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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
5-1-1922 Volume 40, Number 05 (May 1922) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 40, Number 05 (May 1922)." , (1922). https://digitalcommons.gardner-webb.edu/etude/690
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“Sumer is Icumen In” Presser Foundation reports that there have been remarkably InsxEAtf of looking forward to summer as a grand spree few cases calling for help for many years. Every case is in¬ of indolence, thousands of American students are eagerly vestigated thoroughly and those meriting assistance cared for waiting for the tinjq when they can attend some one of the when possible. several highly ®uramer Schools conducted in differ¬ Musicians are learning the lessons of thrift, providing for ent parts of ,t'mother saiigotateS. their old age and comfort. They know that to stand well in SumnierUn^j/oti!1 ^education is concentrated study. Con¬ the community they must, first of all, conduct their business centrated study is often best. There is usually a spirit of great affairs in a way to command the respect of their fellow men. interest and liveliness, despite the so-called hot season. As a matter of fact, the really hot season in our northern cities is The Dynamism of Repose limited to a very few days. These days may come in June or The aim of the great engineer is to produce the highest September, just as well as in July or August. Why libel the possible results with the least interference and friction. It is whole splendid open-door, open-window, fresh-air time of the for this purpose that micro-measuring machinery has been con¬ year because of a few days P trived, and American precision in quantity manufacture has Sometime ago, we have forgotten where, we read a series surprised the world. The engine that runs smoothly, quietly, of carefully compiled statistics indicating that many of the securely and accurately is usually the best engine. world’s great masterpieces had been produced in summer. It In most cases the greatest of men are those who in their is reasonable to assume that most of us are in better health in very repose indicate their unlimited power. History affords summer than in winter; there are fewer colds and aches; countless illustrations. Really great men are often amazingly there is usually greater energy because of greater oxygenation; unostentatious and gentle in their demeanor. It is difficult to the diet in summer, when plenty of fresh vegetables are obtain¬ realize in meeting such a modest, unassuming, courteous jour¬ able, endows us with more vitamines; and in all, the average nalistic genius as Cyrus H. K. Curtis, that he is really the high- worker with a real ambition is better fit for concentrated study powered dynamo responsible for the epoch-making success of in summer than in winter. In addition to this the long period four of the leading publications of the world. An explosive, of sunlight spares the eyes and makes longer periods of work spluttering, flamboyant man, wasting his energy in asserting possible. himself could not, in one life time, have accomplished what Mr. If you have not planned for special work this summer Curtis has been able to do in less than fifty years of concen¬ there is still plenty of time. The opportunities are very num¬ trated endeavor. erous. The Etude for years has done everything within The same truism applies to music. The pianist of real reason to foster the idea of Summer Schools because we believe power and sincere artistic inclinations is a kind of reservoir of very sincerely in their real worth. ability and ideals which the audience comes to appreciate at its real worth without any need for exploitation on the platform “Unbusinesslike Musicians ?” by means of eccentricities and waste motions. De Pachmann One of the most unjust accusations that can be made succeeds in spite of his platform antics, not because of them. against our profession is that “musicians are not businesslike.” If he did not play marvelously he could not command attention It is true that the professional person with his mind upon his for longer than one program. Josef Hofmann, Sergei Rach¬ work or his art, does not give quite as much attention to the maninoff, Josef Lhevinne, John Powell, Ignace Paderewski and matter of making money as the man or the woman who makes Fritz Kreisler, are all splendid examples of the dynamism of an art of that alone. repose. ^__■ On the other hand, in our experience with the Etude The Value of Visiting Conductors Music Magazine, we find that professional people are often ex¬ The death of Arthur Nikisch just after the announcement tremely sensitive about paying their bills promptly, about of a coming American tour was the occasion for deep regret on keeping engagements and about living up to the spirit as well the part of thousands of his admirers in America. Nikisch for as the words of a contract. years was regarded as the greatest of living conductors in the There has been, in the past, plenty of poppycock on the many countries in which he carried his beautiful message. part of certain musical hypocrites who have disdained all While he was in Boston the splendid philanthropy of Colonel interest in money as long as they got plenty of it and what it Higginson developed as never before. The keen penetration, buys, through various channels. The teacher who is so fas¬ the artistic sympathy and the remarkable alertness of Nikisch, tidious that he will not touch the fees of his pupils, but insists combined with his thorough musical background, did more for upon having them laid on the piano like burnt offerings on an the development of the orchestra than any of the more severe altar is likely to be the one to grab those fees instantly after drill masters who succeeded him. His contribution to American the pupil’s back is turned. Such a person is not merely un¬ musical art was very precious and deserves the widest rec¬ businesslike,—he is innocent of any sense of humor. The first ognition. step in cultivating a sense of humor is to be able to laugh at This year we have had several visiting conductors, among one’s own foibles. them d’Indy, Mengelberg, Strauss and Coates. Strauss and Musicians are extremely sensitive about asking for assist¬ d’Indy were already known. Mengelberg surprised his friends ance. The state of the profession during the last ten years has and those who heard him for the first time, by his wonderful been somewhat astonishing. Businesslike or unbusinesslike, virility and his authoritative interpretations. More attention, there have been very few really worthy appeals made to however, was attracted by Albert Coates, who, in ecclesiastical different institutions standing ready with funds to assist gen¬ parlance, exchanged pulpits with Dr. Walter Damrosch during uinely deserving musicians brought to the point of need the past winter. Incidentally, Dr. Damrosch was received with through causes other than their own bad habits or neglect. immense favor in London when he was conducting Mr. Coates’ The Department for Needy and Deserving Musicians of the splendid orchestras there. MAY 1922 Page 209 TUB ETUDE
An Amazing Organ Many Roads to Coates was born in Petrograd, in 1882 of an English father and a Russian mother. Notwithstanding his early con¬ 0, all the musical instruments the ^ tinental background, he' is typical of the stalwart Englishman, course, the human voice. Few peop e, ov .’ }mj ycars it Artistic Playing a man of magnificent stature and fine manly bearing. At the derfu, endurance. Used tlLco- age of twenty, he abandoned his scientific studies and entered survives, in most instances, until the h the Leipzig conservatory, studying with Teichmuller, Ivlengel motion halts, the senses fade, jet the vo.ee m there as long a. An Interview with the Eminent Pianist*Conductor and Nikisch. Nikisch realized his immense potentialities and there is breath to put the vocal chords in vibiat • secured many openings for him. His advance was very rapid. The voice of die singer and the speaker is ^ at lea t By ALEXANDER SI LOT I In 1911, he became the leading conductor of the Imperial twice as much as that of the ordinary person. It must sus Opera at Petrograd. In 1916, his opera Sarclanapalus was tain a strain that only the one who has experienced t can given in Petrograd with great success, despite the war. On realize. Let it pass the danger point and the voice is cupp ed Secured Expressly for The Etude tours to London he conducted the Covent Garden Orchestra just as any other organ is crippled by over use. owever, u Wagner repertoire, in association with the remarkable amount of abuse it will sustain is almost unbelievable. W hen SILOTI AND HIS TEACHER. TCHAIKOVSKY Bodansky, who had been previously associated with him as co¬ used right, the voice holds its vigor in an amazing manner conductor at Manheim. At the head of the London Symphony Take the astonishing case of Dr. RussajMg^well. IF lias and the London Philharmonic, Coates rapidly became a great delivered one lecture over six thousa^|^^^H|^cvotiiig the favorite because of his inspiring interpretations of great proceeds to erecting a university which ha^^^Wy educated a masterpieces. His work with the New York Symphony Orches¬ small army of young people. In addition, he has delivered tra was a joy at all times and the enthusiasm of his audiences thousands of sermons. Yet bis voice is at this day rich, vigor¬ was an indication that America will some day demand more of ous and powerful, despite the fact that he is very near to eighty. “It may seem paradoxical, but I have learned almost Endless Roads to Parnassus at the piano. I incline toward the method of Franz the time of this new master of the baton. The world will be Singers all know that on the day of a performance it is as much from teaching others as I have from studying One of the first things that the student discovers in Liszt, because that seems to me the most rational and the most effective. It may be described by a few simple better for a few more wholesome “he-man” conductors of his wise, if possible, to let the voice rest. Patti, Galli-Curci