A STUDENT, music. His compositions are distinguished by melodic then that e' New York public andI t because of the man’s unquestioned s.ncer, y Wulel number. Grade 2. ■ ordinary military march or two-step in that it is always m ?ss of the go technic was adequate in every way, he did not aspire FROM A PICTURE TAKEN BY player hears with delight. Edward MacDowell. America at last had i a ‘‘four in a measure” as opposed to a “two in a charm and excellence of workmanship. In the Wood¬ loshine'as a technicalist. His published exercises cm^- TEMPLETON STRONG. For that reason they have works could be placed upon the programs been widely played by plan- EVENING-L. J. O. FONTAINE. measure.” Play this march in a rather jaunty manner. land Mill is an original four-hand piece of character¬ cern themselves rather with special forms demandm . . ■ ,, •„ „ni,ntrv and abroad. Mme. Carrciio and Mme. Evening is a melodious and brilliant drawing-room Grade 3. istic type in which the parts of the two players are new hand positions than with the conventional sc^es, interests rather Vian that of_Vsiter 1 ng xslJic»11lets'' Samaroff are especially famed for their Interpretation of piece by a composer whose work has been much appre¬ more than usually independent. It will prove very arpegjo and octave forms. MacDowell’s p ay n^ wa YVONNE—E. H. KTTTREDGE. preferences »fn«|l.““aif“C?ile,IrnpfAiae Encouraged bj ciated. Care should be taken not to play the principal interesting practice. characterized by its extreme clearness and beaut : Mr. E. H. Kittredge is a contemporary American MacDowell gave two pianoforte recitals in the Coneer theme of this composition at too rapid a pace. It should The Minuet from Beethoven’s Sonata in E flat makes of Madison Square Garden. effects achieved by the employment of the Peda- , less "xoeedingly interesting. The Indian Suite, not sound like a waltz hut should be more in the nature composer \vho is represented in our Etude music pages an excellent four-hand piece. In this form it is rather for the first, time. His Yvonne is a brilliant waltz MacDowell at Columbia such a composition as his v«y Pow"fu ^ of a reverie, with considerable freedom of tempo. In more sonorous than in the original solo version. number with a very graceful swing. It should he The chair of music at Columbia University in New he produced his own the middle section the ornamental passages should be Beclher’s Jolly Darkies has been arranged for four played in a broad manner with large tone and careful played very lightly and the pedal should he used just hands in response to numerous demands. This is on" accentuation. Grade 3. f'fhis mm-r worthy compositions should have no audience, as marked, in order that the theme and its accompany- of the most popular of all easy-teaching pieces in solo n is said that he maintained this attitude toward his earlier orchestral compositions, Lancelot and Elaine and Hamlet and the harmonies may be sustained throughout. Grade 4. SONG OF THE ANVIL—P. RENARD. form and will be found very satisfactory as a duet. Ophelia, Song of the Anvil is an easy characteristic piect OLD MISSION CHIMES—S. F. WIDEXER. TWO LITTLE GEMS FROM THE OPERA. MacDowell the Man which should prove very entertaining and affords good This is another interesting drawing-room piece intro¬ P. LAWSON. the» positionY°'k “:“yof Pro-ept 'Zid‘to“S Zn S - ■»« »< •"« *“»»** Those who knew MacDowell were impressed first of practice as well. Attention should be paid to the con¬ ducing the popular chiming effect. In playing these In these little teaching pieces Elotow and Verdi are fessor of Music at Co¬ virtuosos of his century. all by his absolute sincerity in all that he did, his lack trast touches and to the very short grace notes. A chimes the chords should be slightly detached and played represented by two of their famous operatic melodies, lumbia. Naturally he MacDowell’s Compositions of pose, his detestation of ignorant applause and his rather exaggerated form of accentuation will add to the with a pressure touch, the pedal being used as indicated. each melody being introduced by some original melodic gave much thought to aixtv-two omis-nnmorrs .- - extreme sensitiveness. He was American to the core. general effect. Grade 2/. When properly played the bell effect will be very material. Young students will enjoy these pieces. They this move. His teaching Dowell-s compositions and some half dozen without opus This was shown by his love for the primitive in Ameri¬ apparent. Grade 4. . WITCHES’ DANCE—E. A. MacDOWELL. are taken from a series in which all the great operatic in Boston had been lmbors. can life and by his fondness for our characteristic Although it is a comparatively early work, MacDowelTs composers are represented. Grade 2. highly successful, and 'Vrom tHroe to six ’songs. Henry T. Finck goes so native literature, as exemplified in the works of such CLOCHETTE—H. W. PETRIE. it would have been im- 1 ” to ranI{ Macp0wo:i with the very greatest song writers, Clochette is an excellent drawing-room or recital piece Witches’ Dance is probably the most popular of all his men of writing genius as and Joel BARCAROLLE (PIPE ORGAN). possible for him to have gcJmbert, Franz and Grieg. There is no doubt taat Mac. introducing a variety of technical figures. As is the pianoforte pieces. It has become a standard recital Chandler Harris. Familiar as he was with the litera¬ number, fitted to rank in the class with Moszkowski’s G. N. ROCKWELL. ,c«p..d «.,d puriic .'X £ dSul. X2..U. ture of three languages, he would often turn to the ease with everything of Mr. Petrie’s this composition is .C DOWELL AT FOURTEEN, On the other hand, the very melodious throughout. It should be played with Sparks and other pieces of this type. MacDowell and This is one of Mr. Rockwell’s best organ compositions. homely American philosophers with keen delight. FROM A SKETCH MADE post at Columbia pro¬ a light and delicate touch in a rather crisp manner his music will be found discussed in an exhaustive It is not at all difficult to play and it will afford abundant ssrts.viurxfvery convincing to find European s. critics among the most Physically MacDowell was a handsome man. His BY HIMSELF. vided regular employ- in order to bring out the passage work effectively. manner in other pages of this issue. Grade 7. opportunity for tasteful, well-contrasted registration. enthusiastic admirers cf MacDowell as a song writer Thy body was robust and lithe. His strong blue eyes and Beaming Eyes is doubtless one of the best songs yet pio- Grade 3yi. It is suitable either for recital work or for an offertory. time was possibly somewhat less precarious. His main duced in this country from the standpoint of its wine appeal his firm flesh indicated fine bodily health. Indeed, RUSTIC DANCE (VIOLIN AND PIANO). difficulty lav in the work of establishing the new depart¬ there was a splendid vigor in all his movements, and MERRY HUNTING PARTY—W. ROLFE. C. KRIENS. THE VOCAL NUMBERS. his person at the keyboard was inspiring and impres¬ ment, as he gave only about ten hours a week to actual This is also a march number but it is of the two- Mr. Kriens is a native of Holland now resident In Schubert’s famous song, The Wanderer, is ably class work. . s SBfiXA TU &*» sive. With his friends he was genial, with strangers step type. As in the case of all the two-steps and this counfry. He is a violinist and composer. His discussed by Mr. Bispliam in another department. With systematic sincerity he at first mapped out very perhaps over-retiring. He was a fine conversationalist, military marches it is played at a rapid pace, about Rustic Dance is an excellent recital number. Without Mr. Homer Tourjee’s I Never Knew is a very clearly in his mind what the department was expected ready with accurate and fitting words and not without expressive and melodious love song with a haunting NS appropriate Kwn 120 steps to the minute counting two in a measure. being difficult it furnishes splendid practice in double to accomplish and expressed it in the following tenets: a touch of that Irish, wit which is irreplacahle. Grade 2 stops, etc. I. To teach music scientifically and technically sin's,7nd s“me of these are quite as delightful as the music. MacDowell had many close and valued friends in There are recorded over one hundred compositions for piano, with a view to training musicians who shall be , „a,,p fhA «?one:s. there are a few which have Europe and in America. Between him and Edvard competent to teach and compose. met’with immense popular favor, such as the Witches’ Donee, Grieg there was an especially strong artistic bond, as - - wild Rose, while others more notable II. To teach music historically and aesthetically as is shown by their letters. Mr. Henry T. Finck was a an element of liberal culture. great admirer of MacDowell, and this feeling was MacDowell was an indefatigable worker and with his Prize Winners in The Etude Prize Contest natural conscientiousness the ever-incieasing woir « warmly reciprocated by the composer. 1,1. nroved too great a strain. His nublished lectin es indicate GRACE MARSCHALL-LOEPK2 ROBERT PICKARD ALBERT LOCKE NORRIS the great care with which all of his work at the University The MacDowell Memorial Association ; idea that it might have been Tlie MacDowell Memorial Association was organized a few Grace Marschall-Loepke Born Ottley, Yorkshire, v have advanced t :e all of this time Albert Locke Norris w ‘if MacDowell had U-™ «■—- - years after the deatli of the composer, to continue his (Mrs. Henry Clough-Leiter) England, in December, 1877, horn at Glens Falls, N. Y., ai iition and pianoforte. playing, for which he had memory in a manner more helpful than may be done in pechUly'prepared hi """1 F T"”‘bile his piano playing suffered. was born in Ninevah, August Robert Pickard had the ad¬ received his academic educ ...... a fact that many of his best pieces in bronze or stone. Mrs. MacDowell by her tireless efforts has •ertain forms were done during the Columbia days. Among made tills institution one of the most potable in the country. 20th, 1885. She showed vantage of an excellent musi¬ tion at Glens Falls Academy, Uiese are the famous Norse Sonata and the Celtic Sonata, Together with the main buildings in which MncDowcll resided marked musical ability at an cal training. He first began lie commenced music study as well as the Seo Pictures, which have all brought his genius there are several studios for work purposes, nnd there artists early age, and received some the study of music in such high praise. mny go to live for stated periods to carry oiit their ideas. with the village teacher < Although the institution is endowed, the creative workers instructions from her mother. at the age of thirteen. Leeds, at the age of fifteen was MacDowell at Peterboro residing there under very desirable surroundings must of In fact she was able to play the largest town in Yorkshire, pointed organist of the Glens In the same year that he took up the Columbia pro¬ course pay a moderate rate for their support. “Eligibility the piano at the age of three, is the musical center of a Falls Methodist Church, his fessorship MacDowell bought a farm property at Peter¬ for membership in the colony is, generally speaking, approved talent vouched for by at least two well-known people, and and actually appeared in con¬ highly musical district. . Mr. father being one of the chor¬ boro, New Hampshire. With fifty acres of delightful a declared purpose of specific creative work nnd adaptability cert when five years old. Pickard’s teachers were T. J. isters at the time. Ambition forest and fifteen acres of good farm land there was for harmonious cooperation in the life of the colony, which Later she studied with Oliver Hoggett (Piano, organ and led him to New York, where also a fine old house and some smaller buildings. There necessarily is largely self-governed.” Willard Pierce at the Metro¬ theory), H. A. Fricker Every summer festivals and pageants are given in a great he became a pupil of Prof. in a log cabin in the woods he wrote most of his later I out-of-doors theatre In the woods. These are attended py politan School of Music in (Leeds City Organist), Robinson, and later to North¬ compositions. His time was spent between his coun¬ | music lovers nnd artists from all parts of tlie country. The Indianapolis, taking the seven Percy Wood (theory), Herr ampton, Mass., where he try home and his winter residences in New York. Dur¬ MacDowell Choir, of Nassau, New Hampshire, and a Sym¬ years’ course in three. From Heinrich (piano), Carl van phony Orchestra from Boston participate. As Mrs. Mac- studied with Dr. Blodgett and ing his last days he spent much of that sad, sad time Dowell's own contributions, largely from lior own lecture earn¬ there she was graduated with Robert Pickard, der Naaten, of Amsterdam with George Coleman Gow at°the Westminster Hotel on Irving Place, New York. ings, have gone well up Into tlie thousands, the nature of highest honors in 1905. (piano). (now professor of music at The great strain at Columbia forced him to resign the enterprise may easily be comprehended. Mn.V the work After this came a period of study in Boston. She became He obtained his first musical appointment at the age of of Teterboro prosper richly as It deserves to prosper. Vassar). After this came further study in Germany. in 1904. Instead of resting he continually undertook a pupil in piano-playing of Felix Fox and Carlo Buono- seventeen. After holding various musical appointments Mr. Norris tells us, ‘‘My one ambition was to teach mici. Composition she studied under Henry Clough- more and more work, including teaching, which he did Books on MacDowell in Leeds, he became Organist and Musical Director of fundamentals correctly and I studied along that line. largely as a means of maintenance rather than for the Leiter, whom she eventually married. She was suc¬ the Wesleyan Mission, Oxford Place, Leeds. In 1910 Mr. Much has been written upon the subject of My success as a teacher inspired me to visit Leipsic love of the work. In 1905 the signals of the tragic end cessful at this time in getting some of her manuscripts Pickard was appointed Assistant Director and Professor MacDowell. and among the best biographical articles and Berlin to study the method of fundamental instruc¬ were noticed. Well in body, his magnificent intellect published and has since produced a number of com¬ of Organ at the Allison Conservatory of Music, Sack- tion at the German conservatories.” On a return he are those which have come from the pen of his friend, commenced to decay until he became like a little child. positions for piano, voice, etc., tinder the pen name of ville. B. C„ , but owing to Mrs. Pickard’s ill busied himself with a book for beginners, and com¬ Mr. Henry T. Finck, and his pupil, Miss Jo-Shipley He passed on, January 23, 1908, when just reaching G. Marschall-Loepke. She was winner of the $100 health was obliged to return to Leeds, where he was posed a number of pieces which have been published WatSon (editor of the Children’s Department of those years which find most men in their prime and prize offered for the best musical setting of “The again appointed to his former position at the Wesleyan by leading American houses. Mr. Norris was success¬ The Etude). Edward MacDowell, a Study, by Law¬ which might indeed have been his prime if he had Empire State.” In the recent Etude contest she won Mission. In The Etude Contest Mr. Pickard won the ful in the. recent Etude Prize Contest in which he won rence Gilman, is an exceptionally fine biography of the the third prize in Class 2 for her very clever and orig¬ third prize in Class 4 for a set of easy teaching pieces. taken time for sufficient rest. the prize in Class 4 foe a Juvenile Suite en'itled All in inal piano piece in characteristic vein entitled To an As a motto for his last composition, From a Log composer, giving an unusually clear insight to his The charming little gavotte From the Golden Age is a Day. This number will be found complete in the Indian Maid. Cabin, the composer had written: aims, ideals and accomplishments. In August, 1915, “The taken from this set. music of this issue. Music Student,” an excellent English publication, de¬ “A house of dreams untold, It looks out over the whispering tree-tops voted its entire issue to MacDowell, whose works are And faces the setting sun." universally popular in . THE ETUDE 797 THE ETUDE 796 Grieg's Strong Musical Individuality The Parable of the Foolish Pupil By Henry T. Finck By Bert E. Williams u as an extempore speaker is more elo- 1 [Editor's Note.—Owing to illness) Mr. Jl'the USCS i ibT; one who reads a lecture. Now, the Nor- Wals unable to complete a speclitl Ur eeupon quent than r,AA]prs have never used notes; they An Etude Master Lesson SS| m * 1 vwj % A certain teacher, very competent and very ener¬ u„ suggestion, however, flast month. At wegian L more than one sense; like getic, had in his class one young lady of remarkable the following extract from his bool :, Grieg and His Music, ’s Immortal Song talent. This young lady was erratic, or as musicians is herewith published through tme kind permission of the P ay enUre'yfron whom Liszt learned the secret Mr. fdnek's biography of the say “temperamental,” and instead of following direc¬ .^"fundamental trait of Norwegian folk-song, as ii^ian masteiMs considered the best in any language.] L: tions as given by her instructor—who takes great pains contrasted^*Jhe^ermdn ^.^ ^ suddenjy change “Der Wanderer” to make the assignments clear—She prepared what King OsCAr of Sweden—and, until 1905, of Norway— wrote a book entitled “'Aphorisms Concerning o a wild unrestrained gayety. Mysterious gloom and As taught and interpreted by the distinguished American Baritone indomitable wildness-these are the contrasts of Nor- *‘“fj *' ,he “d ”°“d b, tta crackling pinc-.ood fir. wegian folk-song. DAVID BISPHAM something like this. on ^ hearth; ^ they are heard to best advantage, Grieg a Norwegian 1 perhaps, far from human habitations during the pale Grieg is often spoken of as an embodiment of Scan- sultry summer nights of the North. They do not glow dinavian music. But, as he h.msel once pomted ort FRANZ SCHUBERT DAVID BISPHAM Studies: 1Vo. 4 and No, 5, Mathews, Book With»uu. the heat of the sun,' but- - with inner warmth. and . ipffpr to the -Ncw York Times. 