and with others. There is nothing like making one’s mind advanced playing is that there is no royal road to learn¬ alert by taking the responsibility of seeing that others ing in music or in anything else. It is for this reason lines: ,Liszt (judging from his own position at the type. others learned to form a habit of scarcely talking above a play correctly and artistically. It is my firm belief that that the principal thing in all good art is the mental piano)always felt that his forearm should be approx-, imately parallel with the level of the piano keys thus: Why Not ? whisper. In his autobiography, the inimitably humorous every teacher should play. He should be able to do more picture, the conception, the ideal. The reason why many Recently, in a conversation with one of the most famous Jimmy Glover, of London, theatrical conductor, the man of than play,—he should regulate his style to the pupil’s students do not succeed- is not that they do not work, but “a million friends,” tells how he once found the great tenor performance. Nicholas Rubinstein was a past master at that they have no proper picture of . what they aspire to musicians of Europe, who did not wish to have his name quoted, this. In fact, I could learn far more from Nicholas Tamagno on the day of a concert wandering around witli a do. They play, play, play at the keyboard, but they never we were forced to listen once more to the old arraignment that Rubinstein and his playing than I might from that of his slate tied around his neck. On this slate he corresponded, think and dream away from the keyboard what their in¬ American musical composition has not risen to European great brother; Anton Rubinstein. Why ? The reason is a terpretation should sound like. rather than talked, with all visitors. Yet Tamagno, according simple one. When Anton played, his performance was levels. It always makes us indignant to have it pointed out; but How does one get playing ideals? First by hearing as so astonishing and so overpowering that the pupil be¬ our better sense makes us realize that with the exception of the to report, had been a blacksmith and was a very vigorous man. much good playing as possible and then through the de¬ came discouraged He was inclined to throw his hands On the other hand, Leschctizky apparently took an works of a very few writers the statement is absolutely true. Other singers are very prodigal with their voices—some even velopment of the musical imagination. Your playing in his lap and say: “What is the use of my trying ? 1 opposite view, (judging from the playing of many of insisting that unless the voice feels tired it is useless to coddle will never be any better than your playing ideal. Let Some of our American composers, whose works entitle can never play like that I may as well give up at once.” his disciples.) He seemed to feel that the scat should them to be called masters, have now and then gone into the it on the day of an appearance. But when Nicholas Rubinstein played, he gauged hi$ play¬ us suppose that you were going to build a great temple. lie low producing aii angle of the hand and arm tending Unless your imagination permits you to see that temple realm of the immortal and brought back great musical cre¬ ing so that it was only a little ahead of that of the pupil. in this direction. The pupil then thought, “Well, I can perhaps play as in all its gorgeousness you will not he able' to take the ations. Our Limitations well as that with a little practice.” The mother when first step, no matter how great may be your technical Our critic, however, took a kindly attitude and pointed teaching a child to walk, does not run ahead as though skill. In pianoforte playing and in pianoforte study out that, to his mind, none of the American composers had The matter of our capacities is usually a little humiliating. in a race. She walks slowly and carefully. Many there are too many bricklayers and too few architects touched the heights in music equivalent to those in literature We don’t like to think that there is anything beyond our possi¬ teachers seem to think that they must amaze their pupils with vision. The average student spends his time in worrying about held by such works as Whitman’s masterpieces, or such dis¬ bilities. None of us ever try quite hard enough to explore our by playing in a very bombastic and showy style. That is never the best for the pupil. methods, about the minutia of touch, fingering, accent tinctive creations as The Fall of the House of Usher or Mark real talents to find out the barriers in other directions. As I look back upon some of the lessons I had from and so forth—all necessary to the point of indispensa¬ Twain’s Joan of Arc or Hawthorne’s Scarlet Letter. One very human trait with creative workers is to pioneer. Anton Rubinstein, they seem like a nightmare even now. bility,—but by no means all in the art of playing. For Is this so? Then why has it not been possible for Ameri¬ Few men are satisfied with what they know they can do. They I felt that he was absolutely indifferent to what I played instance,—during the last half century there have been Who.can say which is right? No greater pianist than two quite radically different methods of seating oneself can composers to rise to similar heights ? Of course, the answer want to try new things and find out whether they can do them. or how.I played. There was naturally no question of Liszt ever lived and he produced his results by his own of thousands of our patrons is that the Keltic Sonata and Ste¬ No instinct is firmer in the race. enjoyment for him or for me. He did not actually manner of playing. The Leschetizky pupils play mar- teach me anything. He only gave a superinspired phen Foster’s magic combination of tonic, dominant and sub¬ vclouslv. so apparently the mere position of the hands ^ .-«iuie oniy two or rendering of the music, and if the desire to learn was and arm does not make such a radical difference in dominant, for instance, are just as remarkable in their way three that have survived on concert programs. His art was not killed in me it was due to my happy disposition which either case. What does make a difference with the in¬ as the greatest productions of our literary masters. instrumental, not vocal. Mendelssohn aspired to write operas allowed me to regard these lessons as a temporary evil. dividual pianist is the playing ideal,—the mental con¬ His one attempt was far inferior to his real masterpieces Verdi Zvcrieff, my earlier teacher, who was a real pedagogue, ception of the work whether it be program, music or felt the same way about them; after each lesson he pure music. Bach’s income, when he was Cantor at Leipzig in St, Thomas’ had ambitions to be regarded as something other than an opera talked to me in a peculiar way, as if he were making The best teacher for the student is the one who can Church, ivas estimated at not more than $350.00 a year. Part of composer. Leandro Campanari who was selected to lead the excuses for having made me study under such a master. bring the most from that student. Fame means nothing. this was raised by the choristers who went about the streets at string quartet in which Verdi hoped to make his debut as a cham¬ The Russian conservatory system provides for distinct Take the case of Tchaikowsky. With a good student, staffs of the elementary and for the advanced depart¬ he was a mast excellent teacher, taking great pains to stated periods singing and taking collections. ber music composer, once told us that the result was pathetic ments. Because a man like Zverieff devoted his life to help him, but if Tchaikowsky was not interested, he Verdi, however, did not realize that his much loved string quar¬ the training of the young did not rob him of any honor was not only indifferent to the student’s progress but tet was a fiasco. Precarious Opera or ally distinction in the faculty of the conservatory. he would scold frightfully, Scolding never makes a The educational psychologists are harping upon this sub¬ Nor was such a man expected to have had any less severe good teacher. It is rarely necessary. It upsets the Just as we are going to press there are all sorts of ru¬ ject now. They say that it is one of the bitterest disappoint¬ general musical training than the teacher of the advanced pupil’s state of mind and unfits him to do his best. classes. He was simply one of the professors who had mors about the continuance of the Chicago Opera Company, ments of some parents to realize that their fond darlings have When I studied with Tchaikowsky, he never neglected an organization that in its tumultuous history has been the elected to make a specialty of training the pupils in the the details of the pedagogical side of his work although psychological limitations in certain directions. In former times lower grades,—a very important work, and one bringing godmother of much of the very excellent new operas given in he did not like teaching. He corrected all the harmony if a boy or a girl could not master certain subjects they were him renown as a specialist. No one would dream of exercises with care and minute precision. America. It certainly deserves to prosper, as far as its artistic put down as stupid or lazy and flogged to make them do what sending a beginner to'other than such a specialist. It is The pupil often does well when he has a teacher of accomplishments are concerned. The civic pride of Chicago nature had restricted them from doinu. An arm,-™ f r a great mistake to place elementary pupils under the opposite temperament. The effervescent pupil needs the should not permit this notable work to go begging. Yet, the tuition of some famous virtuoso who, as a rule, is not hard training that a serious minded, patient master can ‘ the limitations of the brain is largely a nineteenth century «tti- adapted to teaching youngsters. It is like bringing some withdrawal of public support of a very munificent kind might give, while the sluggish pupil benefits from having a delicate plant out under the hot rays of a dazzling sun brilliant alert teacher always ready to spur him on. wreck the whole enterprise. Opera has almost always been “/iubjeeW ttdtraW — *"**«' “» only to be shriveled up in an hour or so. When I was teaching my cousin Rachmaninoff, he already precarious, with a few historic exceptions. As a business en¬ If in your work you find that „„„ u u' When I say that I have learned by teaching, I mean manifested some of the sombre, almost pessimistic traits terprise in America only a few men are reported to have made into a brick wall, don’t be discouraged, this may be IT^ that I discovered there were a great many effects in which marked his early career. On the other hand, I my own playing that I did instinctively and did not un¬ was an optimist. To me it was always the gold of it pay. Handel lost his entire fortune reputed to have been discovery. Study yourself. Ask yourself what of alMl 6 $50,000.00 in opera, yet many of his operas were said to derstand. For instance. I would play a passage for a morning sunshine,—to him it was the black of midnight. you enjoy doing most, confer with friends you respect Th^ pupil and prescribe a certain type of pedaling. The pupil While teachers should lie able to play and play finely, have been very great successes. He paid yearly to his star may be some very slightly different line which ho P 1 here would repeat, apparently going through the same me¬ they should remember that the duty of the teacher is to Senesino about $8,000.00; what would he think of the fees turn of the road. It is rjcht that v 1l ** SUCCess at the chanical process, and yet it would not be the same. Then teach, not to turn each lesson into a pianoforte recital. paid to Caruso or to Galli-Curci, who is reported to be receiv¬ work. If you are not ^ at/d ^d'are g° ^ in 1 would have to analyze my own playing to find out It was only occasionally that Liszt played a whole piece ing even considerably more for each performance. study the cause and remedy it if you can. * Se"Slb e bemg> the secret. This has helped me time and again in m\ through for us. The usual thing was for him tc sit public performances. The best performer and the best down and show us a single passage, but even that he player must learn to analyze his own playing. only did for some of his pupils—the eight or ten out THE ETUDE r Page 300 MAY 1022 THE ETUDE MAY 1922 Page 301 Music Facts from Plutarch’s Lives of the thirty or forty present who actually played. The residue was made up, for the greater part, of English The Recorder By S. M. C. Practical Technic for the Beginner and American women in great variety, who merely Intimate Glimpses of Famous formed an audience. This did not prevent them, how¬ Themistocles, the great Athenian general, well under¬ By ERNST C. KROHN ever, from calling themselves Liszt’s “favorite” pupils,— Contemporaries stood the attractive power of music. While he was still apparently he had none but “favorite” pupils. Technic may be defined as the art of securing re¬ Ernst C. Krohn, the author of this article, was born young and obscure, he prevailed upon Epicles of Her- The combination up and down motion will be of In My Memories of Lisst I have endeavored to give sults with the least possible expenditure of energy. , All in St. Louis, December 23d, 1888. He teas the pupil Next to living up to a distinguished name, is probably mione, a harpist, who was eagerly sought after by the immediate practical use in the playing of simple pieces, a picture of Liszt as a conductor. He was not in any technical training aims at the conservation ot energy, of his father (o pupil of Kullak) and other well-known lt goes without saying that the earlier pieces should be the difficulty of living behind a distinguished face. Cer¬ Athenians, to practice at his house, for he was ambiti¬ sense an ordinary conductor. Whether it was at for whatever is done with obvious effort is inartistic, teachers of St. Louis. Early in his teaching work he selected with an eye to their adaptability to arm play¬ tain people have such individual features that when fame ous that many should seek out his dwelling and often Weimer or further afield, the orchestra had first to The art of piano playing ceases to be an art whenever started very interesting ' investigations of juvenile ing. They should be written within the compass of five comes to them they are identified by the public at once teaching material along quite original lines. This arti¬ study the things that they were going to play with their come to see him. technical proficiency is absent. The technical mastery of notes in each hand, so as to prevent the complications and recognized by admiring crowds wherever they go. When Atisthenes heard that Ismenias was an excellent cle should be of decided value to young teachers. own conductor until they knew them almost by heart. a Godowsky makes a Chopin Etude seem so easy as to arising from frequent change of the hand position and We know of one music supervisor in the New York piper, he said: “But, he’s a worthless fellow, otherwise The conductors were also near at hand to help the public schools whose resemblance to President Wilson be almost unimpressive. This is the highest phase of turning under of the thumb. Mrs. Krogman’s Ten Five he wouldn’t be so good a piper.” will be a strong probability of releasing the first key orchestra or chorus on dangerous moments while Liszt is so startling that he has often been at a loss to find ways technic. Note Recreations Opus 110, are typical. The First Philip of Macedon once said to his son, who, as the during the upward motion preceding the- depression was conducting, such moments being not infrequent, of denying that he was the President. On the “fake” In the nature of things, piano playing is difficult, not Lesson can be played with the down stroke throughout. wine went round, plucked the strings charmingly and of the second key. The second finger must cling lightly, for the greater part of the time Liszt could not be said Armistice day, this gentleman happened to be in front of only because erf the awkardness of our poorly adapted “A Hammock Lullaby" can be played with a down skilfully: “Art not ashamed to pluck the strings so well? but hinge-like, to C, for instance, until the arm swing¬ to conduct at all. His appearance at the conductor’s the New York Public Library. Although President playing apparatus, but also by reason of the intricate and stroke for the right hand and a combination up and It is enough surely, if a king have leisure to hear others ing up and down finally sounds D. desk was imposing. His long tightly buttoned abbe’s Wilson was in Europe at the time, the crowd recognized highly ornamental form of piano figuration. At all down stroke for the left hand. As this is an exceed¬ cassock, his bushy mane of white hair, and his air of pluck the strings, and he pays great deference to the After diligently practicing this two-finger exercise, the this man as Wilson and he was soon surrounded by a stages of the study of piano playing, it is necessary that ingly common type of left hand part it deserves illustra- spirituality, all combined to give him an unearthly Muses, if he but be a spectator of such contests.” student should be required to study the following three cheering mob from which the police had great difficulty some form of passage work be studied. It is quite the appearance as of being from another world. Not only Alcibiades at school usually obeyed his teachers, but he finger exercise: in extricating him. Another musician, well known to fashion to frown upon technic for the beginner. It is did he look gigantic but he seemed to be soaring above refused to play the flute, holding it to be an ignoble and Ex.6 L.H. v D D D D Etude readers, bears such a remarkable resemblance to quite the thing to do everything in a spirit of fun and Ex. 2. us all—above the hall itself. He used no baton. In the illiberal thing. The use of the plectrum and the lyre, Chauncey Depew that he is frequently taken for the law¬ play, and to relieve the aspiring pianist of everything re¬ R. H. 2342342342342342342343 soft parts he would beat time almost imperceptibly he argued, wrought no havoc with the bearing and > l J ». 1 i til UJ yer-railroad man. On one occasion The Recorder had motely resembling work. It is also only too true, that, CDE DEF EFG FGA GAB ABC BCD C or not at all. When he came to a big crescendo he appearance which were becoming to a gentlemen; but the honor of having Lt. Comm. Sousa at lunch at a in this “land of the brave and the free,” the teacher pro¬ L. H. 432 432 432 432 432 432 4323 would suddenly spread out his long arms like an eagle let a man go blowing on a flute and even his own kins¬ well known metropolitan restaurant. The Lieutenant’s poses, but the pupil disposes. However it is absolutely and also this four finger exercise Twinkling Stars and Evensong contain a large per¬ spreading his wings, and the effect was so morally up¬ man could scarcely recognize his features. (Greek essential that the beginner become familiar with the face is so well known that' he is instantly recognized Ex. 3. centage of triads and afford excellent material for the lifting that you felt impelled to rise from your seat. flutes were so hard to blow that players wore bands playing motions of arms and fingers as early in his by the thousands who have been seeing that face at R. H. 2 3 4 5 2 3 4 5 very easiest type of chord playing by means of the down over their cheeks to keep them from being broken by career as possble. It is also imperative that thorough 2 3 4 5 2 3 4 5 2 3 4 5 concerts, in the press and on bill-boards for three CDEF DEFG EFG A FGAB GABC stroke. Realizing Your Musical Ideals the wind pressure.) Moreover, the lyre blended its tones drill, in the fundamental forms of piano passage work, decades. It is one of the best known faces in the R. H. 2 3 4 5 2 3 4 5 3 Inasmuch as the down stroke is particularly useful in with the voice or song of its master, whereas the flute be taken in hand from the beginning. It is assumed entire world. Of course, everyone in the restaurant ABCD BCDE C chord playing it will be desirable to give your student By Anna V. Watson identified the bandmaster after a few minutes. Later closed and barricaded the mouth, robbing its master both that you, in your