1 am not an VIII. unsophisticated feeling. They emanate from the inner- 1 a ‘Scandinavian’ music, but only of Nor- Np. 30 and No, 40, Wrist and Forearm Studies. most parts of. a people, more than any 0thero ’ the *r?e Sr The Characteristics of the three pea- Pieces: Slow Movement, Sonata, Schubert. majority of which is constrained to live a lonesome life, Memorize, First Movement, Sonata, Schubert. ° -the Norwegians, the Swedes and the Danes-are and, consequently, is predisposed to take a melancholy ph-s;“L Hiffprerit ^nd their music differsrlifFnt-c; justin«;t asa* rrtiirh”much.” (In keeping with The Etude’s policy of presenting its readers with great masterpieces taught by famous artists we again call attention to the *M even rcptlc.1 vie, of .be wrW, but ,h.ch owfi M,m.rem, va,im ^ ^ ^ fact that The Etude does not in any way pretend that lessons in print are as valuable as lessons in person. However, we do know that these lessons a generous and true heart, and has given eoUndes , , , r rougher wilder, grander, yet with a are priceless to those who cannot arrange to study with a real master teacher. Mr. Bispham's success this season in his famous role of “Beethoven” has This promised very interesting period, and the proofs of earncst character and enduring will. This is vale here and there in which strawberries deeo green fertile vale hei- , „ again drawn attention to the versatility and force of this noted American’s artistic achiei’ements. Other Master Lessons will follow.) teacher was just about ready to begin the work when why the Swedish popular airs always makes and cherries reach a fragrance or flavor hardly attained We are here in the presence of one of the most which produced so many gems of musical art; and, called Dcr Ungluckliche (The Unhappy One) and the the student remarked: impression upon their hearers.” anVwhere else in the world. In the wildest of Griegs famous songs ever written; powerful, reflective words while each country must express in different terms ■poem was ascribed to Werner, whereas the.author is, “I couldn't get the sonata, Mr. -, so I pre¬ . The climate and remoteness of Sweden and Norway pieces we often are enchanted by glimpses of. such green wedded to equally soul-felt and affecting music; a the genius of its race, still it is obvious that in music in reality, Schmidt von Liibeck. The song was con¬ have not only impressed a peculiar local color on their pared this. Is it all right?” and she produced a copy vales—.one of the characteristics of his music. true art-song which must live in the same class as we have attained more of intellectual value from the ceived in October, 1816, a year which, as far as the native music, they have also helped to preserve its of Kowalski’s fatuous octave march, Salut a Pesih. ( From every point of view that interests the music- the frescos of Michael Angelo in the Sistine Chapel. Germanic than from the Latin races. Yet Schubert numerical output of his songs is concerned, exceeded primitive character. Some old-fashioned musical in- Only a week before the teacher had taken ten min¬ lover, Grieg is one of the most original geniuses in the There in the picture the painter, inspired by the story is just as melodic in his own incomparable way as all others, for the prolific Schubert. Over a hundred utes to impress the facts that the term was„„„ ...drawing struments, dances, and tunes, which used to be prac- musical world of the present or past. His songs are a of Creation, has helped,—as‘ did so many of his Italian the veriest Italian; but just because of this incom¬ vocal compositions alone came from his pen in that dose, that every minute was valuable, and that ticed in Other European places, found their last refuge mine of melody, surpassed in wealth only by Schubert’s, race before him,—legends almost outworn to live be¬ parable way he should be more carefully studied than year, though hut few of that number are familiar to order to complete .the sonata no deviation dared be in the North, which preserved them, somewhat altered and that only because there are more of Schubert’s. cause he believed them; yes, even to live to the more he is by song-writers of the present time. the present generation. The Wanderer is far above made and no time wasted. Obviously there were only by the imprint of its own peculiar stamp; and to these aa originality of harmony and modulation he has only sophisticated present, because he saw beyond the fable The average human intelligence is not yet prepared them all in value, and belongs altogether to the same flics "NTrvrflipi*« ThPnnlf3 Jlflflpd atl abundance of nottie-ltlclcle . i T»_M 'Ni'liiimlinn Who- into the fact, which must ever be respected. Here to follow the complexities of the most advanced musi¬ category as The Erl King, which was composed in the two things thht could be done. The first was to dis¬ folk art and amusemeilfe How great this abundance is miss the student. But She was quite talented, and it ner, and Liszt. In rhythmic invention and combination in the song words of truth, pessimistic though they cal minds of the worldto think so is an affecta¬ previous year, 1815, and is catalogued as the first of may be inferred from the' fact that on the Faroe he is inexhaustible, and as orchestrator he ranks among be, have inspired the musician, already genius-touched, tion. But nearly everyone can appreciate simple mel¬ Schubert’s works. Opus 1, and which was written four would not he just either to her or to the teacher to Islands (a region which, like Telemarken, in South¬ the most fascinating. To speak of such a man—seven- and caused him to spring into the fullness of his ody, and this should be first taught and the works times over before this master, who took infinite pains, dismiss, her. Therefore, the only alternative was to western Norway, is peculiarly fertile in folk-songs) eighths of whose works are still music of the future- powers at' a time of his life when, though he was of universally recognized musicians should be ground was satisfied with his handiwork. hear her play the piece and make the best of A bad there are places where an old custom prescribes that the as a writer in “dialect,” is surely the acme of unin¬ most prolific, many of his songs were not great; but in upon the present and future generations by those situation. So all he said was, “Lets hear it. She same sohg must not be sung in the dance rooms more telligence. If Grieg did “stick in the fjord and never in this particular instance it is as though the spark of who by nature and by training are fitted to hand them Der Wanderer a Bass Song played 1 , . . than once a year. get out of it,” even a German ought to thank heaven life had been imparted, as in the marvelous fresco, to on to posterity. It is amazing to find how much trash Though The Wanderer is sometimes sung by con¬ As we all know, the Salut d Pesth requires great for it. Grieg in a fjord is much more picturesque and the sleeping clay of Adam by the very finger of the is being written in imitation of the masterpieces of tralto voices, there is a place in the original draft of Native Music of the North • freedom and strength as well as much brilliance in more interesting to the world than he would have been Deity. music. Indeed, Europe is not' one whit behind America the song which shows it was intended for a basso; execution for long-continued passages. She played, the Here in the Far North (the Norwegian Hahimerfest in the production of mediocre music, and it really for, in the final line, the words “das Gluck” are writ¬ in the Elbe or the Spree, Whence Comes Inspiration? pa'ttis of her hands remaining parallel with the keys is the northernmost town the world) one may still Many worthy Germans fancy to the present day that seems that the best examples of the past have scarcely ten upon notes from B down to low E, in the bass throughout the performance-indicating that the Stroke chance upon a dance at which the music Chopin, Tchaikovsky, Liszt, and Dvorak wrote in Whence come these inspired melodies borne of noth¬ even yet come within the ken of many of the so-called clef. While there is, as yet, no law against women bent, the palms primitive days elsewhere, vocal instead of instrumental, was from the arm, for if the wrists are ben' musical “dialects” in so far as they incorporated Polish, ing tangible, fancy-bred and fleeting, yet enduring as composers. singing songs intended for men, it is certain that and the dancers attentive and .responsive to the words the very earth itself? Surely less amazing is it that of the hands raise at an angle to fllS keys. Russian, Hungarian, and Bohemian characteristics in But now that music is being so widely taught, its female artists should take more pains than they some¬ as they are sung; at weddings, indeed, the first dances poetry should awaken such imagery than that music Before the second page was completed the wrists their works. They forget that some of their own worth and beauty should be rightly inculcated from the times do in the selection of their songs, which should are sung to psalm tunes, and the preacher in his sacer¬ should burst out, often without the immediate stimulus were tense and arched high above the level of the ftiasters—Beethoven. Schumann and Brahms among past onward to the present, and not from the futurists not be chosen merely because they are beautiful, or dotal robe takes part in them, Usually, however, the of words, into such endless forms of entrancing loveli¬ knuckles. At the conclusion of the SIX pages the player them—gladly made use of the folk-music of foreign back to the past; that were indeed to begin at the because certain celebrities sing them. In choosing one’s dances are too lively for vocal music, and the fiddle is countries (notably Hungary), without being accused of ness or majestic proportions from the notes of the wrong end of the great line of succession. Who would repertoire there it, such a thing as consideration for was completely tired out. ... brought into play. The most popular of the folk-dances scale, meager in number, even though reduplicated and Then the teacher began, and his Words stung like speaking a dialect. Then there is Haydn, usually called attempt to build a church from the top of the spire the sex, so to speak, the gender of a song, and The in the mountainous regions of Norway are the Spring- the father of classical music—the world-music to which carried to the extremes of height and depth that the back to its foundations! Wanderer is undoubtedly a masculine and not a femi¬ the, sting of a whip. “My dear young lady, I am quite dans and the Hailing, of each of which there are admi¬ Mozart and Beethoven and all the others contributed ear can perceive. 0, music, verily thou art the miracle A Noble Work nine song. Much more marked, indeed, is its indi¬ softy that you did not think it necessary to follow my rable specimens among Grieg’s works, partly borrowed, of miracles! Well dost thou deserve the praise of their quota. The Wanderer is one of those works, the nobility of viduality in this respect, than The Erl King which, instructions given you last week. Ymj havetrt partly original, while others have been arranged for poets and the prophecy of seers. Well may the future Tchaikovsky was another master who instantly recog¬ which from the musical standpoint alone, even with¬ being a pure narrative, may reasonably be sung by ... order to profit by my training arid lily experience pianoforte by Kjerulf, Lindemann, etc. The Spritigdans, life, whether here or elsewhere, be prefigured in terms nized the originality of Grieg’s genius, concerning which out words, attracts immediate attention and holds the anyone who can cope with it; or than Mendelssohn’s and, to Obtain my advice on matters pertaining: to the SQ called tQ distinguisli it from the Ganger, or walking of music, the Divine, eternal harmony toward which he wrote in his Diary: listener spellbound. An impalpable hand prevents us Oh, rest in the Lord, which is even more impersonal art ef playing. Either you must follow my directions dance, is in three-four measure, the Hailing in two-four, we are ever trending! “Hearing the music of Grieg, we instinctively recog¬ from moving, an inaudible voice bids us be mute, an than either of the other songs; yet who ever heard or you must follow your own inclinations. You cannot “Everywhere in the North we find among the people Certain subjects in poetry make such a universal ap¬ nize that it was written by a man impelled by an irre¬ invisible presence informs us that we are in communion of its being performed by a man! follow part of mine and part of your own, from the tune9 t[lat are ascribed to the devil, the Nix, or the peal to the heart that they are set' to music again and sistible impulse to give vent by means of sounds to a with genius, and makes us aware that we stand upon fact that they will conflict just as they have done this subterranean spirits. The player offered up a lamb to again by many composers, as in the case of Heine’s Transposition flood of poetical emotion, which obeys no theory or holy ground. The wanderer through life is sadly pass¬ mofUirta. the river, and thus induced the Nix to teach him such Du hist wie eine Blume. Musical settings of these i ne was Pfinc'ple, is stamped with no impress but that of a ing by; a figure as majestic as Wagner’s Wanderer Although most of Schubert’s well-known songs are “I afti sorry to have to inform you that by one tunes. But when he subsequently played. them, he was lovely lines are very numerous ever since Schumann, madman vig°roUS and sincere artistic feeling. Perfection of comes 'softly from afar; hear his rhythmic.tread. He issued in other than the original keys, The Wanderer week's wrong practice in the use of your wrists you unable to stop, but played Liszt and Rubinstein graced them by the added em¬ could come to themlcueby raTtinghh ft and irreproachable logic in the development pauses by the wayside for a brief respite in his journey cannot bear much transposition. A half tone above have undone all the Careful work which I have done until broidery of their exquisite art. But of the great emo¬ ot his themes, are not perseveringly sought after by the and we hear, as in the spirit, his unspoken thoughts; the original C sharp minor may be permitted; and—in attempting to build you a foundation in wrist work MSbfiddle strings. tions expressed in loftier poetry, such as Waldesnacht. celebrated Norwegian. But what charm, what inimitable we know them to b.e true, for all have realized them consideration of the fact that the pitch of musical upon which you might in the future build a most It is necessary to know about such legends if one , “ ’ , i Die Allmacht, Doppelgiingcr and Dcr Wanderer, who to the utmost, and therefore it is that this wonderful Europe a century.ago was at least a tone higher than elaborate technique. Not only have you counteracted would dare trespass upon a field so entirely Schubert’s example of the great period of song-making will never i!:e Continental pitch of to-day—this song, sung in a a all i own? A field strewn full of seeds bearing magic fruit all my efforts in this line, but more than that, you harmony, what originality and beauty in the turn of his grow old. It should be remembered that such songs key to match that in which Schubert probably visual¬ an English critic, brought up on Handel and Mendels¬ which, of its kind, can never be surpassed though the have developed a bad habit—a stiff Wrist—which will piquant and ingenious modulations and rhythms, and in as this were rarely written for the market, but because ized it, would not be a violence to his shade were sohn, inveighed against the “rowdyism and brutalities” springs of melody be dried up in the endeavor. Fine require months to correct.” . all the rest what interest, novelty, and independence! their author had no volition; his nature, his inner he to come upon a musical gathering in this year of of some of Grieg’s pieces, even as the German critics as it is, and in something of the same mood, that “Your willfulness will retard your work many did against certain scenes ih Wagner’s operas. In the If we add to all this that rarest of qualities, a perfect self, his God, bade him, even as St. John was bidden grace after a century of rest. It is evident that this simplicity, far removed from all affectation and pre¬ Oslerian song by Brahms called Mif viersig Jahren months, add much to the amount of practice required meantime most of ns have learned to appreciate realism “to hear and write what the Spirit saith to the is a song for a man. possessing a bass voice, even of you, attd edit you a good many dollars to cover the tense to obscurity and far-fetched novelty,” etc. . . . (At Forty Years) cannot compare to The Wanderer in though in his final edition the composer has given a ill music and to understand that a peasant dance is originality or power; and, notwithstanding its lofty Churches;” and for that reason, and that only, have all ground we have already been over once quite _ care¬ “I trust it will not appear like self-glorification that choice note an octave higher. The Wanderer sung necessarily wilder than the tuhes of our own ball-rooms. beauty at the end, borne of the smile begotten by the really great works of art .in whatever field been recog¬ fully. If*you go to a doctor and obtain a prescription, my dithyramb in praise of Grieg precedes the statement by a lighter voice and in a higher key without the Very much, of course, depends ort the performance. . .ope that beyond the Valley of Shadow those illumin¬ nized as such and preserved. Those who have ears to it is necessary that you follow the doctor's orders in that our natures are closely allied. Speaking of Grieg’s final low tone produces disappointment comparable to When Grieg himself plays these pieces a cultivated audi¬ ated peaks stand at the entrance to a land where sor¬ hear and eyes to see know, beyond peradventure, their the manner of taking the medicine. His position is my high qualities, I do not at all wish to impress my value, their Gospel truth. that experienced upon hearing a fine talking machine ence is as thoroughly enthralled as are the Northern row shall be no more—yet, for some unexplained position exactly. Unless you can place confidence in readers with the notion that I am endowed with an record played by an inexperienced person at a revo¬ peasants by their fiddlers. Extremes meet. Liszt was reason, inherent in words or music, or both, The Wan¬ History of the Song my judgment and will follow my directions implicitly, the first pianist who showed that an artist who plays equal share of them. I leave it to others to decide how lution of the disc more rapid than that at which the derer has lived in the minds of millions of music- The Wanderer is No. 1 of Schubert’s Opus 4, which I can do nothing for you.” without his notes is much more eloquent than one who n j am lack'n£ *n all that Grieg possesses in such song was recorded, and that such a thing is possible, . abundance, but I cannot help stating the fact that he lovers for a century, while At Forty Years is known contains, besides Werner’s Morgenlied, the lovely set¬ MORAL.—Select the best teacher to be had: obtain to hut few. seeing that it is so easy to avoid, is nothing short 1 Cited from Dr. von Ravn's excellent article on Scandl- ®xel'clses_ and has exercised some measure of that at- ting of Goethe’s Wanderer’s Nachtlied. The first draft of an artistic scandal. a clear understanding of his directions, and then follow Schubert was indeed the first and greatest of the navlan music and instruments, in the supplementary volume tractive force which always drew me towards the gifted of The Wanderer, which differs little from the ulti¬ The approach of a student to The Wanderer both them itt letter and in spirit. to Mendel’s “Musikaligches Cottvei-Bations-Lexlkon.” Norwegian.” song-writers of that period of Teutonic development mate shape in which we know it so well, was originally artistically and psychically, should be a very serious 799 THE ETUDE 798 THE ETUDE • this song must be sung with great fullness n°I.eSr ih The accompaniment here and for sixteen The sun cold, the leaves are sere, one. The accompanist, as in all real music, should nnd dfferward to the double bar should be played very be a fine musician, carefully chosen to perform in re vain, and sad and drear. barsafterwa • ancl vvjth parttcular regard to DER WANDERER such a noble co-partnership. Indeed, an instrumental¬ Alas, things ; what they seem, TtJss and its relation to the voice part in which the English translation THE WANDERER ist, to the shame of many a singer be it said, will And life is empty dream! by u r , i Wlody must beautifully be sung. usually be found to be a better musician than the aver¬ DAVID BISPHAM Poem by Schmidt von Liibeck Frnm dhe words ‘Teh wandle still,” with which the age vocalist, no matter with how good a voice the Where art thou, where art thou, my beloved home? ■ 1 „;ns the voice should assume a slightly FRANZ SCHUBERT, Op. 4, No. 1 latter may be gifted. But supposing both to be able Thou ’rt sought for and longed for where’er I roam. exponents of the literature of song, to the lot of the me’°dy cllaracter for it will be observed that unul the pianist falls, in this instance, one of the finest of pre¬ The land of hope where flowers bloom, hS T “ mmer wo,” with which the phrase ends, the ludes; six bars in length, neither too long nor too Where friends abide, and naught is gloom; 7e°:tamZertexture, the .vocal _ quality, .the average ’considerably higher than that of short, perfectly simple, and exactly stating the mood Where my beloved dead arise of the poet and of the composer in prefacing the And seem to live before mine eyes! Ihe phrases ^hTch^mVetoidyprecede or follow it. In- tne f . . _ sounds flipthe heights and depths of vocavocal song. It may be noted in passing that Schubert, in ) p3 3 3 3 common with most of his confreres, designated his The land that speaks my native tongue fbilffy!handS