self-imposed penance as teacher, will of voice and speech. L. H. 5432 5432 5 4 3 2 5 4 3 2 5 4 3 2 some work of this type. By adding an upper third to we walked from the restaurant to the Ritz-Carlton obstinately persist in presenting some phase of piano the following Exercises, they will serve as introductory On a recent visit to a great conservatory in New “Flutes, then,” said he, “for the sons of Thebes, they L. H. 5 4 3 2 5 4 3 2 4 where Lt. Sousa was staying. On the way, nearly technic at every lesson and from the very outset. chord studies. Have your pupil play them with the fol¬ England the writer heard so many young women and know not how to converse; but we Athenians, as our Care must be observed in properly phrasing the above everyone we passed looked up and smiled pleasantly In this slight sketch of elementary technic, the term lowing fingering: young men voicing their ideals for the musical life that fathers say, have Athena for foundress, and Apollo for three and four tone groups. A continuation of the up¬ at the musician. “You see,” said The Recorder, “you “beginner” will refer to a child, although the principles Ex. 7. she was all but disgusted. patron, one of whom cast the flute away in disgust, and stated may be just as successfully applied to adult be¬ ward motion, until the finger tip leaves the last key of cannot escape your admirers wherever you go.” the other flayed the presumptuous flute-player.” each group, will produce the required effect. I. R. H. 45 and 34; L. H. 32 and 2 1; Nothing worth while ever happens unless it is backed •When we got to the Hotel, the Lieutenant took off his ginners. All of the exercises suggested in the course 23 12 54 43 by an ideal. As a result of Alcibiades’ loathing for the flute and its of this discussion are to be presented to the student The preceding exercises have all been played by means hat and there, in front, stuck in the ribbon, was the large of the down stroke. Its opposite, the up stroke, will next II, R. H. 345 and L. H. 3 21. The finest ideals in the world are worthless, unless votaries, this instrument was dropped entirely from the orally. They must be immediately memorized and so hat check. It read, 23. No wonder the passers-by demand our attention. Have your student touch a piano 123 543 there is enough manhood or womanhood behind them program of a liberal education, and was universally practised by the pupil. Only in this way can the child laughed 1 key lightly with the tip of his second finger wrist and A scalewise series of chords of the sixth will afford to realise them. despised. Nevertheless, we read, that later the oarsmen observe the movements of his arms, hands and fingers, knuckles at the same level. By a quick forward motion further excellent practice. In the course of time it will One girl from the middle west went about telling of Alcibiades rowed to the music of a flute blown by and only in this way can he sense the significance of Two piano-playing seems becoming in vogue again. of the arm, the wrist rising until the hand is almost per¬ be found desirable to practice these chord studies with everybody who would listen, that her ideal was to play Chrysogonus the Pythian Victor. the muscular processes involved. the up stroke, particuarly as a means of producing a crisp Bauer and Gabrilowitsch, the Lhevinnes, Maier and pendicular the finger tip will push down into the key and all of the Chopin Nocturnes. This was based upon the The child is by nature an arm player. His fingers are staccato. Pattison, Hutcheson and Randolph and many others have cause it to sound. The motion should be continued until fact that she had managed to play the celebrated noc¬ not sufficiently articulated to make independent finger A very useful form of arm motion is that which is usu¬ given us an opportunity to learn of the beauties of the Manana action a certainty, his finger muscles are not immediately the arm is fully extended the hand hanging loosely and turne in E flat. She played it for me. Phew! It almost in contact with the fallboard and the fingers dang¬ ally called rotary motion. Although this arm movement was as stiff as a walking doll! She was struggling literature written for this branch of pianistic art. strong enough for audible keyboard manipulation. He is not of immediate practical use in elementary piano mu¬ In all this, the remarkable work done by the famous By Mildred F. Stone instinctively sounds the keys by pushing or pulling them ling just above the key. By bringing the arm down to with the nocturne in G minor and the Nocturne in G its first position over the next key, this one may be sic, its value as a means of inducing arm flexibility Sutro Sisters must stand out as a “pioneer” accomplish- down. The large muscles in the back which control the major and making a beautiful mess o? both. Such a We Americans of the northern hemisphere are often played by means of the same motion. An entire scale is sufficient reason for its inclusion here. With his arm ment in -present day musical history. Rose and Ottilie arm as a unit, are the ones which decide the nature of person is not a person of ideals but a person of silly inclined to smile at the Spanish Americans who have may be played in this way using at first the second finger, hanging limply by his side, have your student twist it Sutro are Americans, daughters of Adolph Sutro long a his first efforts at the keyboard. We speak of “pulling dreams. Because you dream some night that you are made the word Manana (tomorrow) significant of pro¬ then the third, the fourth and even the fifth finger. Ex- slowly to and fro, turning inwardly as far as possible leader of musicallife in Baltimore. After their Amer¬ a good tone,” which is probably the extent of the child’s flying around like a butterfly does not mean that you crastination. At the same time we are most of us only ercise 1 to 3 may now be practised with the up stroke. • and then outwardly, continuing the motion until tired. ican education they were sent to Be-lin where they conception. Unfortunately, the childish appetite for tone This twisting motion may with profit be practised for will wake up in the morning with wings. too ready to put things off, despite all of our “Do it soon degenerates. At first satisfied with divers isolated As the up stroke naturally produces a staccato effect, the If you have an ideal — an ambition — seek first of all studied with that severe technicalist Heinrich Barth, now” signs. phrasing need not be observed. a few moments at the beginning of every practice period. himself an exceptional ensemble player. Since then, these tones timidly sounded, he rapidly develops an astonishing In time it will be necessary to practice rotary motion in to make a plan—a working plan as to how you will In music, practice cannot be put off. You cannot do desire for unadulterated noise and turns the piano into A combination of the up stroke and the down stroke ladies have played with ma-w of the big orchestras of will now be in order. Using the up stroke, have your the normal playing position. With his arm in the usual carry it out. Just as the master-builder puts down in to-day’s practice tomorrow. To-day’s lesson cannot be a drum, to be beaten upon with stiff fingers and rigid the world. With the passing of time there seems to have playing position but tilted slightly upward so as to keep the contract when the job is to be done, you should learned tomorrow. True, you may do an extra amount arm. It is your province to guide the child along lines, student play C with the second finger and immediately developed a kind of musical sympathy almost telephony. the fingers well above the keys, have your pupil twist his put a time limit on yourself. Say, “I will master this of work tomorrow to try to make up for what you lose which will utilize, from the very outset, his arm playing repeat C, by dropping from the outstretched arm posi¬ In recent performances they have seated themselves back forearm outwardly and then inwardly, continuing as be¬ Novelette of Schumann in two months or bust.” Then do to-day, but the processes of nature are peculiar. Gradual ability. tion at the end of the up stroke, into the hanging on to to back, and without signals of any kind whatsoever they growth toward technical proficiency is always best. Ir¬ the key position at the end of the dozvn stroke. Have fore until fatigued. In this exercise the arm revolves in Arm Technic the elbow joint, whereas in the first arm twisting exer¬ The writer once knew a teacher who practiced for play as though their art was under the control of- one regular practice never seems to produce results half as him play a whole scale this way, using at first only the The very first lesson in technic may very well consist cise, it revolved in the shoulder joint. In rotating, the the better part of three years upon a Schumann Novel¬ mind rather than two. There are never any slips of excellent as regular practice. second finger, (hen the third, fourth and fifth. The time, rhythm or nuance. This is all the more remark¬ of some such exercise as this: Have your student touch change from key to key may be made by a slight shifting forearm, the upper arm should not be held rigid. It ette and even then did not get it. He had ideals but a piano key lightly with the tip of his second finger, able because one has a fairly good sized nianis'ic hand motion of the arm, without raising the wrist however. must be perfectly relaxed and permitted to sway from he did not mean them. wrist high enough to cause the hand to hang loosely, side to side, even to the extent of allowing the elbow Better have no ideals at all unless you know how to and the other has a comparatively small hand making Pianistic In the following exercise two adjacent fingers will be and arm swung slightly forward. By suddenly permit¬ to point outwardly. The application of this motion mix them with your work. Ideals are like sand — a different technical systems advisable. Their programs, used. After the preliminary start with the second ting his arm to drop, the finger will depress the key. to Exercise 6 will require persistent practice. So much very important part of any building, but unless you made up in part of works written especially for them By M. C. Gowen finger, using the up stroke, have your student play the Allowing his wrist to rise to its first position, he will depends upon acquiring the “knack of it.” In twisting have the cement or the lime to mix with the sand, the by many modern masters who have recognized their first note in each group with the down stroke and the The Germans call it Klavicrmiissig, which simply notice that the piano key seems to push his finger right second note with the up stroke. Care must be exercised the arm or rocking the hand, as it will seem, the lower structure you build will totter before you have gone ability, are interesting in the extreme. means that some pieces, are distinctively for the piano, up. He is now in a position to repeat the whole per¬ in securing a smooth connection between the two con¬ tone will be depressed at the end of the inward motion, above the first floor. Don’t waste your time with ideals Ensemble playing demands years of cooperation. The sound best on the piano, are hard to translate to other in¬ formance. After a number of repetitions, he will be¬ secutive tones of each group. the upper , tone at the end of the outward motion. The unless you are ready with the energy and the persistence greatest artists cannot sit down at the keyboard and come quite expert in this form of arm motion, which struments and are first, last and always piano pieces. Exercise 4. fingers must not work but must remain absolutely pas- and the common sense to make your ideals count. The immediately produce results in this branch of art. The Conversely there is a great deal of instrumental music we will call the down stroke. This form of touch should following quotation from William James’ delightful Sutro Sisters told the Recorder a story recently of be employed at the preliminary exploration of the key¬ Right Hand Up Down Up DU DU DU DU DU DU which lo
By Orlando A. Mansfield, Mus. Doc. A Practical Review Giving the Latest Ideas for those in Search of the Best New Records and Instruments The Teachers’ Round Table
Every student of practical music is, or should be, Conducted by HORACE JOHNSON Conducted by N. J. COREY sufficiently familiar with the metronome to need no he repeatedly had his pupils hear that work in his description of its form, construction, or general use. The New Musical History studio giving his own ideas and telling them that the This department is designed to help the teacher upon questions pertaining to “How to Teach, What to Teach,” etc., and not technical But what do we know about its reputed inventor? Who Before the invention of musical notation which real artist is the one who makes his own conception problems pertaining to Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered was he, and why should he b'e of special interest to occurred about the beginning of the eleventh century, based upon the attentive listening to as many different American students? Taking first the former of our department. Full name and address must accompany all inquiries. music was largely traditional. For this reason prac¬ renderings as possible. two last questions, we note that the metronome is named tically nothing of any very definite character remains Ensemble Pieces sure the pupil understands elementary theoretical details. but in smaller towns you are so apt to run up against New Records after Johann Nepomuk Maelzel, who was born, in 1772, about the actual music of the ancients, despite the What if it does take two or three years to go through competing teachers who are jealous of your work. It is at Ratisbon, where his father was an organ builder. somewhat voluminous writings of the contemporary The Brunswick has issued its first record of the tenor good ensemble music, something of the classical the catechism at this rate? The amount you can regu¬ always a good plan to have the contestants play behind When twenty years of age Maelzel settled in Vienna, order and brilliant, to be used in spring recitals, philosophers who gave great attention to the value of the Chicago Opera, Tino Pattiera, singing the aria about two numbers for each of the following: late by the length of the lessons. Except in the case a screen, a portiere or sheet before the piano will do, so where, in addition to teaching the pianoforte and other of music. The invention of notation, however, was from La Gioconda—“Cielo e mar” (The Heavens and One piano, six hands; two pianos, four, eight and of bright pupils, Harmony Book for Beginners and The that the judges will have no knowledge of who is • twelve hands.”—M. R. J. branches of music, he developed to the full his penchant not dissimilar to the discovery of the art of writing the Sea) (15019). This disc is a splendid reproduction Standard History of Music should be taken up about playing, therefore securing an impartial marking. for the purchase, construction, and1 exhibition of all itself. It preserved a record, and a very valuable for a first effort, and introduces an artist of unquestion¬ For one piano, six hands:—Mozart, Minuet from the third or fourth grade, and then exceedingly short sorts of automatons and automatic machines. Amongst record, but there was little that was accurate as to able ability to record enthusiasts. Mr. Pattiera sings Symphony in E Flat Overture to Marriage of Figaro lessons should' be given. Lead them to feel that this the former was Kempelon’s Chessplayer, which he Perseverance Accomplishes Much the manner of rendition. with exceptional enunciation, and his tones have reg¬ Schubert, Two Marches, Op. 27, No. 1 in B minor, and may be increased when they have more time for study purchased, improved, sold, and afterwards purchased An accurate record is always valuable. Before the istered with an evenness of vibration worthy of a record No 3 in D. The most usual shortcoming in playing and lessons. The Round Table exists for the purpose of helping again. This was, professedly, a machine which played invention of the Daguerreotype all portraiture was so artist of much experience. pieces like the Mozart overture is the slowness of tempo. Furthermore you should yourself diligently study those who, in their piano study, have come up against diffi¬ chess automatically but as Edgar Allen Poe, the indefinite that only a composite could give the desired A record artist of many years’ experience lias made It should be played with the greatest speed with two The Etude for hints. The magazine is full of them culties that hinder them in their work, or teachers who celebrated American author, has shown, the machine result. For this reason, we have never known ac¬ one of his finest reproductions for the May list of the counts to the measure. every month. Furthermore you will need a blank book find trouble in emergency experiences. If we had space was doubtless actuated by a person concealed within curately just what Mozart or Bach really looked like. Columbia. The artist is Louis Graveure and the selection Two pianos, four hands Saint-Saens, Danse Macabre ; with a number of pages allotted to each grade. In' order to print the complimentary letters received, which show a the mechanism. About 1808 Maelzel constructed an In the case of Wagiier and Liszt there are scores of is the Kashmiri Song (A3S62) from Amy Woodforde- Beethoven, Overture to Egmont; Brahms, Hungarian not to forget, keep a record of what you do, and what spirit of gratitude for help received, it would make a very ear trumpet for the alleviation of BeethoVen’s deafness; portraits on record giving us indisputable ideas of Finden’s Indian Love Lyrics. This song is the most Dances, No. 5 in F sharp minor, and No. 6 in D flat music you use. Especially of such music as makes a voluminous showing. Meanwhile our readers are always and in 1812 he secured the approval of the great master their interesting personalities. popular of the cycle of the Love Lyrics and justly so. major. These two dances are often played in a group. hit with very dull or ignorant pupils. Keep track of glad to read the experiences of their associates when they on behalf of a musical chronometer, the forerunner of With the coming of the music recording apparatus it It has a haunting melody which is unforgetahle. Mr. Two pianos, eight hands:—Schubert, Overture to everything in making up your outline of instruction. have something to offer along practical lines. We are the modern metronome. Thus commenced an intimacy may be said that we entered upon a higher phase of Graveure has interpreted the song with his illimitable Rosamunde; Moszkowski, Spanish Dances, Nos. 1 and constantly receiving letters from those who are strug¬ which increased to such an extent that these acquaint¬ musical history that bears about the same relation to no¬ skill—etching carefully his tonal effects, and singing 2, published together, and 3 and 4 published together. gling for accomplishment after the age of twenty, show¬ ances- arranged to visit London together, aiid actually Helping Nature tation and print that the hieroglyphics of the days of ing that there is an unlimited number who are trying to gave concerts to raise the necessary funds. For one of with a clarity of diction and volume of tone that makes Beethoven, Military March in D. For two pianos, Rameses bear to the motion pictures of to-day. Both twelve hands;—Pagnoncelli, Ballata e Bissaria. “I have a very ‘bright’ pupil whose fingers are take up music after youth has been passed over. We are these concerts, and for one of Maelzel’s mechanical this disc a record worthy of the library of even music- unusually large, and in playing chords and rapidly the stone carvings on the obelisks of the Nile and the lover. It has also the necessary elements for vocal dis¬ glad to print, therefore, the following letter from E. D„ players, Beethoven wrote a piece of program music moving passages he often strikes two keys In¬ who has something very practical to say growing out of latest movie of Griffith or of De Mille are forms of pic¬ section to aid the study of .the art of singing. stead of the one intended. Is there any successful known as The Battle of Vittoria. This Maelzel An Outline her own experiences. ture writing, both are significant of their times, and Paul Reimers has ceased making records lor the means of reducing the blunt ends of fingers? claimed as his property, whereupon Beethoven broke “I also have a girl of seven years whose fingers “To an adult beginner, the letters from other such stu¬ both are wholly different in their spirit. One is dead as Victor and is devoting his attention to Edison re¬ off his friendship with the pseudo-inventor, abandoned are uot long enough to reach octaves. She is very dents are very interesting. I began piano study at the age a mummy while the other is alive with action. creations. His latest reproduction is a record of The bright and in advancing rapidly constantly en- the idea of his English tour, and actually entered an just what a pupil ready for the sixth grade ought counters octaves. mld you suggest for of twenty-one, and have continued eleven years. It was With the great advance in recent years of means of House of Memories (80694), a ballad of quaint charm. action against Maelzel, in the Viennese courts, for to know', to memoriae, and what he Should know . W. my dream to teach very elementary things to little child¬ recording, practically all instruments and all voices are r.”