800 THE ETUDE

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802 THE ETUDE MERRY HUNTING PARTY WALTER ROLPE Tempo tli Marcia Hunter’s Horn

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ma? GUY Prize Composition 0-' —= FROM THE GOLDEN AGE 1 fcv- Etude Contest GAVOTTE ROBERT PICKARD

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British Copyright Secured THE ETUDE 819 818 THE ETUDE

YVONNE ERNEST H. KITTREDge

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VERDI “RIGOLETTO” PAUL LAWSON Allegretto M.M.JE138

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playing Ne’er one way swaying, Each whim o - worn-an bendeth, Woe who de - pendeth On joy she spendeth. Yes heart of ev - ’ry way bend-eth. Woe who de-pend-eth

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A History of the Pianoforte in a Nutshell

The pianoforte is the result of an evo¬ Thomas Hitchcock, in 1703, made a lution having its beginning many cen¬ great advance by giving them the wide turies back. The very first stringed instru¬ compass of five octaves—from G to G— ment was possibly some form of the with a very fine keyboard. The sharps ancient lyre, associated with poetry and inlaid with slips of ivory or ebony, ac¬ Greek history, although the instrument cording to the naturals. Player Qrand PIANO originated in Asia, not . The num¬ Many attempts were made to increase ber of strings varied at different epochs, the resources of these instruments, one Musics Achievement and probably in different localities, four, of the most curious being that of combin¬ CROWNING seven, and ten being the favorite num¬ ing two harpsichords in one, having two All the richness of tone, all the musical values that have bers. They were used without a finger¬ actions, two sounding boards and sets of established the pre-eminence of the 50-year-old Kranich & board. Nor was a bow possible. The strings, and two keyboards, related like Price $1,250 Bach Grand Piano are embodied in this new instrument— plectrum, however, is thought to have the only Player Grand that satisfies the cultured musician’s those of an organ. (F.O. B. New York) been in use at all times. It was held in demand for tonal beauty and artistic playing possibilities, the right hand to set the upper strings in ' The Advent of Cristofori and that also gives to the novice motion, the fingers of the left hand touch¬ The pianoforte proper was not the fascinating joy of playing ing the lower strings. vented until 1711, when a Florentine ood music without practice. Next came the monochord, invented in mechanic, named Cristofori, invented the Write for full description. the sixth Century, B. C., by Pythagoras. Forte-piano, called so because of its c KRANICH & BACH It consisted of an oblong sound box, with pacity of being played loud or soft. one string stretched across it and a mov¬ This invention was taken up imme¬ able bridge for dividing the string. It diately in Germany and improved, and was used in the eleventh century in sing¬ in England the iron tension bar was intro¬ ing schools, to teach the intervals of the duced, giving a greater solidity and re¬ plain-song of the church. Jean de Muris, sisting power to pull the strings. They • 1323, teaches how true relations may be were still small and strung with fine found by a single string monochord, but wires, but there was, however, a tendency recommends a four-stringed one, properly toward increasing compass. a tetrachord, to gain a knowledge of Between 1808 and 1827, a great many unfamiliar intervals. improvements were made. Sebastian Still later there came the Arab-Sautir, Erard, maker of the first square piano, a trapeze-shaped instrument composed of patented his grand action (which still re¬ a solid frame, sounding board and metal mains a model of what piano action wires struck with hammers held in the should be). The stringing was made heavier and the hammers proportionately A keyboard of balanced keys may have stronger and the power of tone greater. been, first introduced in the little portable Thus the instrument became ready for the organ, known as the regal, so often rep¬ great pianists, Liszt having made his ap¬ resented in old carvings, paintings, and pearance in Vienna in 1823, and within stained windows. It derived its name, seven years after, being generally recog¬ regal, from the rule (regula) or grad¬ nized as a phenomenal appearance in art. uated scale of its keys, and was used in Meanwhile, great improvements were ■ giving singers in religious processions the continually carried on for the purpose of note or pitch. rendering the instrument impervious to More strings were added to the mono¬ the forcible attacks made upon its stabil¬ chord from time to time, and possibly in ity, by these new virtuosi. Mathews says: the fourteenth century, the clavichord was “In the early appearances of Liszt it was finally invented. Black and white keys necessary to have several pianos in re-' were added, but the principle of the serve upon the stage, so when one ham¬ action remained the same as the mono¬ mer or string broke, another .instrument chord—the hammer simultaneously sound¬ could be moved forward for the next ing and dividing the string. Next in line came the virginal, having the same prin¬ ciple, but being a parallelogram in shape The American Piano and having a projecting key board. The most important improvement in the From all the various forms, two main solidity of the piano came in the iron instruments developed—the harpsichord framework. Babcock first introduced and the Spinet. The first harpsichord this and it was later perfected and pat¬ was made about 1400, springing from the ented by Conrad Meyer, of Philadelphia, clavichord, but consisting of a separate in 1833. Meyer’s idea was again im¬ siring for each sound, the keys instead proved, and applied to the grand piano as of setting in action a device for striking well as tire square. This brought the and, at the same time, dividing the strings, principle to a high degree of perfection, causing the strings to be plucked by quills, establishing it by the independent con¬ thus giving not only an entirely different struction of the American pianoforte. quality of tone, but the pitch of the string In 1855 the first overstrung instrument remained unaltered. was exhibited in which the bass strings are carried over the treble, thus affording Spinetus of Venice more latitude for vibration without inter¬ The Spinet was first made by Spinetus, ference. Vcn.ce, 1500. It was on the order of the The chief centers of pianoforte trade harpsichord, only the case was square and are:—London, Paris, Berlin, Dresden, the strings ran diagonally instead of Hamburg, Vienna, St. Petersburg, Brus¬ lengthwise. Sometimes strings and sound¬ sels, New York, Boston, Chicago, and ing board were arranged perpendicularly Baltimore. and this was called a clavicitherium. It may be interesting to note here, that -jy instrument u There were three sizes of Spinets. up to 1700, the system of playing the is guaranteed against or rne , (1) Ty/o and one-half feet wide—tuned harpsichord did not make use of the mechanical defects. tainable to Chapel pitch (one-half tone above pres¬ thumb, also, that the first published work A • , , , THE STYLES ARE: no beli ent medium pitch). on piano technique and fingering was by American Maelzel with door attached .... «2 25 (-) Three and - one-half feet wide, American Maelzel with detached lid . ’ ? 25 C. P. E. Bach, in 1751. No finer piano¬ French Maelzel with detached lid . 2 50 tuned to the fourth below. fortes are made in the world than those J. T. L. (Best) French Maelzel with detached lid' ’. 3 00 (3) Five feet wide, tuned an octave be¬ made in America, and the volume of busi¬ PRICES NET TRANSPORTATION ADDITIONAL DISCOUNTS ON TWO low the first. ness done in this industry is prodigious. __THEO. PRESSER CO., Philadelphia, Pa.

n THE ETUDE when addressing our advertisers. THE ETUDE 829 828 THE ETUDE

Do Business by Mai SCHILLING’S LATEST PUBLICATIONS Clara Schumann’s Compositions Reviewed by Her Husband the tippet T«Snot. Tones arid Hole firtry Tenor Way Atqtlirt The age in which Clara Schumann must know that this is no- mere bridal fomEh^buitd solidly. Choos. j others desired. and seitfiitilk esemsts, first pari 25 cents ; second part lived was not propitious for the woman compliment. He places her here so e y $1.00; third pari $1,00, Apron Mfrs. Wealthy M« The tipper Soprano Tones arid Hdw Every Soprano may composer. What George Bernard Shaw account of the actual worth of er a ’ Cheese Box Mfrs. Ice Mfrs. Department for Singers Acquire Them to lllgli *V* above, without strain of Shoe Retailers Doctors effort by unique and scientific exercises #1.00. is pleased to call “middle-class morality” a worth which he certainly did no ov Tin Can Mfrs. Axle Crease Editor for November, the Noted Voice Specialist Diaphragmatic Breathing and fhe fixed High Chest was rampant, and the woman who dared estimate, though he refused to a ow 1 Druggists Railroad Ei GEORGE CHADWICK STOCK Position; $0 eeiits. do anything but cook and sew and gos- he under-estimated or suppresse > i Contractor Easy arid Natural Method of Sight-Singing, 50 cents. unplete book of The Department for December will be Edited by Perley Dunn Aldrich Ear Training. Invaluable fo Sirigefs, Students of String In¬ sip about her neighbors was regarded as which he considered it his duty to ^ os_ e > struments a ml! Musicians •" Get -ral. Sample copies, 10c. Voice Placing for Stagers and . Speakers. Published -fanglcd and suspicious character, although in this matter, as in her p.aying. March, 101#, These mfciscs Kfive' bceri used from In proof of this we have Mendelssohn’ -ic vvaa forced to resign himself b maiiUscHpt by the 6Uth0f’§ stiidcrit^ahd found unfail- prudish objections to the appearance tain degree of helplessness in^the ^face voice, orwsr 811 eveopm8a All the Articles in this Department are front the fen of George Chadwick Stock print oi nis sister nanny s compositions, ofv, external&*-!.=***«* circumstances.—-- , Ross-Could W. P. SCHILLING, Vocal Teacher print of his sister Fanny’s compositions, _ IVIc.ilir.fi ■ Chapped skins prevail now. Ruined i with the result that many of the Songs writes in February, 1843 (during ner I complexions will result with slightest I Without Words published under his visit to Dresden), ‘has written a number Lists S*. Louis The Ethics of Vocal Teaching I neglect. Your skin must have the | are really her work. of smaller pieces, which show a musi¬ “Guiding Thoughts for I absolute protection afforded by , philosopher-musi- cianship and tenderness of invention such These is an opinion prevalent among Under such a trial, with scarcely any ex¬ powers td the Uttermost. Make it clear n that he was, had no such respect for she has never before attained? Make Your Boy Happy many people that it is unethical for sing¬ ception, the singer reveals whether or not to him that he can accomplish very desir¬ Gouraud’s by ariving him this splendii iventions. He boldly married a woman- children and a husband who is always liv- ing teachers to accept any one as pupil he possesses: able things. Singers” pianist in spite of her father’s opposition, ;ng ;n tjje realms of imagination do not who has not given unmistakable evidence First—A musical ear. C. The person who sings crudely but By George Chadwick Stock Oriental Cream | and actually encouraged her go well with composition, of possessing voice and talent for singing. Second—An artistic soul. with music and sympathy in his voice. It It not only stands between your music despite the fact that she v work at it regularly, and I a As a matter of record, kept hy myself Third—A normal and responsive vocal is perfectly right for a teacher to encour¬ “It is Excellent!’ beauty and the weather but, renders I as a virtuoso pianist and teacher, and turbed tQ th;°k how many tender ideas for many years, I find that the number mechanism. age this one, for if lie have the other —DAVID BISPHAM to the skin a soft, refined pearly- [ despite the fact that during fourteen are lost because she cannot work them of those who study singing simply for the The degree in which these attributes qualifications, enthusiasm atld the spirit to $1.00, POSTAGE PREPAID white appearance. years of their married life she bore him ^, pleasure they get out of it and ill turn enter into the singing is indefinably com¬ work, he can certainly learn to sing well A Dollar Bill will crime through Safely Send 10c. tor trial size eight children all but one of whom sur- 0 „B ceased tQ st;muiate and can give to others, is constantly increas¬ municated to the teacher before whom and may even attain considerable artistic ADDRESS ■. HOPKINS & SON, 37 Great Jones St., New vived him. In the Book of Projects . .. , « :„a^a ing. the singer is on trial. At the conclusion excellence. GEORGE CHADWICK STOCK (in which December, 1840. Schu- encourage her; stimulating her indeed The number of those who study sing¬ of the singing his opinion or judgment of Class 2. The person who, under' wrong a • - - - until he enticed her into following ms VOICE STUDIO, Y. M. C.A. BUILDING □ mann had been in the habit of making en¬ ing with the idea of mak’ing it remunera¬ the singer's capacity has been uncon¬ guidance or misapplication of principles, path with him. It was, therefore, NEW HAVEN :: CONNECTICUT tries ofoi vanousvarious kindsKinus concerning hisnis ar- . 1 tive is still in excess of the other class. sciously formed, and a measure taken of finds himself in a eul-de-sac Instead of life and work), Berthold Litzmann fiuite natural that on Christmas ti Nevertheless, were it not for the non- the triangle of attributes above men¬ being on the broad highway of artistic Clara’s gift to him consisted of ti his Clara Schumann “the list of professional student, an important source tioned. The points from each side of achievement. ‘Leipsic composers,’ which begins with three songs which ‘with the utmost mod- MONEYwPLEASURE j of the income of a singing teacher Would this triangle have somehow focused Into This class includes a variety of types, 1 MAKING* MUSIC ROLLS -""l 0* W Mcndelssohn, contains the name of Clara esty’ she had dedicated to her beloved be seriously curtailed. each of absorbing interest to the teacher ’ Would you like to study Elocution f ' Schumann. Anyone knowing Schumann Robert.” Leabarj an Perforator | r We will give you LESSONS by MAIL and teach you I This is particularly true in cities and of singing. Here We have presented I jhri rift of Public Speaking, Dramatic Reading and I towns of smaller Site, where the oppor¬ singer after singer, unquestionably in the I Entertaining. Elocution will make yritl popular and I yoti money. With our lessons mothers can I tunities for turning vocal accomplish¬ possession of voice and talent but ham¬ teach thefr Children to Recite. Only the best litera- I Making Sure of a Piece After Memorizing ments into money are rather limited pered and confused by the lack of aim, As a matter of further record, it is lack of concentration and lack of judg¬ I ilfT* ^CnC* ^ Cent stamp *or Sample [ found that persons apparently having lit¬ ment of their own as well as o£ their I THE Merrill "school of expression, l, By Grace White tle talent for singing in the beginning of teacher. Subscribe for "Christensen’s Rag. training have, through diligent and pains¬ A generous allowance of tlirie, and time Review." A monthly magazine IB taking work, become good singers. In Most, students know the need of slow and that passages which before were devoted to Ragtime and popular music. II great patience, is required to lift these NEW VOCAL MUSIC “ON SALE” more cases than would be imagined, such unfortunates from their bewildering con¬ Have yriiir fifime entered for the receiving rif i practice when starting to work on a new clear are blurred. few Small packages of new music ON SALE during study or piece, but some do not realize In order to avoid this experience, fre¬ Students have achieved a very generous dition. The state of mind of these sorely the prdfeSStofidl Season, nri guarantee as to amount quently play the composition very slowly share of distinction as singers. In the perplexed singers oftentimes borders on to be kept) discount the best Obtainable; the only the value of slow practice from memory respoflsfbifity the small amount of postage; returns after the number has been worked up to from memory. Observe as far as possible face of such ultimate results, it can be tile -tragical. Nothing whatever can be of tiriiisrid music to be made oriee each year; a pos¬ seen how grave an error it would have accomplished until the teacher has gained tal card will Stop the striding any time. Thousands the given time. To have absolute control all the marks of expression just as you been to dismiss of discourage these appli¬ the absolute confidence of such student. Of teachers receive pteflri mtislc from Us iti this way; one must be able to play a thing equally do when you play it rapidly. Doing this PAPA or MAMA they say It is most eeffiveritefit to have 8 of 10 new preserves, in one’s thought, the order of cants for vocal study. After such a relation has become estab¬ compositions coming along from time to' time. We well at a fast or slow tempo. When one send piano, vocal, octavo, Violin and organ fiitiSic fingering, and gives him a clear and cool In view of the above outlined situation lished a start must be made virtually in this way; any or all to responsible persons. thinks he knows a composition thor¬ survey of all the details. Then when one in which a teacher of singing constantly from the most rudimentary principles ia THEO. PRESSER CO., Philadelphia, Pa. oughly, perhaps after he has played it in again plays it in time it is with a stronger finds himself, it is quite in order briefly order to eliminate and overcome all influ¬ public a number of times, he sometimes •feeling of assurance and with a renewed to review the salient points bearing upon ences, habits and tendencies of both mind discovers that the fingering is complex sense of power and control.. LITTLE1FOLKS^0 * Etept” V** sSem^ Mais. the matter. and method of work not conducive to the D. A. CLIPP1NGER A teacher of singing has no more attainment of the desired result. The author of Music typography in all its Branches Serious problem presented to him for greater the ascendancy of the master over Systematic Voice Training Miss George’s Failure U HYMN AND TUNE BOOK PLATES ' solution than that of taking the measure, the pupil, the more rapid will the And Other Book* on the Voice cither of a beginner’s voice and talent of progress be. The Solution of the HEAD VOICE siDudley T. Limerick that of a singer of more or less expe¬ Class 3. The person who is able to sing George Chadwick Stock. 414-415 KIMBALl'HALL, CHICAGO, ILL. A Valuable Piano By Claude Eager Johnson rience. The situation is filled with poten¬ scales with tolerable facility and good tialities. It is one of the most interesting musical tones. Such a student is deafly the voice heard by the teacher. He has phases of studio life as it is also one of entitled to words of encouragement. The for Music Teachers ‘I just hate-to go to my music lessons refined,, but her pupils are her pieces of vital import to the person on trial. listened to this Composite sound and teacher is fully justified hi advising him F. W. WODELL through the medium of a sensitively keen, Specialised in this year!” exclaimed Marjorie Wilkins calico as soon as they enter the studio. The teacher is expected, for instance, to take singing' lessons. The music teacher will find her in¬ sympathetic and prophetic ear he has felt gathering up her music in the living They are individuals no longer. She in the case of the prospective student, to Class 4. The person who cannot sing Voice Production and Singing in English terests best served by a rich-toned “THE HOUSE THAT HELPS” whether or not the singer is in possession piano because of the greater expression doesn’t care for us and we feel it. She give a just estimate, clearly defined, of tones correctly, but yet Is able to sing (Oratorio and Concert) SELLS of the main requirements of’a singer. that it yields. For not only is such a “Why, I thought you loved your music, doesn’t study our personal talent .in the an undeveloped voice and an untried, with musical quality of voice any tone Plays, Songs, Operettas, Drills, Pageants, Folk 606 Pierce Building, Copley Square, BOSTON piano an inspiration to herself, but dear.” Aunt Ellen’s tone expressed sur¬ least. We’re just her class and it’s kill¬ Songs and Dances, Special Day Material, Etc. unknown individuality; in the case of The trial being over, the next move is given from the piano. This individual is also it produces a finer appreciation ol prise. Marjorie had always been the ing all the music in us. I'm not the Our Help-U-Cata!og sent Free Singers, a comprehensive statement of his for the teacher to tell what he thinks of simply lacking in actual singing experience. musical expression in the pupil. “brag pupil’’ of her school and devoted only one. All of us feel it. ELDRIDGE ENTERTAINMENT HOUSE or her vocal condition and artistic re¬ this singer’s possibilities, judged by what The voice as a musical instrument is to he has heard. The various classes of The HADDORFF Piano is pre¬ to her piano work. “We don’t want to be petted and nursed FRANKLIN, OHIO sources, The greater experience a teacher him a novelty. A short period of vocal E. PRESS0N MILLER which a teacher is expected to give an eminent for its tone richness. Owing “I do love my music but I fairly de¬ and coddled—not that but we- do want possesses, other things being equal, the study will undoubtedly demonstrate his TEACHER OF to its special sounding board — the spise Miss George. Why, Aunt Ellen,” some human interest in us, some sym¬ nearer will he come to making a correct opinion and outline their future possibili¬ fitness for continued vocal training. KIESLING’S TEACHING PIECES “Homo” Vibrating Sounding Board— declared the unhappy girl, “she treats all pathetic chord struck. Why doesn’t diagnosis of each case. However, before ties may be enumerated as follows: Class 5. The person whose voice has it possesses a great wealth of tonality, SINGING her pupils just as though they were so she see that what suits Ephie would proceeding further it will be to the advan¬ Class 1. The person who is able to sing apparently been irreparably injured. It is equally beautiful in loud and in soft -songs. *26 Carnegie Hal! New York City passages of music. many pieces of calico cut off the same sound stale under my fingers and the tage of the reader to have a definite cri¬ wholly desirable for a teacher to offer to pattern and every piece had to become very piece that might bore her would terion by which individual cases are to be This class may be subdivided under the do his best for a singer thus afflicted. If The HADDORFF tone is also a yard—no more or less—just one yard, thrill people when played hy me? If judged. following heads: ’ after a short period of the most careful notably pure, sweet and of good sus¬ she’d only say some day. ‘Ephie, this will A first judgment of a singer—opinion A. The person who sings with splendid work the voice fails to show improve¬ WALTER L. BOGERT taining quality. The HADDORFF is KIESLING, Composer, 1035 Giles Are., Brooklyn. N. “You know I have a short, thick hand suit your style splendidly,’ or ‘Marjorie would be a better word—is necessarily voice, sympathetically, expressively, and ment, then the lessons should stop. A President National Association Teaeiers of Singing excellently made, of the best piano we’ll skip this for you understand this in a musicianly manner. Other things be¬ President of N .Y. State Music Teachers’ Ass’n, 1913. m aterials, and may be had in a num¬ and Ephie has a long slender one, yet she based almost wholly upon the voice itself throat that is really injured will not be Member of Eiiffiinifig Committee. ber of charming case designs. gives us identically the same technical principle thoroughly,’ we could make real and so an immediate opinion, though ing'equal, It is safe for a teacher to prog¬ helped by singing. strides but as it is we don’t move an studies for no reason in the world ex¬ Kindergarten Material valuable, can never be exhaustive. It nosticate an eminently successful career Class 6. The person whose age pre¬ TEACHER OF SINGING Valuable catalog on inch. She destroys every particle of the Secures and holds the child's Interest. 5 cept we both do eighth grade. matters not who is doing the judging; the for such an one. Among “other things" cludes the possibility of any great vocaf No. 114 West 72nd St., NEW YORK CITY personality I have as long as I’m in her Color Bird Scale, Staff Peg Board, Folding Mus “Aunt Ellen, it simply isn’t right. She Boards, Keyboard Diagram and mam other a best expert id trying voices will, in many must be a generous allotment of willing¬ improvement, but yet is able to achieve presence and I almost lose faith in my ness to work. doesn’t have any human interest in the tractive things. Send for Catalog. cases, fail to discover resources kept in certain modest artistic results. If this Italian, French, German, Spanish jjj Haddorff Piano Co. really having any long after leaving her. DANIEL BATCHELLOR & SONS the background through nervousness and B. The person who sings with good applicant for vocal lessons can afford to world in us. We aren’t individuals to her -I do hope she won’t be re-elected 1” R. F. D. No. 1 - - Chester, P< N 115 Ethel Street, Rockford, at all, just pieces of calico, She merely distracting influences of a more or less tones, treats the- text intelligently, the study and desires to do so, there is no And out went the hungry little human trying situation. The most satisfactory music mechanically correct, but is lacking feason why he should not be accepted as LA nIuAGE-PHONEMETHO D had us through a test at the opening, being to the music teacher who thought Praetieal Linguiitfy i GRANDS • UPRIGHTS • PLAYERS way to examine a voice is to hear a Song, in sympathetic quality and temperament. a pupil. It is rather pleasant work to then placed us in our ‘grade.’ She’s as her simply a piece of calico to be made A Hairless Face but in the absence of ability on the part If this singer is enthusiastic and anxious help a person to please himself and maybe pleasant as can be socially and nice and over into a yard. over, muftyotai how it, fis'lS'ffSaJJSf owu of the applicant to sing one, a thorough to get ahead it is clearly the teacher’s also others. mention THE ETUDE when addressing trying out in tone work will answer. duty to encourage him to develop his Class 7. The person who after several onr advertisers. TBE LANGUAGE-PBOfiB 2 W 45th St,, H.T. Please mention the etude when addressing

unable to sing at all. There is ^t °ne attempts finally succeeds in singing a and in her life. However much of a artist’s feet, but they remain forever as decision to be made in such cases. given tone in tune, the failure to achieve BOOKS FOR YOUNG PEOPLE tragedy it may seem for a great artist to bright and inspiring as when the magic correct intonation being due to physical Thumbs down 1 , , r die at the zenith of her career, its com¬ voice first brought them into existence. The majority of those who apply Jot pensating effect is to be found in the The following verse from a poem writ¬ imperfections that may be overcome. voice trials will come under some one or THE A B C OF PIANO MUSIC Persons in this class are not likely to do memory of an artist who leaped from ten at the time of Parepa’s death comes the above-named classes. There is, ow By MRS. H. B. HUDSON the highest earthly pinnacle into the great much at singing. If they love the work Price, SO cents ever a type that has been omitted. A beyond. connected with vocal training they are en¬ A little book, which is Intended to ore- singing teacher very often has to contend No memories are tinged by regret at Hushed now the voice for Earth, titled to utmost consideration. A con¬ —- piano method. It is lias ’ with an attitude of mind, on the part of ciple of familiarizing the waning powers, the struggle against the Yet the heart of memory will scientious teacher will do everything in - keys before taking m> certain singers on trial, which is 1 >- tooth of time, the lessened esteem of a Breathe ever tender tribute his power to develop the usually limited HPR_R| _r the band has neen suit of the influence of well meaning but shaped and placed upon the keyboard, world that has lain spellbound at the To the voice to us st> still. talent that he finds. If the results are unfit advisers. As a result of false the young student begins playing at once playing from large capital letters ini pleasing and satisfactory to the person be¬ notions propagated as true this singe stead of from notes. ing trained, the teacher will, in this, find over-rates his abilities. When, for the justification for having accepted him as first time a just estimate of his vocal MUSICAL FAIRY BOOK Points From a Voice Teacher’s Pad qualifications is given him and that esti¬ Treble Clef Pieces (Grade. 1-2. Op. 586) It is much better for beginners to have Tremolo is largely due.to the lack of mate places him on a lower level than his By ARNOLDO SARTORIO Class 8. The person who sings in tune tone light and right than to have it own opinion docs, he either listens Price, 60 cents proper firmness of action of and within and with musical quality of tone, but be¬ strong and wrong. incredulously or resents what is told him. These tuneful little treble clef pieces the larynx. cause of nervousness or stage fright with ire intended to illustrate, musically, tli A well-prepared student is ready with If his feelings are really those of resent¬ ,-iii-ions fail}' tales. Naturally they aiv The too frequent yelling, screeching and Ingtam’s pitifully weak and spasmodic voice. Such the question, a well-prepared teacher is ment, he usually goes to some other ill easy to play and suited to voirne struggling to get high notes should be applicant can undoubtedly learn to sing, iludents. They are accompanied bv ready with the answer. Milkweed Cream teacher. If merely incredulous and he u-oper texts, which may he sung or re- and should be accepted as a pupil. The aim of both teacher and pupil emphatically siienced. has a good share of common sense, he •itod. An excellent book for kinder Class 9. Persons with immature voices. -arten work. should he to develop a perfect scale of Be careful to “sustain the line of ex¬ thinks over the matter and not infre¬ This class touches upon voices too young pression.” and tender, especially throughout the quently comes for lessons to the man who TEN FIVE NOTE RECREATIONS Strive for one good tone and you may A good rule for singers is to breathe in period of adolescence, to stand any other told him the truth. By MRS. C. W. KROGMANN gain many. Strive for many and you There is always, of course, the chance Op. 110. Price, 75 cents and tone out. than the most gentle treatment. If such may gain none. of a teacher’s making a mistake in judg¬ Throughout all the pieces each band Get your lower and medium tones riglii voices are accepted, they should be led lies In the ttve-tlnger position. In spite The acme of good voice training lies in ing a voice at the first hearing. Hence a into right ways in the gentlest manner. A of the technical limitations that this learning to sing as unconsciously right as or you will never successfully get your second trial is very often advisable. It is places upon the composer, the pieces will teacher who is in doubt about how' to you formerly sang unconsciously wrong. high ones. Foundations are never laid at always a matter of lasting satisfaction to lie found to he decidedly interesting and train such voices should dismiss them. attractive. They are in various charai Do not put any more pressure of breath the top. All proper, construction is done deal justly and honestly with everyone. teristlc rhythms, and each piece Is ai The ignorant handling of a young voice on the larynx than is required of it by from the ground up, is much more likely to work injury to a The giving of an honest opinion mav the tone being sung. A good rule for singers is to do what young throat than the same handling sometimes lose a prospective student, but Every singer has dark periods of dis¬ you want to do wilhout scheming about would to an older one. it has no derogatory influence on one’s THE VERY FIRST PIECES couragement, but when these periods are how to do it when you are doing it. THE GIRL with beautiful wavy hair is always the target of admiring Class 10. The person who is utterly Price, . glances, both in public and among her friends. The attainment o£ just You Can Look This is n collection of the very easiest darkest it is a sure sign of a coming rift In teaching a young singer, both master pieces. The first pieces in the book lie in the clouds through which light will and pupil should be content with a little such hair is very easy with Years Younger entirely In the treble clef for both hands, n few being In the flve-IInger position In soon break through. improvement at each lesson. It is impos¬ ' these pieces Go over songs and vocalizes mentally. Parepa-Rosa Is a little n iislcal gem \t__ sible to do everything perfectly in one to please n id Interest the pnpil. The Sing them over voicelessly. Endeavor to lesson. Many wrong tones are bound to CANTHROX On a memorable occasion in my life ’ various styles and the col- sing with audible voice as freely as the lection c! refillly graded. creep in. If they don’t, why the lesson? t is not a makeshift, but for head washing only many years ago my father, a lover of parents wisely cherished their daughter’: Remember that there are learning ifyingf shampoo, rapidly softens and removes dandruff, Exercise your voice correctly and your good music, said to me: “Tonight we are unusual gifts, and she began lessons ii PUSSY WILLOWS AND OTHER levels. The extreme heights of artistic irfectly liealtliy scalp^vvliich will naturally produce atti throat strengthens; wrongly and it to have the rare privilege of hearing an voice and piano at an early age with the NATURE SONGS es each strand with a silky luster and softness that weakens. proficiency can only be reached by step¬ artist." best masters. In 18SS she made a suc¬ By JOHN B. GRANT ping up one level at a time. The word artist was spoken with an cessful debut in England. This broughl Singers, for their own peace and com¬ Price, 75 cents If the work done by the throat and 15 Exhilarating Shampoos for 50c at Your Druggist’s emphasis and inflection that excited my her into immediate notice, and she soor Twenty-eight little songs, easy to all fort of mind, body and soul, should pur¬ breathing muscles is correct—flexible, This Is about three cents a shampoo. No good hairwash costs less; none is more easily curiosity, and I immediately asked what achieved distinction and widespreat and easy to play. The melodies a sue that line of work to which their used. Just dissolve a teaspoonful of Canthrox in a cup of hot water and your shampoo bright and pleasing and Just in the rigl. voices and talents are best suited. ■ elastic and automatic—the singer’s tone the word meant. I remember my father’s popularity, being hailed as the lyric at¬ compass for the child voice. The verses All vocal work should be increased and manner will reflect this correct and 1Steady' FREE TRIAL OFFER reply. “An artist,” he said, “is one who traction of the day. Until 1859 she sang are mostly original, other than a selections from "Mother Goose." gradually in difficulty. comfortable action. effective hair wash, we will gladly send one perfect shampoo free to any address^ is thoroughly qualified by nature and with notable success at nearly all the H. S. PETERSON & CO., 212 West Kinzie Street, Dept.90 , Chicago, Illinois thoroughly prepared by art to sing. chief events of England, and in 1860 she MUSICAL ZOO DOSSERT Parepa-Rosa, whom we are to hear this began her career in opera. Eight Piano Duet. forTeacher and evening, is an artist." Parepa was twice married. First tc By D. D. WOOD Overcoming Difficulties in Pronouncing Consonants VOCAL STUDIOS I recall with what ardent expectancy I Captain Carvi'l, an officer in the East In¬ Price, 75 cent. These remarkably Interesting and char There is no more practical way of ever,, the'enunciation of consonants calls MR. & MRS. FRANK G. DOSSERT went to the opera house to hear the dian service, who died in 1C55, and after¬ overcoming the difficulties of enunciating for refined instead of exaggerated dis¬ Formerly of Paris—Now in New York famous soprano; that it was also my first ward to Carl Rosa, a well-known violin¬ dm _jf liei _ consonants than in actually using them tinctness. An artistic singer can and does experience of hearing an artist. When ist and impresario, who survived her. Ir In the tirst seven_. . Suite 1204-1205 Carnegie Hall "Vowels continue as long as the voice make consonants clear and unmistakable the moment arrived for Parepa-Rosa to 1865 Mme. Parepa came to America ant the ITimo part, beginning with the right Residence Studio hand alone In -linger position, and holds out, the vibrating air being vari¬ without hindering the legato play of the appear on the program there came on to her subsequent success is familiar tc then progressing liy gradual stages until No. 2 West 88th St. in the final duet the pupil, having begun ously modified, but never interrupted in tone. The conditions necessary for cor¬ the stage a large, motherly-looking many Americans who came under tin to learn the bass clef, plays the ~ ’ the resonator. With the consonants just rect enunciation of consonants are vocal Scholarship created by His Excel¬ woman, of noble bearing, well poised and spell of her entrancing art. lency Count von Bernstorff, German the reverse is the case. They are formed organs unhampered by stiffness of action, gracious in manner. I was at once most It is doubtful if a sweeter voice eve! Ambassador. JUVENILE MUSICAL POEMS by impeding or interrupting the stream of and a desire neither to overdo or underdo favorably impressed, and with eagerness fell upon the ear of mankind. In oratorio Write for Particulars air, and by narrowing the oral passage.” the work in hand. awaited the first sound of the diva’s voice. she was undoubtedly the greatest artist oi By CARO SENOUR A sudden silence swept over the great record. In opera she was not quite sc Price, n cents For the convenience of students a list Consonants at the beginning of words audience as the radiantly musical tones, This Is a collection of twenty-nine cf the consonants is herewith appended. must he uttered quickly and distinctly, successful, being hampered in most role ■hlldren's songs with words and mu*'- SHEA Lis THE redolent with soul stirring qualities filled ■by her unusually large size. Her voice >.v Faro Senour. These songs are Ii The consonants are divided into— joining the vowel without any appre¬ ONLY the spacious auditorium. Their thrilling ended for the sehoooi. kindergarten ai Labial sounds: F, V, W, P, B, M, besides being exquisitely sweet and per ionic. The composer has been very su ciable interval. A vowel leading to a final TO SING way mystical vibrations caressed with zephyr¬ fectly under control, was also of immens< •essful In Interesting >-0ung children, and and Y. consonant must he well sustained, not like lightness the sea of upturned faces, volume and power. '■■■“o songs cannot fail to please. m“ Dental sounds: T, D, Z, Th, S, C, permitting an appreciable interval to 545 W. 111th Street, and sinking deep into responsive hearts There are many people living todai and Sh. elapse between the ending of the vowel made in them ineffaceable and luminous Lingual sounds: L, R. and the beginning of the consonant. Mastering the Scales and Arpeggios “The Physiology of Voice who had the good fortune to be presen TOY SHOP SKETCHES A Complete Daily Practice Manual from the First Steps to Highest impressions. when Parepa-Rosa sang Rossini’s In flam Nasal sounds: N, Ng. In order to preserve the necessary Seven Characteristic Piecea for the Pianoforte Attainment. Everything Fully Written Out. Abundant Explanations. I was much too young and inexpe¬ matus at the “Boston Peace Jubilee ” ac Palatal sounds: K, Q, G, Cl, H, Ch, legato in singing and also be able to over¬ rienced to appreciate all of that evening’s By JAMES H. ROGERS X, and Y modified, for instance, as in come consonantal difficulties more easily By JAMES FRANCIS COOKE PRICE, $1.25 compamed by a chorus and orchest’ra o Complete, SO centa. Separate Number., 25 cento program, but I have never forgotten the the articulatory organs must move with ^ ORIGINAL FEATURES CONTAINED IN NO OTHER WORK ten thousand. I venture to say they wi’ An attractive little volume of bright indescribable loveliness of voice and the never forget the electrifying effect pro and snappy teaching pieces, profusely There ere a number of books that give utmost elasticity and freedom. Only then exalted feeling with which Parepa-Rosa duced at the climax of that noble tom illustrated in colors, and printed in large minute directions regarding the way con¬ will it he possible to pass from a conso¬ sang Handel’s imperishable aria, I Know sized notation. poem, when the voice of Parepa in all it Although easy to plav these nieces all sonants should be enunciated. For one, nant to a vowel and from a vowel to a That My Redeemer Livcth. The singer glorious beauty and magnetic power cool, have genuine muslcnl value. They are however, who is born to our mother- consonant with the utmost spontaneity Tonality Exercises. A new, p has long since passed away, hut the music from the pen of one of America's most be distinctly heard above the roar of th distinguished composers and lecturers, tongue the best way to become thoroughly and perfection of utterance. and message of that song still live and, subsequent scale practice far more eff.,.,,.,. chorus and the clashing of the orchestra Mr James IT. Rogers. Following are the accurate in enunciating them is studiously Most singers use a certain percentage Radiating Exercises. A system of introducing scale study based upon unive phantom-like, sing in the hearts of those titles of the pieces : Joliv Teddy Bears, gogical principles makes the study of fingering very simple. Mme. Parepa-Rosa’s last appearance it Toy Soldiers Parade, Dance of the Toys, to avoid indistinct utterance. In. plain of the consonantal sounds incorrectly. who were so fortunate as to come within Amenca was at the Academy of Mus Fairy Stories, Ilohliv Horse, Punch and words, get the right habit. The practical way to remedy this fault a rate of*1000 rotes" m?' A SySt<:m °f devclop,ng thc greatest possible velocity In udy Ieadi the sphere of their ennobling influence. Judy, Doily's Delight. m New York in 1873. Her death occur™ Every consonantal sound should he is to work away at the weak points until The Story of the Scale. Complete history r' J-—'- ' ... liningly... jy told.to! Mme. Parepa-Rosa was born in Edin¬ Complete Arpe-gios. All chords explained at her residence in London tv,..- i A complete catalor, of Juvenile J/iraicol spoken clearly in order that words be they become as automatically correct as lor expanding the hanc burgh in 1839. Her father was a Baron Publication* in „oir in our printer's bands night, January 22, 1874. hursda^ made intelligible. To master the dif¬ they were formerly automatically wrong. garded as “Standard” by the leading Conservatories of Wallachia and her mother was origi¬ and trill be rcadp for distribution “ Fame and fortune followed hPr n * "‘r‘ " bill- < send for pour copy)- ficulties of doing this take proper care in There is no necessity for choosing a ed by Rosei nally Miss Seguin, sister of Edward Bachaus, Gabrillowitsch, Liebling, Katharine Goodson and the world by right of emit, ^ a.r?unc enunciating consonants correctly on all time to practice perfecting the use of numerous delight Seguin, the celebrated basso. Parepa as All grades >ok. May ment, but her truest glory js that sh^lT"’ occasions. For certain dramatic effects consonants. Whenever you speak, read explanatory from cover to cover.' Interestingthroughc in the teaching year. Seif a child possessed a remarkable voice, to- •red he, professio^ the consonantal sounds are sometimes aloud, sing songs or think, endeavor to Please mention THE etude when addressing THE0. PRESSER CO., Philadelphia. Pa- THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. our advertisers. especially emphasized. Ordinarily, how- acquit yourself honorably on all points. Please mention THE ETUDE when addressing our advertisers. V THE ETUDE 833 THE ETUDE necessary, it is certain (hat he should Now, apart from the question of con¬ strive to learn its history, to recognize its scientiousness, and apart from the ques¬ You Can Weigh excellences, to acquire a right interpreta¬ tion of ejecent (I shall not say "good”) GUILMANT TWO PIANOS tion of its content, and to impart some art, there is the obvious danger that our Exactly What Department for Organists and Choirmasters instruction tp his choir jn the proper organist is living in a fool’s paradise. ORGAN manner of rendering it For his choir Instead of hiding, by hig fortissimo play¬ You Should The Editor ot this Department for this Issue is EIGHT HANDS ought to sing it sometimes, and ought to ing, the inefficiencies of his choir, he is in SCHOOL be able to sing it well. reality advertising those defects. The YoucanbeStreng, Rev. HUGH T. HENRY, LL.D., P I-11- S. He should study the rubrical direc¬ congregation, let us assume, knows little Vigorous—full of DR* WILLIAM C. CARL The following list Is a selection of the list Director of the liteiature for this arrangement for two tions respecting the use of the organ and about music, or at all events about the Life and Energy, pianos, eight hands- We shall a44 other its prescribed omission at certain times particular piece of sacred music that is how holding New Yerlt posl- i mm tiers constantly, including new composi¬ You canbe free o BtUekfitS sided ift SSeUfiflg positions. tions by the best foreign composers- and in certain seasons. He should also being performed by the choir. The peo¬ from Chronic Ail¬ Pieces of all grades are represented, so master the contents of the “Instruction on ple’s attention to the singing is not minute Seiid for New Catalogue that teachers fan take advantage oi the use- ments—every organ of your body The Catholic Choirmaster fulnessof ensemble playing with even beginners. Sacred Music” issued by Pope Pius X in and careful; and even if it were, it would 44 W. 12m ST. NEW YORK This list will be found particularly rich in strong as nature intended. nity of Precentor” (aricleiifiy styled All that I have said shows pretty dearly 1903. If the musical limitations of his be difficult for them to know absolutely With mpm to the fundafliental fe- brilliant and effective pie.es for recital and You can have a Clear Skin. qtiimtients t)( good oiusleal training, of eapiscol, or caput scholcr, that i§ head of the importance of the choirmaster's offer. concert work. Suitable selections will be choir do not permit of a literal following that a tenor who suddenly ceases his sing¬ ing is not properly doing so; or that a xcal and sympathy sod interpretative the choir-school; sometimes called prior Let him take a holy pride, therefore, in out of all the prescriptions and sugges¬ You can have a Good Figure—as power iH e-eiiduetlfig, a Catlioiio choir¬ scholce or magistcr scholce, that is, first all that pertains to it; and let him esteem tions contained in that famous document, bass who suddenly injects a weird note good as any woman. he should always aim at these things as into a chord is not go directed by the master nowise differs from the ehefr- of the school or master of the school), it as something most dignified, honorable, You can increase or reduce your and acceptable to Got)- When the choir¬ the ideal, and should never be found as music sheet he holds in his hand- But HUTCHINGS ttiastef ur conductor of any musieal “arid one may see sometimes an arch¬ weight. erganlffttion, Still farther qualifications, deacon, sometimes a titular or honorary master performs his duties In the choir, one of the unwise critics who denounce when all the voices in the choir are sud¬ Bebr. Mitzi Katzchen I no longer need to say wliat I can however, are enacted (or, at least, are ex¬ canon, carrying the Baton cantoral, the he is engaged really in prayer; for He j, them without understanding their mean¬ denly “blanked” by the organist’s fortis¬ do” but what “I HAVE DONE.” I ORGAN Bellini, Norma, Fant . . — ing. ■ pected) from him, For the Catholic taking a necessary part in the Public Boccherini, Meuuet in A. 1.00 simo, even a tyro in music may well sur¬ have helped 75,000 of the most cultured, Biaet G„ Carmen. l.JS iltargy, in whose solemn ceremonial he is Prayer of the Spouse of Christ. This is, I am aware, a pretty full pro¬ mise the reason. intelligent women of America to qrise to COMPANY to take so pfomlfient and necessary a part, Chevailier, Kinderfgst Marsch...75 gram—and it is not entirely complete as A second temptation of the organist is their ‘very best—why not you? Engehnann. Over Hill and Dale.85 I have sketched it for my readers, But to “lead” the choir by a similar device of Is a most highly organized and specialized Some Duties of the Choirmaster “ Parade Review .85 No Drugs—No Medicines BOSTON NEW YORK we must always remember that no one is sustained forte or fortissimo. Thus all series of religious functions, and presents ” Grand Festival March - 1.00 My pupils simply comply with Nature’sl^aws. 1. I have said that the liturgy is intri¬ •• In the Arena March.. .85 held to do impossible things. All that the the finer things in harmony or, worse Plant at Waltham. Mass. very peculiar difficulties because of the “ Concert Polonaise. LOO intricate character of the rubrics and the cate in its details. This is so true, that a Church requires is that we do as well as still, in polyphony—not to speak of deli¬ little book is annually published, called Gounod-Bach, Ave Maria . 1.16 we can to follow out the spirit of her cate nuances of shading and interpreta¬ alien phraseology and pronunciation of Hayes. Comrades In Arms .. 1.00 the official language of the Church. the “Ordo” in an abbreviated form, for llerold. Zampa, Overture . 2.00 laws- It is proper that an ideal be held tion—are simply blotted out in a welter Hollaender, March .75 up before our eyes, But this is meant to of noise. 'Most o/the leading otitis One hesitates to eaii attention to these the purpose of describing, for each day In the United States' ate peculiar difficulties that confront a Cath¬ of the year, the feast which is then cele¬ encourage, and not to dishearten us. A third temptation is that of neglecting operated by the ‘Crgoblo.’ olic' choirmaster, and that may easily brated, and the peculiar chants to be sang "Not failure, but low aim, is crime.” to exercise a proper and just supervision Over 9,BOO equipments in tend to discourage an otherwise admirable at Mass and ill the Divine Office. Kowalski. Hungarian March . 1,90 over the conduct of the members of the Kramer, Op. 7, Jubelfeier, Polonaise- 1.15 use. Write for booklet.” zeal and capacity, without first of all Each country, and sometimes each dio¬ Kucken, Op.72, Fest-Polonaise . 1,50 The Organist as Choirmaster choir when, as often happens in Catholic pointing out the honorable character of cese, has its own “Onlo,” and these tar) Koelling, Hungary, Rhapsodie Miguonne 1.00 services, the organist alone is engaged in his office. from one another from day to day. This “ Sailors’Song and Hornpipe... .85 Many churches cannot afford the luxury ids art, The irreverences are committed, I The Organ Power Co., of both an organist and a choirmaster, volume, which, although usually compris¬ Lacome, Impromptu 8 la Hopgrolse..,. 1.25 hgve no doubt, unconsciously; hut it is a a 0o)HA^TFORD, ,CONN. Lachner, March irom Suite ... ).65 If only one may be had, which should it The Dignity of Choirmaster ing more than three hundred pages, sells LLzt, Rakoczy March ., 1.50 part of the duty of a choirmaster to see A. C. FOSTER,”2isTTremonl St. * Boston!0’• be? I suppose that nowadays the answer G. W. WESTERF1EID, lS4 -Virginia • ’ A It is a highly honorable office which he for about twenty-five or thirty-five cents, “ Second Hungarian March. 1.90 that such unconscious tendencies qf Lyoff, Russian Hymn . .50 would be prompt and universal; for the ho.cte. It may or may not carry with it is printed in Latin j and the Latin is fall human frailty and oversight are not Per- JAMES TOPP, 419 Sirin’s y Hall ftMg,, 64 Er V Mattel, Tonrbillon.Valse . 2.25 organist is considered absolutely neces¬ certain financial emoluments in the way of technical abbreviations and marginal Mendelssohn, Ruy (has, Overture. 2.75 mitted_ to degenerate little by little into of salary and perquisites. If it shntitd be ” Spring Song . 1.00 sary. Without his presence, "who could downright irreverences. The organist directions. These directions vary each •• Mar March of the Priests 1.25 play the organ?” so rewarded, and if these emoluments ate day of the year. “ Wedding March . 1.15 who acts also as choirmaster must assume If I were a pastor, and had to make a adequate for the services performed, let But, fortunately, even a person Who Milde, Galop de Concert.. — 2,50 the responsibility (hat goes with the lat¬ Steere Organs Moszkowski. Serenata.75 choice, I should prefer a competent choir¬ hifn Hot consider himself merely as knows no Lalin can, by dint of explana¬ Michaclis, Turkish Patrol. 2.15 ter office. Bailey Hall, Cornell University master to a competent organist. For, Dedfcifed, October 8, 1914 “holding down a job.” It Is ift every tion and persevering attention, master I might call attention to other features Raff. On. 174. No, ft Polka . 1-20 after all, the organ is not at all neces¬ Springfield Auditorium, cow bilflalag way proper that he should be adequately pretty well the meaning of the abbrevia¬ ” March (torn Leouore Symphony ,,. 1.25 pf the situation. It would be a work of Rossini, barber of Seville, Overture .... 1.75 sary for any portion of any one of the Two of the most important contracts ih recent peats remunerated, indeed. He can justly quote tions and marginal indications, and can “ Barber of Seville. Fantasy. 1.25 supererogation to do so if the organist Rev. If. T. Henry. services in a Catholic Church. There J. W. STEERE & SON ORGAN CO the highest authority for demanding a thus understand, for instance, the title oi “ Semiramide, Overture . 2.75 should think of himself rather as a choir¬ " Tancredi, Overture. 1.50 were excellent choirs in churches long be¬ ** Established 186? decent salary j for “the laborer is worthy the Sunday or Feast whose Mass and Ves¬ " William Tell, Overture. 2.10 master than as an organist, I haye merely insignia of his office” (Migne, “Diet, de fore the organ or any other musical in¬ of his hire” (Luke x 7) ; and “they that pers he must direct; the time when the Rubinstein, Trot de Cavalerie. 1.Z0 desired, by the illustrations I have given, Droit Canon,” art. “Chantre.") Kathbun. Festival Procession March.80 strument was used in them as a help to serve the altar, partake with the altar” “ Marche Iriumphale .80 to direct his attention to what is the (i Csr.'ix ; 13), The singing ©f the choir is an essential Gloria is to be omitted at Mass; when a the splendor and dignity of the cere¬ MOLLER PIPE ORGANS Sequence is to be sutlg; when even the Resch, Gavotte. 2.40 major demand upon his dual capacity. Let But while all this is true, if remains requisite to-day, as always, of any solemn monial. These excellent choirs could il.. ill uresentinK necessary, and that both the choirmaster narium^ Missse, and a Credo in modern One of the most com filet e Pipe Or^an Plants In the Culled nities Were mtimmmte with his labors. America, and every derm, ganist (who Ig organist first and choir¬ VAItet l,hi5 ‘"rtruraent (Medi- the reform was adenna0r Phase of and the singers must have labored to musiG is usually both' uninteresting and nah Temple, Chicago) one would He ranked sometimes next to the dean, master only secondly) is tempted to fore¬ fatiguing for a choir to learn and to think the last word had been topr volumes of the inaKaz|'L. n''7! 1>y th,‘ acquire this elementary knowledge. TWO PIANOS said, The individuality of the sometimes next to the archdeacon, in the subjects of sacred music aWd- J*1 'he allied go severe rehearsing. He is aware of a execute. And it is equally fatiguing for a stops IS absolute perfection.” cathedrals of Germany, France, Spain, has contributed ta?»T$Al&5TD2 order to enter into the spirit of ® has a layman acting as choirmaster. Even THEO. PRESSER CO. all,” he reflects, "I can hide these dif¬ Credo is not lyric, as U the Gloria, or the at the present day in France, however, Ubufeh so that he may be able to inter- ficulties and stumblings by a sudden for¬ on The Ktcuk.] 1 of Laws.—Editor Sanctus, or the Agnus Dai. It is simply “some chapt-e-rs retain traces of the dig- pret that spirit becomingly by the ehoii* 1712 Chestnut St., Philadelphia tissimo on the organ, and no one in the Austin Organ Co. renditions* 7 a formal statement of dogmatic belief, congregation will be the wiser,” article after article. To treat its text HARTFORD - _ CONN. 4, While Plainsong is not absolutely Please mention THE ETUDE Wien addressing our advertisers. Please mention THE ETUDE when addresstnc our advertisers. B 835 834 THE ETUDE THE ETUDE