—K. G. the recovery of his copyright. Meanwhile, in 1814, When I was in the Service, the Y. M. C. A. hut, which ren, and the Italian Settlement here seemed an oppor¬ heard “on the records.” More than this—great com¬ I have heard of fleshy people attempting to “reduce,” Maelzel obtained from Winkel, an Amsterdam mechan¬ I frequented, was presented with a phonograph and One of the first things you should constantly consider tunity for service to the community. After college I posers, whose personality means much in the perform¬ but as yet have not known of anyone trying to lessen ician, the idea of a machine for beating time by means among the records which were also given was a repro¬ and study in your work is the value of the selective and went to a well known Conservatory, hoping eventually ance of their works, have been induced to conduct the blunt ends of over-large fingers. To constrain them of a swinging pendulum weighted above and below. duction of this same little ballad sung by Reginald eliminative processes in your teaching. That means that to take the Normal Course' in Primary Work. But ‘the orchestras and bands so that the very life of their ideas by wearing a set of thimbles over nights might help, but This invention he surreptitiously copied, took it to Werrenrath. It was one of the most popular discs of you must study your pupils, both as to their aims and best laid plans o’ mice and men gang aft agley.’ My may be preserved: Sir Edward Elgar, Dr. Richard I am afraid the impact against the keys on the following Paris in 1816, and patented it there under his own name. the collection and was played constantly until Mr. talent, in order to determine what may be best for them. conservatory career was brief and inglorious. It appeals Strauss, Percy Grainger, to say nothing of our own day might spread them again. Any treatment of this Later on Winkle brought an action against Maelzel in Werrenrath’s voice became indistinguishable, though the This is why in the first grade it is a good plan to place to me to recollect that so elementary a student as I was John Philip Sousa, have authorized the publication of sort would have to be done in the fashion formerly used the Dutch courts. He won his case, but posterity has song made everyone of us deathly home-sick. Mr. in the hands of your pupil both the Beginners Book, and then should have attempted it. After a year my teacher records of organizations playing under their batons, by the Chinese in binding their girls’ feet so they could not confirmed the verdict, as Maelzel and not Winkel Reimers has done well to revive the song with his re¬ the first book of the Standard Graded Course. While spoke substantially as follows: ‘You have worked faith¬ which are as much history as any records made in the not grow. It might not mean years, but it would require is now universally regarded as the inventor of creation and it is sure to meet with as great civilian at the very beginning of making your experience it may fully, but because of your late beginning you have no past. It is only by comparing such records with in¬ months before definite results could be reached. This the metronome. approbation as it did with the fellows in uniform. be better to confine yourself to the printed page, yet muscular control, and can never acquire any technic. It ferior interpretations of the same compositions, made suggestion, however, is not based upon experiment. I Eventually the breach between Beethoven and Maelzel Somehow I have picked mostly vocal records this later you will find yourself developing judgment and dis¬ is not worth while for you to study and I cannot con¬ on other records, that the value of these disc documents am of the opinion that the pupil will have to worry was healed. After 1817 the latter travelled extensively, month, for my Pathe choice is also of this type. This cernment as to your pupils, and select back and forth scientiously teach you.’ may be realized. Often it is revealed that the composer along with fingers just as Nature has made them, using in order to display his various inventions and automatic is a reproduction of Darling Nellie Gray (20689) sung between the two books, as the selections seem more suit¬ “Needless to say, I abandoned all thought of teaching! is sometimes (but rarely) surpassed in his interpreta¬ every Precaution in practice for accurate aim. I would machines. Finally he made his home in the States. tions by some very individual conductor. by Elliott Shaw. It is an unusually fine record and able to immediate conditions. Then there is The First But I loved music and resolved to work harder than ever Several journeys were made to the West Indies; and shows the splendid efforts the ‘Pathe is making to ac¬ Steps which is excellent, especially in the case of adult mention by the way, that it is not alone broad fingers if only for recreation. My father, who is a dentist, en¬ It is with the voice, however, that the greatest meaning, that strike two keys, for I have known some with on one of these he was found dead in his berth, on complish the best in phonographic reproduction. The pupils. couraged me thus: ‘No one has more delicate manual comes into the life of the people through the talking narrow points to acquire the annoying habit of striking board the American ship Otis, July 21, 1838, leaving song is well known to you all and is of the best of early In the second grade there is the Student’s Book, the skill than a great surgeon, but neither the surgeon nor machines. Imagine what a wonderful thing it. would be falsely in this manner. behind him the memory of a clever but decidedly today, if we could hear as though coming from another ballads of American song literature. Mr. Shaw has second book of the Standard Course, and first book of the dentist acquire their skill in early youth. And while unscrupulous mechanician. Students in this country There is nothing you can do with a child of seven but world, the voice, erf Napoleon, Washington, Franklin, achieved a disc of exceptional merit. Czerny-I.iebling, as a basis upon which to build. Some surgeons are not necessarily musical, they have learned as to wait for her to grow up. Nature will gradually give using his reputed invention should at least be aware Dickens, Emersdii, Lincoln, Jenny Lind, or Mario, as With the Vocalion, however, I have selected a ’cello of the first studies in Czerny-Liebling could be done in her the requisite length of finger, and if she is playing adults to use their hands in a new way.’ that Maelzel spent his last days in an American environ¬ today we can hear the great singers of the world! solo for notice. It is the familiar Angel's Serenade. the first grade. the piano meanwhile, a convenient expansion will also “The first year was spent in corrective work to develop ment, a circumstance which, if it does not atone for The educational significance of the phonograph is little played by Damhois,—an interpretation that is fully In the third grade Presser’s Player’s Book may be develop naturally. So far as possible select music in muscular co-ordination. The hand gymnastics in From his faults, will, at least, create a local interest in short of tremendous. At first, the teachers of musical musical, even in tone, and perfect in phrasing. This used as a guide for instructive purposes. The third book his memory which there are few octaves. When she does encounter Brain to Keyboard, by MacDonald Smith, proved useful in instruments had an idea that it might interfere with record has much interest in it for examination by a of Standard Course, and second book of Czerny-Liebling them she will have to omit one of the notes until she this, I practiced them at my lesson, and twice daily away their fivlihood. Quite the contrary seems to be true cello student as the melody is simply played with no may be begun. There should be also selections from grows older. Chords you will have to re-adjust for her. from the piano. These concern not only the fingers, but Teuton and Latin in Music since the manufacture of sheet music is increasing cadenzas and with but little double stopping. For pure Heller’s Op. 47 in this grade. arms, shoulders and back. I also practiced spacing exer¬ pleasure to the listener, it compels attention and gives Almost since the beginning of modern musical history by leaps and' bounds all the time. The teacher who In the fourth grade Vol. IV of the Standard Course cises for all the intervals within the octave in order to utmost satisfaction. Scale Contest the strife between composers of German nations and employs a fine instrument with the best records has a and book II of Czerny-Liebling completed. Selections learn their feeling. These gymnastic exercises I have kind of interpretative assistant continually on tap which On a recent list of the Victor there appeared a new those of the Latin nations has been unceasing. The from Heller’s Op. 46 and 45, and with those of suffi¬ “I have from time to time various pupils in supplemented to my practice ever since. Simple exercises cannot fail to be of value. There can be no question record of Enrico Caruso. It was the if esse Solenmellc, about the same grade whom I would like to form first famous example was that of Handel and Bononcini, cient talent, some of Bach’s Little Preludes. practiced under a screen also helped in acquiring a sense that with the piano recordings, for instance, there are from Crncipxus. I neglected to mention the repro¬ into mutual scale eontests in order to stimulate in 1725. Handel was not any too particular about pur¬ In the fifth grade the fifth book of the Standard Grad¬ their practice. Please tell me how to go about it, of finger spans. The first four measures of Heller’s Op. certain losses in tone value in some records, but what of duction m my last article, but do so now that you may select the judges, their number, etc.”