musically in a quasi-dramatic manner is in many ways. I think, however, that for MODERN PIANO to exhibit a gross misunderstanding of the most parishes that is hardly to be thought whole formula. Treated in the style of of at the present time. Something like it, pure polyphony, it is equally uninterest¬ however, is found in the excellent TECHNICS ing to any but a highly musical congre¬ arrangement made by Nicola A. Montam Works Needed by Every Studenl gation, although that is the best style for of Credo HI (of the Kyriale), for a uni¬ it outside of plainsong. son chorus of boys or men, with the alter¬ TOUCH AND TECHNIC Immediately I fancy a retort—that nate verses in modern figured style BY DR. WM. MASON plainsong is still more uninteresting. composed for a three-part chorus of men, Perhaps so. But it has the unique virtue with an organ accompaniment for both of singing simply a simple formula of be¬ the plainsong portions and for the modern # lief. And it has the additional value of settings. The Cupid Grand not consuming much time in its musical The monotony which many declare they feel in listening to plainsong is here works In the t- -H The first small grand piano ever made was the statement. pedagogv. It comprises a complete svs- product of Sohmer. That was over twenty- At the musical congress held in Padua obviated by the three-part male chorus I— J H modern and original Henri Vieuxtemps, A Prodigy Who Grew Up pine years ago. In this over a quarter of a in 1907, the famous composer, Perosi, heard throughout alternately to the plain¬ "nm“' assured century we have been constantly striving to made a strong plea for the plainsong song of the unison chorus of boys or from the beginning to vir’tuos'itv.PllaSCS perfect this type of instrument. The result is The author of this work was probable Henri Vieuxtemps was a giant among hut touchingly lugubrious in its expres¬ the modern French school of violin play¬ singing of the Credo alternately by choir men. Congregations, hearing it sung sev¬ the most distinguished of all American a piano without an equal among diminutive violinists of the nineteenth century. He sion. With the violin at his shoulder he ing. As is common with players of that grands in which tone is in no manner sacrificed and congregation. If this arrangement eral times, might ultimately be trained to pianists and teachers. He was an early has the air of a husband undergoing the to architectural requirements. Length 5ft. 4", could be carried out in our churches here sing the unison parts, and thus Perosi S was great as a virtuoso, as a composer and school, his delivery was marked with great width 4ft. 5"—price $675. Terms arranged. in America, it would be most gratifying hope would be fulfilled. as a teacher. Moreover, he was notable nocturnal penance of walking the room dramatic fire, and he was fond of striking Send for illustrated catalog and full information. and teacher. The tremendous popular as an example of a prodigy who made with ‘the child,’ and performing it, too, contrasts and accents. -.tty of this worthwork , is Itsa usesufficient by teachws testl- good in after years, for his abilities grew with unaffected pity.” A “Solemn Music” Without Organ Vieuxtemps and Ysaye und ' students is constantly• ' on the fo¬ ' in a steady crescendo, from his debut as a Vieuxtemps had many notable honors and many decorations conferred upon him Vieuxtempts seems to have been of a A personal reminiscence may not lack similar absolute silence. Between The gem of this work is the two- child violinist at the age of five until present interest and, mayhap, a moral. I these two extremes, the voice of the finger exercise, treated rhvthmiealir paralysis robbed him of his powers when during his busy life. At one time he held bright, lively, sociable disposition, and he This rhythmic treatment pervades the was generous in acknowledging the genius once conducted a Solemn High Mass of organ was not heard, whether between entire work. All the exercises conduce he reached the age of 53. the post of solo violinist to the Emperor 315 Fifth Avenue Requiem in the Cathedral of Philadelphia. the choral singing or—to sustain the ^quaUtyjuf Jineer power and facility. Vieuxtemps (tbe name translated from of Russia and Professor of Violin in the of others. He was a great friend of the New York, N. Y. It was an exceptionally solemn occasion; voices of the choir—during the singing le.^Thi the French means Oldtime) was born in Conservatory of St. Petersburg. For two violinist Wieniawski, and once, when at¬ for a distinguished Prelate, after, a long itself. In brief, the organ was not heard 1820 at Verviers, Belgium, of musical par¬ years he held the position of Professor tending a concert given by the latter, shouted, “Bravo, Wieniawski,” at the con¬ life devoted ardently to God’s service, had before, during, or after the long cere- EIGHT MEASURE STUDIES ents. His instruction by a local musician of the Violin at the Brussels Conserva¬ OF INTEREST TO EDUCATORS passed to his reward, and the sanctuary commenced as soon as he was able to hold toire and director of the Popular Concerts. clusion of a great tour de force of the WILSON G. SMITH was . filled with priests and seminarians a violin, and so rapid was his progress In 1873 his career as a concert player was Polish violinist. The audience recognized BACH . For Intermediate Grades. I had planned that this should be the Op. 60. Two Books, Grades 3 and 4. Compiled, edited and fingered by who wished to honor his memory .and to case; and I was not a little anxious to Each $1.00 that he played Rodc’s Fifth Concerto in cut short by a stroke of paralysis, which Vieuxtemps, and gave both violinists an ovation. Vieuxtemps heard Ysaye play in Allen Spencer, 50 cents offer up their prayers for the happy re¬ learn what impression had been made by The present set of technical studies public at the age of six, with orchestral disabled his left side. He recovered some¬ is designed, by the author, to follow his 1876, and recognizing his genius, gener¬ Most teachers would use more Bach in the In- pose of his soul. The occasion was ren¬ this rather startling innovation in the Special Exercises In Scale Playing. Op. accompaniment It is a striking fact in what from this affliction and resumed his ously used his influence with the Belgian dered particularly noteworthy by the pres¬ American custom; for the playing of the o.i, and are for the special purpose of the history of music that eminent developing the third, fourth and fifth Government to such good purpose that ence of the Cardinal-Primate of Ireland fingers. musicians usually trace the awakening organ is not forbidden before and after Ysaye was granted a Government stipend as well as of Archbishops and Bishops They are written in an original man¬ of their genius to the association and . Th the Requiem Mass. I was surprised and ner, the harmonic figures being retained in order to pursue his studies in Paris. and Monsignori. as an accompaniment, thus adding a instruction of some great artist. Vieux¬ delighted to hear not only no adverse As a composer Vieuxtemps was some¬ lanyhavi There was, first of all, the singing of musical Interest, designed to somewhat criticism but, with the exception of one modify the monotony of constant prac¬ temps was no exception, for we find what unequal, some of his compositions the Divine Office. Then followed the full tice. A course of practice is suggested CLAYTON F. SUMMY CO. Bishop’s comment to the effect that the him attracting the favorable notice of being of the highest merit, while others service of the Requiem Mass; and, finally, suits aul l0r to obtain the best re- singing was very impressive, I did not De Beriot the great violinist, whom he are bombastic, theatrical, and of compara¬ $1.25 postpaid Publishers the Absolution of the Body. The services The second book Is somewhat more I EAST VAN BUREN STREET, CHICAGO hear any views at all passed on the met when on a tour with his father. He tively little value. Still, the fact that some were therefore very long and, one might ler cannot sup- absence of organ-playing. No one ap¬ was only seven years of age at the time, of his best works still hold a place in the naturally suppose, apt to be fatiguing and peared even to notice that this sup¬ and De Beriot was so struck with the lad’s monotonous. Meanwhile, no variety was repertoire of most of the great violinists posedly necessary element of solemn cere¬ THE COMPREHENSIVE SCALE talent that he adopted him as a pupil, and afforded by the playing of the organ. The of the present day, from forty to seventy- NEW ORGAN MUSIC monial was lacking. The moral might be, AND ARPEGGIO MANUAL at the age of eight took him to Paris and long procession entered the sanctuary in five years after they were composed, I think, the profound truth that—if for arranged for a public appearance. the midst of absolute silence; and, after WALTER MacFARREN shows that he had a real talent as a com¬ “ON SALE” no higher reason than that variety is the Few violinists have ever had such a the function had been concluded, the pro¬ Price. $1.50 poser. Of his compositions the best Have your name entered for the receiv¬ spice of life—there are times when silence This work is the most complete and varied career before reaching their ma¬ cession passed out of the sacred, edifice known are his six concertos, the Ballade TVurlitzer Collection ing of a few small packages of new music is golden. exhaustive ever published of aU the jority as Vieuxtemps. Before he was ON1 SALE during the professional season, scales and arpeggios. and Polonaise, the Fantaisie Caprice Rev¬ _This edition Is finely engraved and twenty he had achieved a European repu¬ -- guarantee as. to amount to be kept; ptinted from very large plate, contain- erie in E Flat, Fantasie Appassionato, of Old Violins^ :ount the best obtainable; the only re¬ Music Reform is Alive mg no abbreviations, completely fingeml tation as a violin virtuoso, made many- SSrenite, Rondino. and others. He also sponsibility the small amount of postage; and has a brief set of rules for great concert tours, made the acquaintance Some Catholic choirmasters appear to “His Holiness, with word, nf i practice. wrote a sonata and three candenzas for Write for art catalog returns of unused music to be made once of Spohr, Molique, Mayseder, Paganini, showing a remarkable collec¬ have been marking time in the hope that, kindness, congratulated each °fnj * ly In brief, it meets every possible r» the Beethoven Violin Concerto. The each year; a postal card will stop the quirement of teacher or pupil in search Servais, Richard Wagner, and Czerny, and tion of old violins, violas and vi¬ when Pius X should pass away in the' member of the Commission for L comPlete set of scales and arpeg ’ Yankee Doodle Variations were written sending any time. Thousands of teachers ■ composed several notable violin composi¬ oloncellos; many of great artis- receive piano music from us in this way. course of nature, his successor' would so far accomplished on behalf for his American audiences. tions. From the age of eleven to thirteen , ticanplHistoricalvalue.fromthe quite change the order of things and per- restoration of the Gregorian Chant a Jd remost masters of Europe: THEO. PRESSER CO., Philadelphia, Pa. EXERCISES IN EXTENSION we find him in Brussels perfecting him¬ For the Fingers Stradivarius. Guadagnini, choirs.6 PreV'°“ “ reV,,e °f Ch”"h Sd self as a violinist without a teacher. A “Old Violin” Stories Dying Montagnana, Balestrieri, ISIDOR PHILIPP lengthy tour in Germany followed, the But Benedict XV now limply reanerts very ctLSj* ° lhe"' ’'°rk l“d b“n Henri Vieuxtemps. Out the necessity of living up to the spirit of “He declared . Price, 75 Cents first of a series in which he visited Aus¬ is! Musical Leader Mr. Philipp, perhaps better than any tria, England, Russia, Belgium, and other The “Old Violin” story seems to have may never be duplicated. Published Weekly, $2.50 a Year the reforms indicated by Pius X. He just as when Arr-hl W0,u1d as PoPc' other teacher, understands the require- teaching, but his inability to play with his could do nothing else, indeed, for the ciples laid ^bishop, uphold the prin- S-i5,.a of the modern plnnist. and lias countries. His success was very great, outlived its usefulness so far as the daily Our foreign representatives Ten weeks’ trial subscription, fifty cents written a unique set of studies, the he being hailed everywhere as a violinist old-time fire and skill made his temper papers are concerned. Not so long ago -:- have been particularly fortunate in action of Pius X was in line with all the memory in b™ J P°Pe, Pius X of happy systematic practice of which will securing many of these rare old instruments at The Recognized Authority on all Musical of the first rank. He composed his con¬ very uneven, and there were frequent out¬ every violin found in a garret or hidden Matters for the Central and Western States previous prescriptions of Popes and 0f ^0^ ^ ‘^otu ProPrio’ strengthen and stretch tbe hand, and bring under the control of the nlav certo in E and the Fantaisie Caprice in bursts' of rage in the class-room, during in the cellar was a valuable Stradivarius purchase now at a substantial saving upon Councils of the Church. Choirmasters in wished ’• . and said that he 5.:^ passages ^ ^ apparently Impossll terms that will be made convenient. In conjunction with ETUDE, advantageous Vhich he prodded his pupils with an iron- or an Amati and good for a half-column CLUB OFFER: this country lived in blissful ignorance, 7„°*be P« into his eighteenth year, both of which he per¬ shod stick, which made instruction under story in any newspaper. Editors and re¬ Musical Leader, regular price \ Club Price for the most part, of all these long- suggested in th f ose of facilitating the e: of Vienna.- His domestic life was singu-- and his death, in 1881, is said to have been in connection with the reports of the The Rudolph Wurlitzer Company Address THE MUSICAL LEADER tinue to do so henceforth? “Iy jn Rome, and said that he w nnd° extension*3**8^03 rCqUlrlng 8gl‘ larly happy, and he was heartbroken when caused by his being struck in the head by finding of old violins, generally advise the S°'Chicaso^m.Ve' P"*™ ECinFc°nUnrtafi.S8?et McCormick Building, Chicago Pius X died in August, 1914. We know n0t,only to maintain, but to his wife died in 1868. a drunken Arab, who threw a large stone owner to submit it to an expert to test its that one of his very first activities on E.?0Qd work- so that Rome will THE LITTLE PISCF into his carriage while he was riding in genuineness. It has been estimated that (DER KLEINE PISCHNA) Tour in the United States given the most modern machinery and a GJrimtij i>duuilof(!Iljurrl) fRustr ascending the chair of Peter was to issue 2 effect've example to all the churches the streets of Mustapha, lez Alger. his famous “Motu Proprio” on Church °f ‘ world” churches BERNHARD WOLFF Vieuxtemps was very fond of travel, factory full of workmen, it would have ROOT VIOLINS A Training School for Organists, music. Similarly, Benedict XV made it Catholic choirmasters must „. ™s„ "ort contains about sixty and few violinists made more frequent A Perfect Technique taken Stradivarius an entire lifetime to Choirmasters and Choristers npt being at ail small, as Us one of his first activities to declare that a