—A. X. 45, No. 15, and other similar passages were practiced loining melodies, but Bononcini was caught in a flagrant ed Course, and the easier Cramer etudes, and some of that, if the nuance, the rhythm,'the accent, the tempo, and know of it. This record was one of the last made by from memory with closed eyes. Fifteen minutes daily case of plagiarism and forced to leave England more Bach’s Lighter Compositions. Determine, from what you know of your pupils, how the spirit of the performer is there! Some of the piano the world’s greatest tenor, and it expresses beatUifully practice of these exercises has proved very beneficial. or less in disgrace. You will have to exercise your judgment in regard to many scales you wish them to perform at the contest, records: show an immense advance, even during the last that superb veiled quality of tone which has lieen the My teacher led me from elementary harmony, with which Later, in the same century, the Gluck and Piccinni Bach for certain pupils whose taste and natural aptitude and assign their keys. Then the approximate speed, per¬ five years. The teacher of the future will possildy possession of no other artist. I was familiar, through advanced harmony to counter¬ war in Paris (1776) was hardly less intense in its have a library of records, like the library of the lawyer, is of so low an order that an insistence on things of a haps four notes to a group, metronome set at 132 for point and original composition, which has proved a great bitterness than that going on at the same time in and when the time comes he will consult different xt Brunswick Nocturne in F Slrnffi-Chopm -Elly very high order will only result in their giving up their a beat. This, as other details you must determine from Ney: Piano Solo (15021). inspiration, and when he left I continued the work by America. Piccinni was really a very able musician authorities of interpretation of the same piece and lessons. Young people who have been brought up in re¬ experience. There should, perhaps, be other groupings! mail. My present teacher, with whom I have studied five and showed withal a very big spirit. After Gluck’s give his pupil the: advantage of this information. Tn Columbia—Cmirrti‘c//fl—D’Ambrosio-Tcscha Seidel; mote districts and heard nothing throughout their lives- three, six, or nine to a measure as set forth in Mastering years has helped me greatly. Last season I studied rou¬ Violin Solo (49689). death he busied himself giving memorial concerts for the case of certain of the percussion instruments, the but the most inconceivably trashy music, Gospel Hymns the Scales and Arpeggios, or the second book of Mason’s tine technic, keyboard modulation, Heller’s Op. 45, several his former rival. tone value actually .seems to be improved. This is true Pathe All That I Need Is You-Samuel’s Music being their severest classics, can be only led out of this Touch and Technic. Then there is contrary motion, of Bach’s Two Part Inventions, and many pieces. In A little known musical war existed in England in of certain xylophone instruments. Some of the Violin Masters: Fox Trot (20696). slough by beginning with music that approximates what staccato in one hand and legato in the other,(reversible), March 1920 I began teaching small children at the Settle¬ recordings are singularly beautiful and seem to gain in 1791, when Haydn visited, that country. His Latin an¬ Edison-.?/,* The Lass For Me-Harry Lauder - they are used to, and gradually leading up. This is a crescendo ascending and dimuendo descending and vice ment with excellent success. The Etude provides me charm. The writer knows of one violin teacher who tagonist was Giardini. “I won’t know this German Ellison, Baritone (5087R), with a constant supply of new and helpful ideas. had purchased'seven recordings of one composition and condition which some of the well-favored teachers in the versa, pianissimo or fortissimo throughout. Scales in hound,” shouted Giardini. “He plays the fiddle like Vocal ion Celeste Aida’-Vcn]\■ Crimi. larger centers never seem to be able to comprehend, or thirds, sixths and tenths may or may not be included, but “From my experience I have learned that the adult be¬ ginner has an obstacle that does not exist for the child, a hog” exclaimed Haydn. Enough said. realize the existence of; probably because they have probably at slower tempos. Double thirds and sixths they namely, extreme difficulty in acquiring muscular control never come in contact with it. A child that has been probably will not be ready for unless in advanced grades. Music and astronomy are peculiarly connected in and freedom in playing. With a child this develops omer, supported himself as a music teacher while he brought up on symphony concerts and recitals by Har¬ “Beethoven never accepts anything where human¬ many ways. The first great English contrapuntalist The judges you will prefer to select from musical without conscious effort, but in the adult it must be ac¬ of record, Dunstable, is said to have also been an was making his way to become an astronomer. ity is concerned,” was the master’s reply when they old Bauer and other virtuosi is an entirely different prop¬ amateurs who have a knowledge of music and what is quired by special exercises. Undoubtedly most of the astronomer. Gallilei, the astronomer had a distin¬ offered him money for conducting a concert in aid mille Saint-Saens made astronomy his avocation. osition. required. There are usually three in most contests, and adult beginners expect to advance too rapidly, and the of wounded soldiers. guished composer as a father. Herschel, the astron¬ There are several other instances. To take up about one question at a lesson, orally, they should have no children among the contestants. Of teachers become discouraged because they do not make from Gibbon's Catechism is a good plan, in order to make course professional musicians would make better judges, progress similar to that of children.” THE ETUDE Page 315 Page 81 J> MAY 1922 THE ETUDE MAY 1922 How to Write a Good Advertisement SONG OF THE FOUNTAIN Then and Now By Rose Frim A graceful drawing-room piece. To be played in light and rippling style. Grade 8. By EDGAR STILLMAN KELLEY The experienced advertising writer takes into con¬ sideration certain principles which every teacher who Allegrettograzioso m.m.J-84 * --— has a penny to spend upon any kind of advertising should learn. There are thousands of dollars spent in Part of a Series of genial retro¬ circulars, posters, and in newspaper and magazine ad- vertising of music, which could be made to earn much spects by well known musicians. more if just a little thought were given to these prin- Several others will appear C‘The first consideration is a thorough knowledge of later from time of what you are going to write about. It might be to time supposed that the teacher knew all about himself and his art, but he must be able to present those points EDGAR STILLMAN KELLEY EDGAR STILLMAN KELLEY which will interest his possible patrons most m such a AS A YOUTH TO-DAY way that their desirability will be instantly obvious. Doubtless the perception of the emotional quality of Wagner whose operas, he said, “were perfectly stunning, The Advertising must be Directed. That is the music is manifest before a talent for the art can be ex¬ with a strange and beautiful music, brilliant orchestra¬ advertiser must realize just who are the people he wishes pected to show itself. At least so it was with me, for, tion and gorgeous scenery.” His experience at the to reach and must talk to them. Many otherwise ex¬ before I could speak, friends were amused by noting premiere of Die Meistersinger was wildly exciting, half cellent musical advertisements are weakened by being the different effects produced upon me by melancholy, the crowd hissing, the other half violently applauding. made to appeal to too big an audience. and again, by vivacious melodies. I remember how I No wonder it was difficult to determine which side to The Point of Contact. The advertiser must discover enjoyed somewhat later, the selections from Mozart, take. Thousands have been in this dilemma and I the bridge between what he has to sell and what the Beethoven, Rossini and Auber as played by my mother, resolved, when I had the opportunity to hear and properly customer knows about his product. Musical advertise¬ who was my first teacher,—but I also recall my pro¬ study the work of Wagner, to weigh all pros and cons, ments often fail because the advertiser talks in musical nounced antipathy to the commonplace songs, dances (for there are both) and my conclusions in regard to terms above the heads of his audience. Singing Teacher and hymn tunes of that day. this matter have affected my entire activity. advertisements are often made ridiculous in this way. I was born in the little town of Sparta, Wis.,—virtu¬ When I first visited California, I was fascinated by Your Advertisement must be Interesting. Elbert ally a New England colony, where although there was the baffling music of the Chinese residing there. My Hubbard was a wonderful writer of advertising copy little interest in good music, one found unusual literary explorations in their world of tones led to my Oriental because nearly every