Have You Studied Harmony? ■iuillllllllllllllllfltli

Harmony is the grammar of music, a knowledge of which will make you a better musician and more appreciative of the music you play, teach or hear. Harmony Free teaches you to analyze music, memorize more rapidly, transpose at sight, analyze melodies, detect wrong notes and faulty progressions, and to compose, arrange, or orchestrate in a musicianly manner. Your musical education is not complete without a thorough and correct Issues knowledge of Harmony. You can quickly overcome any deficiency and round out your education by taking our weekly lessons under America’s eminent teachers, and then the fifty-two issues Adolph Rosenbecker and Daniel Protheroe, in the quiet and privacy of your own of 1916—61 issues for the home at small cost. In these Master lessons you don’t merely learn “cut and dried” rules without price of 52—to those who knowing howto apply them in a practical way, but ample original work with written subscribe before November examinations develops your knowledge and fixes the principles in your mind for future use. Read what eminent authorities say and realize that this is 10th. Twice as much reading as the monthly magazines give is planned for your family ir Your Great Opportunity

t( P. C. I.utkin, Dean of the Northwestern University School of Music, says: Students who complete your Harmony Course and pass the examinations with THE-YOUTHS satisfactory grades, will be given credit for two years’ work in the Northwestern University School of Music in that study.” Robert W. Stevens, Instructor at the University of Chicago, says: “I am pleased to use Protheroe’s Harmony I essons as material for our classes, both in the elementary ones in the Divinity School of the University of Chicago, and in n:y COMPANION advanced grades. This work correctly done is well worth the credit.” NINE GREAT, LIVE SERIALS; 250 SHORT STORIES- Walter Damrosch, Director of the New York Symphony Orchestra, writes: 1000 FLASHES OF WIT AND HUMOR. The lessons are admirably prepared and serve their purpose in every particular. 1 had no idea that such sound knowledge of music could be imparted in this novel fashion, and I beg to congratulate you and your pupils.” send lor the illustrated Forecast for Valuable Art Catalog sent free, contains sample lessons, a musical dictionary, xyxu ana odiupic copies oi me rar and full details of these Harmony Lessons; also our courses in Piano (Teachers’ Normal Training Course with Paderewski’s endorsement) by the great Sherwood; If you subscribe now, sending ibis coupon or name of this publication with $2.00, you will get 1 ipe Organ by Clarence Eddy; Public School Music, Choral Conducting, History, Advanced Composition, etc., by equally eminent teachers. .Satisfaction guaranteed. The Youth’s( All remaining issues for 1915 Free. Ante today and learn of remarkable Scholarship Offer. It costs you nothing—you r\rvi 2‘ The ComPanion Home Calendar. Uave everything to gain and nothing to lose. State age and course in which in¬ Companion ( 3. The 52 issues for 1916. terested. Get the catalog, then decide. ALL OF THE ABOVE FOR $ 9.00 Siegel-Myers School of Music, E1'70 Sample Copies Sent Upon Request„ —- Theodore Presser Go. ‘SBasX'Kr* 1246 Siegel-Myers Building, Chicago, Illinois THE YOUTH’S COMPANION, BOSTON. MASSACHUSETTS ■

Please mention THE ETUDE when 844 THE ETUDE THE ETUDE 845 How the Musician May Improve His Hand Conditions SUCCESS By L. E. Eubanks

WITH HISTORY CLASSES ,1™ ■= 2*3E,™s

The Standard History of Music I A MONG people who love good music, r\ who have a cultivated knowledge A First History for Students at AH Ages x of it, the BALDWIN PIANO is recognized everywhere as the best. In By JAMES FRANCIS COOKE PRICE $1.25 such an atmosphere it is happily at home and with THE inherent interest, excellent arrangement, simplicity and every day endears itself more and more to its practicability of this standard work has led a vast number owners. of teachers who had never thought of teaching history to establish successful classes. The same is true of the No matter if you have had no experience whatever in teaching musical history, we shall be glad to send you without cost full par¬ fHalbimn ittamutln” ticulars of a plan accompanied by materials which have helped these teachers get a start in this profitable work. the successful unification of the most artistic piano The Standard History is divided into 40 story lessons to fit the 40 with the most scientific player action made in the weeks of the school year. 300 of the world’s greatest musicians world. There is absolutely nothing better, nothing past and present are discussed. All foreign terms are pronounced more perfect on the market, neither as a piano nor and all technical terms are explained, not in an appendix but right as a player piano. where they occur in the book. American music and the music of lighter composers, ignored in other books, is abundantly treated Contemplating the purchase of either a piano in his work. An appendix tells how to organize and conduct a or a player piano, you should not fail to examine musical club. The history is splendidly adapted for self study. these instruments. Prices and terms will suit you. Strongly endorsed by renowned musicians in Europe and in America Write for catalogs 250 PAGES HANDSOMELY BOUND 150 ILLUSTRATIONS the third finger may be allowed to hang ends of the thumb and little finger as Ccntpanu Special Introductory Price for Classes and Clubs down. In this position practice curling can. Practice daily on a rule and it inward as close to the palm of the will soon notice improvement.

THEO. PRESSER CO., Philadelphia, pa.

Important is All Pianists Students TODAY’S MAGAZINE A Genuine Addition to the Literature Is Every Housewife’s Favorite of Pianoforte Technic TODAY’S is just as necessary to home-lovers and home¬ THE NEW GRADUS makers as ETUDE is to Music-Lovers. a ss AD PARNASSUM TODAY’S is a purposeful, utili¬ In Eight Books Price, $1.00 each tarian, common-sense Journal that fills a long-felt want of home- By ISIDOR PHILIPP loving women everywhere. In this unique work each separate department of technic is considered gs&_ 800,000 women love TODAY’S because by itself, all the studies bearing upon any particular technical point being every issue is remarkable for its helps to classified together and arranged in logical and progressive order. Proceeding y>Tr»otjLof itiiI* .V'.. VV'V.'.m V i'.. b Z. housekeepers, its advance styles, its new in this manner each subject is treated exhaustively in a separate part. The thus: During tl ^TiieJrta^azineeveryViSian needs ideas in fancy work, its many money¬ main points thus covered are: draw two basins of water, one very hot, qualityS’zFiSz'Sr of tones and the positionxvE of the rzhost saving and labor-saving ideas. Left Hand Technic 5. Double Notes Exercises for Making the Hands Sunnle i fither vcry cold- Hold the hands in tunes would he different. The mezzo-soprano You Need TODAY’S because it will help you solve your perplex¬ Right Hand Technic 6. Octaves and Chords Sometimes the wrists are weal - f !, hot water about two minutes, then in would generally he the heavier voice. ing problems—Clothing, Household, Health, Social, Beauty, etc. Hands Together 7. The Trill quen.ly on thc pi,„0 " * TODAY’S will help you in a hundred ways. Arpeggios nnnt o a*red int 8. Various Difficulties iglos. us at all, and the sera “said had Every number of TODAY’S you receive will be like the visit of a dear friend who The entire literature of educational piano music has been ransacked in order more to do with the mmii pip» o. radiates sunshine and good cheer and who brings a lot of helpful and interesting news. to select the best possible studies adapted to each of the above classifications. me Sweet Home, melody than the gynmas Monsieur I. Philipp, leading Professor of Pianoforte in the Paris Con¬ s would have if an orator put in a hop You may get TODAY’S for 12 months for only 50 cents—worth SI.50. Send servatory, is admirably equipped by knowledge, experience and natural talent TWO GALA ISSUES every comma, a ship at every colon and 50 cents at once for a year’s subscription and you may select any one May for the compilation and preparation of a work of this type. somersault at every period In his speech. Manton Pattern free from your first copy of TODAY’S. n. s. k. \ transcription Is the presentation of a i double downward inor- isiral composition in some other scoring is moderate or slow play Subscribe today. Address ouruau^hb Oanu^yfETUDE ^ “d theH°' in it was composed for. Thus if I play nie Laurie upon piano it is a t and interest. “ere ae °' T"' dbtin< ii. it I play Raffs Carolina, TODAY’S, Dept. E. T., 461 4th Ave., New York THEO. PRESSER COMPANY to introduce THE ETUDE to that" tion, etc. 1712 CHESTNUT STREET - - - - PHILADELPHIA ought to have it. that musical friend Admirer, F. C.. U„ Etoth Friend. M. T. S., Teacher in Milwaukee, and many others who IMPORTANT—$100.00 will be given to your Church for a dent, stand have failed to give their complete names and little easy work of a few members. Send for full particulars—free. g our advertisers. innumerable in- addresses, are reminded that no quest' meaning onlv a ,-ver answered in this column unless formation accompanies the question. Please mention THE ETUDE when addressing our advertisers. 847 846 THE ETUDE THE ETUDE

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AMERICMJa&^SS, AMERICAHS#*~’*a5S: Abroad AMERICAN CHASE jnar.wsi—Rg! &JAWLINSJAKER w CINCINNATI BARTEL' 7 COLUMBIA BEECHWOOD COSMOPOLITAN^,, ■ fSSSllL .... ttsasr**-h the «• “d «»<< ~*i»« a* °<« BILLS DETROIT tSfigSsh. T,til I MIAMI HAVANA PALM BEACH combs dana's igg ss ST. PETERSBURG TAMPA . I opportunity for that marvelous ride on the -Over Sea" Railway from Key CRANE -KNOX West to all East Coast Resorts, or continuing on same steamer for an ocean EBERHAROMSSS MINNEAPOLIS^BS: trip^long thg^unry shores of the Gulf of to Tampa, St. Petersburg and HAWTHORNE route to San Antonio. mo^alrl^thal those'olspaimTtaljL"Egypt orl^Odltlllutdlrlports HENRfKrwSFS _M_illli SSaaSrs MOULTON GUICHARD"™SSr-“ MALLORY STEAMSHIP COMPANY NEW YORK yiSfe, FALK '"^S&isdSSSZl Pier 36, North River, New York NEW YORK ■«Skw;S2k" NICHOLS SSfeSysgSX SSSrsHS ESBSSftlS NORMAL-^^ mr^^. S5&3S8*-— PATTERSON SSs1® _—«"™»_ PETERSILEA::«S-^s.., GR0FT-BRYMrF#S§7 mgfmmwm SALM01— Bgggr 111 ~ tracy “rsfe-sr;-- Sp VIRGIL KRIENS mimzm VIRGILg^^fa,- SSBli LEARN PIANOTUNINC^pK‘ prjg-«r LICHTENSTEIN ^^y'pa'hintedSajne-a-pI^ne samioD mM' SH YOU CAN EARN *5 TO M5 A DAY 1 BRANDON ”"’sS|sS^..». theory^ normal courses s~S?!^HeS BRYANT SSHBrap BURROWES CONVERSE COLLEGE^?% C0URTRIGHT8B£S££ £‘ PEABODY JBgate-„ KERN HaaSSSSS ff ».s.i. S.C.I.a5S5aa MATHEWSTSgwrtsr llZtlfIT.fH HOME WORK : THE BUSINESS MANUAL FOR MUSIC TEACHERS By G. C. BENDER Price, $1.00 BEGINNER’S BOOK ll±°rlthe _ wmm

39 . THEODORE PRESSER CO.

H. J. Stewart has „ commander wSuld suro’ly'ulmore npprupriaK- ZABEL BROTHERS MUSIC PRINTERS m ENGRAVERS Send for Itemized Price List and Samples Ilffillil, COLUMBIA AVE. AND RANDOLPH ST. PHILADELPHIA, PA. THE ETUDE 849 848 THE ETUDE The Popular Songs of Our Painting Tone-Pictures Grandparents—A Remarkable Theo. Presser Co. Collection WINTON SIX Loyal R- Blaine Publications By Ralph Wolfe It seems to me that many piano pupils $10,000.00 The famous Watkinson Library, of are like that very amusing character m fiction who was not aware of the fact Issued October, 1915 Hartford, Conn., has just come into that he had been speaking prose all h.s possession of a remarkable collection of FOR PLAYING A GAME life. They are painting tone pictures all \merican sheet music dating before the the while, and a majority seem to be Civil War. The collection, the result of jiiiauiiai ignorant of it. While painting and piano¬ rears of careful research, is the gift of playing are nothing alike in their respec- PIANO SOLOS Professor N. H. Allen, of Worcester, ' e technics, still, the pianist may learn No. Till® Composer Grade Price Mass., and is probably the most complete I CTO RIAL REVIEW has inaugurated many things from the finished product 13159 California .G. L. Spaulding 1'/, 25 of its kind in existence. Q 13084 Arkansas . .G. L. Spaulding 3 25 Upon these early compositions the art the Motion Picture Game as a means of of the painter. 13085 Kentucky ..0. L. Spaulding 2 ■>; If the pupil will take a picture by one 3U8S Maryland ..O. L. Spaulding 2 V, of the lithographer as then known was 13087 Florida .. .G. L. Spaulding 2 25 given thf freest rein and the price, as entertainment during the long Fall and of the old masters he will perceive, that 13088 Alabama . . .G. L. Spaulding 2 25 e person or thing stands out above all there indicated, shows that the more Winter evenings. No amusement at present be¬ 13089 Virginia ...G. L. Spaulding 2 ">5 : rest. Everything else is secondary. 13130 Massachusetts. colors embodied in the covers the more G• L. Spaulding 2 ,25 fore the public is so fascinating, and this game Just so, in every piece of music of any 13132 North Carolina. the music lover had to pay for the selec¬ consequence, there is the theme which G. 1,. Spaulding 2 .25 tion. The collection contains compara¬ will prove to be a source of entertainment for the 13150 Louisiana ..G. L. Spaulding 2 25 st be brought to the hearers’ ears so 13157 South Carolina. tively few instrumental pieces but such entire family. prominently that this melody will be the G. L. Spaulding 2 .25 as they are elevated the Schottische to a 13158 Ohio .G. I.. Spaulding 2 25 first thing to come up in their mind in 13184 New York .G. L. Spaulding 2 ?5 high position. Polkas were also popular the recollection of the composition. 13248 Auber.P. Lawson 2 25 and one dated 1845 was, as the cover as¬ Unlike most games of this nature, there will be no If we fail in this our interpretation is 13131 Pennsylvania. serts, then in its fiftieth edition.' The G. L. Spaulding 2Y2 .25 expense attached to entering. Any one who is not t failure. This theme is not always as 13154 Tennessee .G. L. Spaulding 2'/. >5 surprising number of editions to which plain as the “nose on your face” as the 13155 Mississippi .0. L. Spaulding 2l~. n these early songs ran leads one to feel an employee of PICTORIAL REVIEW may par¬ 13248 notow.P. Lawson 225 old saying goes, but in many cases must 13247 Verdi.IV Lawson 2>i 25 that the song writers of those days must be sought after. I have heard many per¬ 13249 Bizet.P. Lawson 2b. 25 have reaped great financial rewards or ticipate and share in the magnificent awards offered. 13289 Alla Marcia_\V. W. Smiih 3 ' '40- formances in which a beautiful theme 13273 Summer Breezes, else that an edition was about as limited There will be no soliciting for subscriptions—in fact, has been lost in a meaningless collection E. L. Sanford 3 .40 as are the many books of verses each 13278 Ballade.N. S. Calamnm 3 411 it will not be necessary to send in even your own of arpeggios and scale passages; the per¬ 13285 Largo.G. S. Ruckwrll 3 411 year privately published. Fifty and former giving an exhibition of technic 13322 Idalia March .M. Anlinr 3 4n seventy were no unusual figures show¬ subscription in order to play this game. 13323 Chiming Bella.C. M. Arthur 3 41. nothing else. Schubert's B Flat Im¬ 13278 Silver Waves M. Loeb Evans 3'. 40 ing the number of editions. The song promptu is a beautiful composition when 13320 Ioia Schottische. writers of to-day may long for the grand played by one who is capable of bringing C. M. Arthur 814 .40 13325 Queen of My Soul, old times. Are You A Winter Stay-Indoors ? t the theme but in the hands of one C. M. Arthur 814 .60 How firm a hold Uncle Tom's Cabin who lacks this power it loses all its charm. 13205 Autumn. Op. 72. No. 1 When winter’s bite makes the touring car cheerless Every successful family requires a closed car. It is EXPLANATION OF THE MOTION J. R. Morris 4 .40 had upon the p.eople is shown even here After the painter has depicted his prin¬ 13292 Valse Brune.. ,G. N. Benson 4 (in for John S. Adam’s song on The Death and uncomfortable, do you become a stay-indoors, limit¬ the car of greatest convenience and of most distinction. cipal object he does not leave us there, 13321 Silver Spray.. C. M. Arthur 4 >.l) PICTURE GAME 13324 Sweet Remembrance. of Little Eva, written in 1852, ran into ing your activities to absolute necessity ? Or do you We can make for you a Winton Six closed car of what¬ suspended in mid-air, as it were, but many editions. The artist who embel¬ enjoy the wonderful freedom of going and coming that a ever variety you prefer, and finish it exactly to your paints a beautiful background which har¬ 13284 Nocturne in D Flat! Artl,ur 4 M lished this particular gem showed the P. H. Warner 5 .60 closed car provides ? taste. We take especial pride in the excellence of our monizes in character with his main ob- 13290 In the Mosque. Op. 199. demise of Little Eva taking place in a coach work, and that requires time. Better place your or subject. Just so in music, our The Motion Picture Game is very simple. PIC¬ L. Oelimler 5 .50 bed carved and hung like those of a The work a touring car does for you in summer is order now, and have a delightful surprise in store for theme will sound somewhat shallow if . PIANO, FOUR HANDS palace. 0 Curse Me, Bui My Infant nothing to the grateful service rendered by the closed car TORIAL REVIEW will have fifty pictures drawn. e play it alone, hut when combined with your family and your friends. 13230 Pretty Evening Star. Spare was a popular song of 1841 and in even the worst weather that old Father Winter can other tones gains immeasurably. There Each one of these pictures will represent the name • G. L. Spaulding 2 .40 to Mrs. Wood and Mrs. Seguin, pic¬ fling at us. Between home and office, to the theatre, the several little things we look at in 3288 Miserere. Verdi 4 35 of some popular Motion Picture Play or Player. 13307 Martha .! . Flwtuw 4 Lon tured, of course, is accredited the honor dance and dinner, to the homes of friends, for every en¬ the picture after we have scrutinized the 13315 Ase's Death. Op. 48. No. 2. of singing it to an exacting but delighted gagement of every nature, the limousine or the sedan is a Prices range from $3250 to $3500. Sport limousines, All you have to do to play the game is to decide principal subject and our background. „ Grieg 4 .20 13229 The Merry Wives of Wind- audience of countless thousands. coach that defies the weather and affords living-room coupes, and other special types of closed cars designed to In the pieces we play there are likely „„ „ „ sor.O. Nicolai 5 1 00 One of the most interesting features what plays and players are represented by the comfort and good cheer. order. Write us today. to be several smaller counter-melodies 324 > Tannhauser.vnn Bulow 7 125 of the large collection is the interesting which should he emphasized slightly but pictures. There is nothing else to the game. These PIANO, SIX HANDS light it sheds upon the rise of the minstrel at the same time always keeping their 13233 Through the Meadows, era in New York in 1843. The members pictures will appear in PICTORIAL REVIEW— rightful place in the background. The G. L. Spaulding 2 .80 Of the various troupes were carefully re¬ piano student can profit by many things The Winton Company ten each month for the next five months. VIOLIN AND PIANO produced in brilliant colors upon the and with a few hints may derive as much songs they were supposed to make im¬ benefit from a lesson with Corot or Millet 3220 Serenade.A. Hartmann 4 .60 134 Berea Road, Cleveland, Ohio, U. S. A. mortal. In all their glory appeared one There will be a great many times during the as he may receive from his piano teacher. VOCAL 12685 A Little Serenade. of the earliest troupes, “The Great coming Winter when you will be looking for enter¬ „ M. MeCra. kan Purdy 3 .50 Southern Original Harmonists, the best 12689 Nora. R s Pigott 3 .60 band of singers in the United States.” tainment, and you will be willing to pay for it. 12577 Tomorrow.. .C. \V. Cadmau 4 .60 Religious Dances in the Edwin P. Christy, known as the parent By selecting the MOTION PICTURE GAME for VOCAL DUET of colored minstrelsy, graces the cover THE MASTER WORK IN AMERICAN MUSICAL EDUCATION Christian Church 13227 Love Faileth Never (so- an amusement you will not only not have to pay of many a song. “Christies” is still a The fact that dancing as well as mu< E. Krolm 8 .60 familiar term in England in connection for it, but you have an opportunity of being well has its religious significance is w< with minstrelsy but it no longer is heard paid for playing this game. The first award is known. At the Cathedral in SeVil here. TOUCH and TECHNIC Spain religious dances are perform, THEO. PRESSER CO., Philadelphia, Pa. The Breakfast Bell Polka shows ladies $2,500 in Gold; the second award is $1,500; the around Easter time even to this day. in full evening dress with the lowest of By DR. third is $1,000, and so on. There are 1531 awards Jesuit father, named Menestrier writii low necks rushing madly info the dining¬ in the latter part of the seventeenth ce room, while an equally large number of IN FOUR BOOKS PRICE OF EACH, $1.00 in all. School of Tou PART Ill-Arpeggios Rhythmically Treated (Passage School). tury, showed the relationship between t Six Poems After Heine men also dressed in the height of fashion ■eated (Schoo PART IV—School of Octave and Bravura Playing. dance and the song in religious exercis crowd the doorway. The Dinner Bell m the following words: By EDW. MACDOWELL The first ten pictures and full particulars will Polka is another, but this shows exterior A Method of Permanent Importance in Piano Teaching The Life Work of Our Greatest American Piano Teacher Divine service was composed OP- 31 Price, $ and interior views of the Crawford The permanent character of Dr. Mason’s original ideas in During the fifty years in which Dr. Mason taught in New be found in psalms, hymns and canticles, because m ls one of the great American House in the White Mountains. piano teaching, their simple practical usefulness in the every¬ York he was unanimously regarded as the foremost of Amer¬ sang and danced the praises of God poser s most celebrated works, ha day work of the teacher, all proclaim his American genius for ican piano teachers. He had a positive genius for discov¬ )0U£ its numbers the well known '*! The collection is in excellent condi¬ they read His oracles in those extra, ‘“ lone Picture** and "A Memory.” I tion and is now safely housed in the invention and his exhaustive European training with the ering the principle embodied in technical problems and of the Old and New Testaments S V»l , ? s,x Pieces has for its motto on greatest teachers of the last century. then explaining it so clearly that the exercises he provided Heines poems, of which the music, wr Watkinson Library where already it has The son of an educator, Lowell Mason, he was brought up lr. Mu (‘Dowel rs most characteristic been visited hy many people who find for its cultivation invariably produced results and success¬ Thethe placeoHcp nOWm whichl,Tdu r thesename acts °off Lessworsh™ in an artistic home atmosphere, which combined with “Yan¬ ful pupils. Among them was the noted pianist. William PICTORIAL REVIEW ^^d,ptly , i,,U8.trat,ve‘ The pieces an both amusement and instruction in look- kee Common Sense” as well as long association with such and **re graded from Sherwood and many foremost teachers. erately difficult to difficult. All arc < mg over the popular music of their teachers as Moscheles, Hauptmann, Richter, Dreyschock iust^sust as dAsthose l ° portionsWaS of Ca "comediesed the Ch a>° aeterized h.v poetic grace and origin Fortunately the ideas of this great pedagog have been ^cqncepMon. and will amply repay ca grandparents. and Liszt led Dr. Mason to realize that the subject of piano For November tragedies ,n which dancing and singl teaching demanded an altogether new and broader treatment. preserved in his life work, Touch and Technic, so that they combined to make up the interludes we In addition to the two mentioned 8 are just as useful for teachers to-day as they were1 when The folk-song composes itself. The As a result he produced Touch and Technic—of unsurpassed called Choruses. Prelates were called the remaining numbers are -By the Fi! value to all teachers and students of piano. taught personally by Dr. Mason. il\an ? Hut.- "Love in a Post-chaise." ' name of a folk-song writer is seldom re¬ the Latin tongue Prcesules a Prcesilienr shepherd Roy is a King" and "F.legy.” 15c A COPY $1.50 A YEAR membered—he counts for nothing; but rs KIND because in the Choir they took tha ” ’’"r edition is a handsome one, spec Piepared and earefnlly revised. ms song lives on and on and is passed o publishers m the praise of God which he who fom one generation to another. In these the dances, and was called hy the Gree In ordering mention “THE PRESSER EDIT! songs are reflected the very heart-beats of Choragas. took in the public games” THEODORE PRESSER CO.,! S PHILADELPHIA, PA. Please meiuicu 'iKE ETJD2 addressing cur advertisers. THEO. PRESSER CO., Philadelphia, the people.—Grimm. Please mention THE ETTTDE when add Please mention THE ETUDE when addressing 01 our advertisers. THE ETUDE 851 850 THE ETUDE SPECIAL MAGAZINE PRICES TO NOV. 20,1915 Orders at these prices not accepted after that date. Renew your subscription to THE ETUDE NOW. The Teachers’ Round Table Magazines in these offers are Conducted by N. J. COREY Subscriptions are for one year, new ' , „ T l ” ,tr and not technical problems pertaining to musical or renewal, and can go to different EXTRAORDINARY COMBINATION not interchangeable. Canadian This department is designed to help the teacher upon questions pertaining to “How to Teach, IVHat to leacn, ■. , accompany all inquiries. and foreign postage additional. theory, history, etc., all of which properly belong to the Questions and Answers department. Full name and adaress mu_e _ addresses (except where stated otherwise) THE ETUDE.) $, Mother’s Magazine . /must go McCall’s (free pattern) to same Ladies’ World . . . (address

Reed Organ “Placing both his hands over the keys I said, “Now a certain limited repertoire always ready. Pieces he has once memorized and dropped he can take up later “I have several reed-organ pupils, and would like we will read one measure, always reading the left hand THE ETUDE . . . to know what to use from the third grade on. Wliat note on the lower staff first.’ Then if the measure if desired and prepare with almost no difficulty. In can be done tor advanced reed-organ students V" this way players can always keep a varied repertoire at McCall’s (free pattern) B. C. should be, left hand G, C, and right hand C, G, I would have him begin, ‘left hand G,’ taking plenty of command. THE ETUDE . It is difficult to lay out a course of instruction for time to associate the note with the key and the hand 3. Sawyer’s book on Extemporisation will give yoll Pictorial Review fashions, A prac tical household com- the reed organ in the advanced grades. The limitations that was to play it. Then we spoke the right hand note the help you desire. The Housewife , of the instrument are so manifest, both as to compass departments’ $*1.50 a year. home. in the same manner. Next, having taken time to get 4. You will find Mason a perfectly safe guide to in the management of passage work, and the arranging them well in mind separately, I had him say, ‘Left hand follow in the practice of his own system. If you have THE ETUDE.i THE ETUDE . . . THE ETUDE . . . of a suitable bass. I know of no advanced works for "T,200 G, right hand C,” looking at the hands and getting the thoroughly digested and have at command his exposi¬ Woman’s World .... 1*1— Ladies’ World . . • “ J Save 50 cts. the reed organ. A very fine work is the School of McCall’s (free pattern) lingers ready to play as he spoke; then I had him play tion of the principles included in his several books, you Reed Organ Playing, by C. W. Landon, in four books THE ETUDE . . . the notes he had spoken. This pupil came to me every will be a pretty well-infgrmed technician. By that time THE ETUDE.} To-day’s (free pattern) and as many grades. His Rccd Organ Method is also ; ’2“ Ladies’ World . . . . z- day and I never allowed him to play hands together you will be able to comprehend any suggestions you Housewife.( 90 most excellent. There is also a book of Velocity | Save 75 cts. THE ETUDE . Modern Priscilla . . . . ) Save $1.00 any other way until I saw that the right habit was tak¬ may find in other teachers, whether it be Mathews or Ladies’ World.J Studies for Cabinet Organ, by Theodore Prcsser, which ing form. Next I had him name the notes without others, for additional methods of treatment of any THE ETUDE . . . • •) $075 takes care of this problem admirably. Laus Organi for THE ETUDE. Modern Priscilla mentioning the hands, telling him we always read the given point. 02- Pictorial Review . . z- feed organs, in three volumes, will afford you excellent Woman’s Home Comp. 1 Save 50 cts. . .) Save 75 cts. left hand note first. I found then as he read from 5. The fourth and fifth fingers must of necessity lag Modern Priscilla material. Tor ten cents you. can order a pamphlet THE ETUDE . . $ 2 22 the lower staff, he naturally associated the note with the behind the others so far as speed in the two finger ex¬ THE ETUDE.1 I$325 THE ETUDE . . . entitled Graded Course of Study for Cabinet Organ, left hand, and vice versa. Being able to do this I ercises is concerned. They are weaker and more con¬ Woman’s Home Comp. . . Mother’s Magazine Save $1.00 by M. S. Morris, which will help you over many a Mother’s Magazine . . . z- allowed him to play the exercise without speaking the strained in their placement on the hand. The speed American Magazine . . J | Save $1.25 . . ) Save $1.25 difficulty. From the third grade on you can use many Modern Priscilla notes, and found he did it fairly well. Sometimes i; indicated by Mason as the highest development is not THE ETUDE . $ 2 22 of Bach’s things, if your pupil is serious enough, First THE ETUDE.) $A 00 took a week or-more to learn a simple phrase of four intended to be encompassed at any one point in a THE ETUDE Study of Bach, Little Preludes, Lighter Compositions, Pictorial Review Save $1.00 Review of Reviews . . • ? * measures, and when he started a new phrase it was Illustrated World and some of the Inventions, and the Preludes and player’s career. It is expected that the exercises will Woman’s Home Comp. .) Save $2.00 necessary to go back to the first named way of speak¬ Woman’s Home Comp. Fugues. In the fourth grade many of Heller’s Op. 45 extend over a number of years. You should not at¬ THE ETUDE . . 2 ?5 ing the notes for the different hands. $ and 45 may be used. As to advanced pieces you will tempt to lift the fourth and fifth fingers high. Neither “This may sound like very slow, tedious work; and McCall’s (free pattern) have to draw upon your experience as a piano teacher. can there be any high speed with any finger with high .. W& k Save 75 cts. You have a list of pieces you use. Examine them care¬ it did require much patience, but af'.er a few months, motions. Speed demands close contact with the keys. Modern Priscilla when I saw that the old habit had been entirely over¬ fully and determine which can be successfully played on THE ETUDE . , 00 the reed organ. Many of Mendelssohn’s Songs Without come, I felt that I was fully repaid. Later I had the ) $ Words go well on the organ. Morris’ pamphlet will pleasure of having him play a little piece at a pupils’, t studies would yftu HiivstcM follow Burg- Delineator f must go to recital.”—Miss Nettie Gordon. ujuimw. opus mi), nnd i-nmlm... give you help along this line. Op. l.’iO, nnd Kutvlaii's Sonatinas Everybody’s 1 one address Save $1.50 recommended to m<\" Technical Points “Crossed Wire Brains” Czerny’s Op. 139 has been a standard work for many THE ETUDE A couple of letters have been received from teachers decades, and many teachers, after exploring other Woman’s Home Companion $3- who read the article on the foregoing subject last etudes, have reverted to these again and again. Their Special tea spring, and have responded stating their experience for “2. Shall T keep the piece Pictorial Review .... Save $1.00 he First Study of Back* contention is, that after following the advice of many tical departments ot ti the benefit of other readers of the Round Table. The to mothers. $1.50 a “3. What studies shall I educators, that modern Etudes embody more ideas in first reads as follows:— each one, and develop the student’s musical perceptions THE ETUDE . .] 1$ J60 THE ETUDE . ., THE ETUDE . . .) THE ETUDE. . .}$Q35 "I do not think my pupils have the trouble of ‘mixing The Etude with nri Mathew’s directions fur more rapidly, but they find that there are many pup® Today’s (free pattern) i Home Needlework . Designer . . . . f*l« Woman’s Home Com. > — up’' the clefs, complained of by L. P. in the Round- who are incapable of digesting more than one thing at LI! Little Folks . . .jsavesset..

Table. I urge them from the outset to read the bass §1 j a time, and that they thrive better on the technical THE ETUDE . .) THE ETUDE . . . i clef first. I call their attention to the manner in which THE ETUDE . .1 simplicity of Czerny. They contend that whenapupilis To-day’s (pattern) . jl$200 THE ETUDE . . .? houses are built, pointing out that the foundations People’s Home Jnl. . American . . -J 1\* Save2 75- cts. 17-Boys’Life.. working for technic, it is better for him to concentrate 17-Boys’ Magazine.... Woman’s World . . | McCall S (free pattern) • , should first be considered. Should they forget and read J. W. Housewife . . .] 50—Current Opinion .. 1 Save8Scts. his attention on that alone, leaving expression and McCall’s (pattern) J IT5 one note in the treble first, I stop them, a'nd ask, ‘What 1. The plain legato is produced by the natural strengt' THE ETUDE . 70-Harper’s Magazine. Woman’s World . J I Save40cts. other points for pieces, and art eludes, such as those THE ETUDE . .] .Weekly... did I say about playing the bass notes first?’ or some of the fingers in a downward stroke, in distinction fror Modern Priscilla . t$2- * World... THE ETUDE . . .) $200 written by Heller. With this view I am much in Everybody’s . .1 f2- j Save 75 cts. THE ETUDE . . such reminder. They immediately correct themselves. the clinging legato, in which there is more or les 1 Save 50 cts. Home Needlework .J Christian Herald . . ( This suggestion works like a charm with my pupils.” assistance from the arm muscles. This natural move sympathy for the average pupil. With the overwhelm¬ Delineator ... ,j LI! ing volume of etudes written by Czerny, many prefer to THE ETUDE . . —Mrs. M. M. Glass. ment of the fingers on their joints, free from stiffnes THE ETUDE . . ] THE ETUDE . . .) use selected studies, for in that way useless repetition Housewife . . . 1 $212 THE ETUDE . . .) The second letter treats the matter more at length. or strain, is the principal desideratum to be aimed fo 1*2— Ladies’ World {“J* s“ Designer (fashions) .; is eliminated. The best selection I have seen is that McCall’s . . . '2- Mother’s Magazine . She has had pupils who have had this difficulty and has by all players. The mild staccato mentioned for til McClure’s l address J| Save $1.25 Modern Priscilla . .) 1 Save75cts. '2- thought out a scheme of treatment. two finger exercises is obtained by a very slight pullin' ot Emil Liebling, in three books. You can order Modern Priscilla ) »■=. Pictorial Review . .)1 Save $1.75 “Perhaps my experience may prove helpful. I taught back of the tip of the fingers towards the palm of th Uzerny-Licbling Selected Studies, and the first book THE ETUDE . . .1 THE ETUDE . .1i $3®2 l$OT5 a small boy, who, when he first tried putting the hands hand, confining the motion as much as possible to th, ha'lf Sw- ^°Ur necng substantially the first THE ETUDE . .) Woman’s Home Com. Pictorial Review . . THE ETUDE together, played the lower staff with the right hand, ni W , tbc Preparation you mention, the average Musical Leader . .j ,52- 1 Save 50 cts. Ladies’ World . .J World’s Work second and third joints. It is intended for rapid mo >Save $1.50 McCall’s (free pattern) J [ Save $1.25 • • m and the upper with the left. Learning the hands uons when there is no time for the action describe, Pnnl may be ab,c t0 work ‘b«c up to tempo. Then separately not helping any I invented a plan of my own. for other forms of staccato. Another form of staccat, Cook Two may follow. First, I explained that all notes on the lower staff be¬ in ^treme rapidity is obtained by a very slight motio. containSonatinas y°« mention are also standard, and : : ;}‘3°-5 longed to the left hand; at the same time teaching him of the entire finger from the first joint, lightly touehim however r"6 movc‘nlcnts’ With young students, which was the left hand in order to get the two hands and releasing the key as quickly as possible sonatina’ • be.I,cve thc practice of giving complete well separated in his mind. He was under six, and 2. Pieces that a pupil should “keep” memorized shoul, puoil soVS °f lIlll,ious value. It takes thc average be carefully selected. Not all early pieces studied w therefore such things were not yet clear to him. I did sonat:na iU*** i!° work UP *lle three movements of a :$3- not try to impress him with the seriousness of the loses all ■ at bc bccomrs tired and discouraged, and Save$1.75 situation, but good humoredly told him he had played THE ETUDE . . will no b !n h- From ‘hat time on his progress the left hand’s notes with the right, and thus had played Mother’s Magazine Joe his exercise upside down. This to his childish mind was transferred t*n raP'd J* 5* WO,,1 O- W'ONUN'S \\OKJ.D recommend !u e frcsh ',iece- Therefore, I would clearer than if I had told him he had reversed the Modern Priscilla . Delineator.j Save ss cts. spersed wfftl 'o y°" Se,ect ,hc bcst movements. Imer- hands, or something similar in words that were not in nine with The following magazines or full price: Cosmopolitan, $1.50; Good Housekeeping, $1.50; m fc fM M c«itivate fh th r,e^ style. Slir-r' 1 , e stlou!(l lie pieces in the modern il, $1.50; Saturday Evening Post, $1.50; Country Gentleman, Read by oi his everyday vocabulary. He saw the point at once, nines in all Harper’s Bazar, $1.50; Ladi facility in the more complicated Bach , course with "°0< used *° recommend that a similar rid 8 $1.50 $1.00; McClure’s, $1.00. and felt somewhat humiliated over the joke, and we Any of the following $2.00 h ars: Cosmopolitan, Good Housekeeping, Harper’s Bazar. and fiction. will come later, and which he will be mS&BfS? ^ both laughed and concluded we must learn to play Beethoven sonat? S‘*?en,s m!ph‘ be followed wi,h th' ‘right side up.’ for by his work in the early composC V' In difficultv KtaS’ ^ot on,y do tbe movements vary can keep’ all h.s pieces memorized, ite should hav, frequent ch’S St“dents of mediocre talent nee 5“kl°rtoR5 THE ETUDE, Theo. Presser Co., Publishers, Philadelphia, Pa. Pupils mav ouf , eCp "p ,be in‘emt Tak"'e ten be treated from a different standpoint. Please mention THE ETUDE when addressing 01 852 THE ETUDE

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