thing he wrote had “hooks in it.” taste and culture considering the size of the community. setting of the Arabian Nights’ tale Aladdin—and this You simply had to read it. Let your advertisement talk Good books were therefore available. Among my earliest paved the way to the Gulliver Symphony in which are in a way to command interest. discoveries was Bunyan’s Pilgrim’s Progress which so incorporated the peculiarities of the Lilliputian tone What Pictures Do. The first writing was picture powerfully affected me that the characters delineated writing hieroglyphics. The most direct appeal is still therein accompanied me through life. Shakespeare’s My opera Puritania which contains allusion to old pictures. If you illustrate your advertisement rightly it plays next attracted my attention and I experienced colonial airs, was first given in Boston and was the will add much to its attractiveness. To do this is a very great pleasure in imagining fantastic settings for the means of my meeting Edward MacDowell who from individual matter which the teacher must decide for various scenes, particularly of Macbeth and Midsummer then on proved a helpful and a valued friend. Owing himself. Night’s Dream. to this operatic venture and the Alladin suite, Mac¬ Your Advertisement must be Good Looking. Until • Shortly after, continuing my piano study with Mr. Dowell recommended me as the composer for the pro¬ your patron comes to know you personally he must de¬ Farwell Merriam, I was introduced to the Sonatas .of jected stage production of Ben Hur, which has enjoyed pend upon reports about you and upon how you have Beethoven and the Polonaises of Chopin, which im¬ thousands of performances in English.speaking countries. represented yourself in print. The writer has before him pressed me more and more with the emotional and Alice in Wonderland attracted me, as she does all a number of bombastic, poorly arranged, cheap looking descriptive power of the art of tones and made me feel lovers of the fanciful, so I put her into a little orchestral musical advertisements which are probably not at all the possibilities of increasing the effectiveness of the suite. A few years ago I was fortunate in obtaining a like their sponsers. Don’t save on appearances. You drama by means of appropriate music. worthy text in the form of a musical Miracle Play by are judged by them. A performance of Liszt’s transcription of Mendel¬ Elizabeth Hodgkinson based upon Pilgrim’s Progress Accumulating a Reputation. If your services to the ssohn’s Music for Midsummer Night’s Dream fascinated and so, at last, I'was able to realize my early dream of musical world are needed and your advertising is right, me and ultimately suggested the composition of my writing choral work on this theme. One hears much it must be persistent. It is foolish to start advertising Macbeth music, one of the first of my dreams to be re¬ concerning the neglect of the American composer, but for a few years and then cease. Why keep on advertis¬ alized, although years of study transpired between the when I recount the fine productions of this work by the ing in the music teaching field when every moment of initial conception and the public performance. Indeed Cincinnati May Festival Association, New York Oratorio your teaching time is taken up? The reason is that the 2_5 the major portion of my more extensive works have Society, the Chicago Apollo Club and the Worcester, only possible business advance which the teacher has is been the musical elaborations of favorite literary sub¬ Mass., Festival chorus,—and enumerate the perform¬ by means of raising the teaching fee. You have exactly jects—the themes for which I have jotted down in note ances scheduled for the future, it is obvious that I am as much teaching time as' Leschetizky or Marchesi had. DANCE OF THE GRASSHOPPERS books, some of them dating back to my boyhood days. hopeful regarding the appreciation of the American for It is like the case of the jeweler who having the right The more youthful photograph given above was taken American compositions. location increases the patronage of his store and raises A jolly little caprice, in the style of a hornpipe. Play with strong accentuation. Grade 2z H.D. HEWITT about this time in Chicago when I was fifteen years old I have also had a similar experience with my New the quality of merchandise. (You must be worthy of on an ever memorable occasion, namely, a journey of England Symphony. It has been given twenty-five a higher fee before you can rightfully maintain one.) two hundred and fifty miles to hear the great Rubin¬ performances by the leading orchestras in its home The law of supply and demand is such that if by per¬ stein, whose highly dramatic interpretation of Beethoven, country since its first performance at the Norfolk, Conn., sistent advertising you increase the demand for your Schumann, Chopin, etc., were inspiring to a degree. On Festival. This symphony was developed around the services there will come a time when you will naturally his tour he was accompanied by the famous Wieniawski, very beautiful New England hymn, Why Do We be placed in a position to ask new pupils more for your who revealed to me the possibilities of violin virtuosity. Mourn Departed Friends, which affected me deeply as time. On this occasion I also enjoyed the rare privilege of a child on acount of its association with a tragic episode Compelling results. While it is not always possible to hearing these artists in ensemble. Even at this moment in my mother’s family. I early planned using it in some do so, it is often very desirable to put some line in your I can distinctly recall the powerful impression pro¬ orchestral composition. It forms the basis of the varia¬ a^s-g ^at compel results,—that is, something duced by the virile themes of Beethoven’s Kreutzer tions on the slow movement of my New England Sym¬ which will start a business correspondence leading to an Sonata, as rendered by these gigantic personalities. phony in which I have sought to express the emotions appointment to start lessons. Another event, less immediately remarkable but of and aspirations of the Pilgrim Fathers as set forth in Again, remember that the best advertisement is worth¬ ultimately far greater significance in my development, the “History of Plymouth Plantation” by Gov. Bradford, less unless you can “deliver the goods.” occurred during this period of artistic awakening. My teacher, Mr. Merriam, had just returned from a course my earliest New England ancestor. A pendant to this symphony is my setting of Hermann of study in Leipsic and was full of enthusiasm concern¬ Strengthening the Ring Finger ing all that he had seen and heard. I eagerly listened Hagedorn’s Harrying Chorus one of the contributions to his graphic recountals of operatic and orchestral pro¬ by various American composers for the Plymouth, ductions, but what particularly appealed to me were his Mass., Centenary Pageant, being given at Plymouth, By Sidney Vantyn accounts of a much persecuted man by the name of Mass., in July and August, 1921. There is grave danger of forcing this finger. Oi When Cherubini Played Without Fee the muscles are lamed it may take years to 7ght ag.a!n' A gentle assistance of nature ant Cherubini, whom Beethoven regarded as the greatest immediately raised the cry of “A Royalist 1 A Royalist 1” operatic composer of the time, was always insistent This was usually an overture to the guillotine. A quick finder UeXtHrCf1S-ng are,the on,y means of developing t upon big fees. Once, however, he was forced to give witted friend put a violin in Cherubini’s hands and the able w ° t i11 maL beC°me usefu1' The only reas, with thJ tu Strengjhen the ring finger is by lifting his services for a day or run the chance of losing his musician was soon leading the crowds through the life.- The story runs that during the stormy days of streets. Finally, they placed the famous composer upon T either H ^ Jhe tip of «ie hnger is gras, thumbhand le ?f. the nail, gently but firmly by the revolution he was seized by a band of sans culottes a barrel top and forced him to play while they danced and when he failed to lead them in their songs they and feasted to their hearts’ content. finger* is i nr,'"','" finger of the other hand. 1 held therehand l^ed K* Sharply to its maximum heig ment the it *en fought down with a rapid mo The June ETUDE will contain splendid educational articles giving valuable information from g^ , thumb and index finger retaining a const Elly Ney, Tetrazzini and others. This should be repeated sever 1 times in succession Copyright 1922 by Theo.Presser Co. British Copyright secured THE ETUDE THE ETUDE MAY 1922 Pa8e 3i7 rage 316 MAY 1922 ROSEBUDS VALSETTE FRANZ von BLON
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Schumann’s Scenes from Childhood are intended to be played to child- | like melody in the right hand, the detached bass and the middle ren rather than to be played by them. In a sense, they are reminiscent. accompaniment in triplets divided between the hands. All this must No.l presents the problem of playing three voices. There is the song- I be accomplished smoothly. Grade 3.
Copyright 1932 by Theo.Presser Co. Copyright 1907 by Theo.Presser. International Copyright secured THE ETUDE MAY 1922 Page 319 THE ETUDE CHEERY BLOSSOMS JAPANESE DANCE H. ENG ELM ANN, Op. 733. Moderato, tempo rubato m.m.J-ii6 PRIMO
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Jr CJ 312 3 ^From here go back to tS and play to Fine, then play Trio 5 Page 320 MAY 1922 THE ETUDE THE ETUDE MAY 1922 Page 321 HOMEWARD BOUND HOMEWARD BOUND MARCH MARCH In playing this jolly little number, try to imitate the effect of a military band in full swing. BERT R. ANTHONY, Op.165 Tempo di Marcia M.M.J=)ao srcnmVTiO
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Copyright 1922 by Theo. Presser Co.
British Copyright secured P«ge 322 ¥ AT 1922 THE ETIWE POLONAISE IN B!> MINOR A splendid teaching or concert number,very imposing; the chords affording practice in“full arm touch’,’and the octaves in“wrist work’.’ Grade 5. Allegro furioso M.M. J = 108 FRANCESCO B. DE LEONE, Op.7 <9--:
Copyright 1922 by Then. Presser Co. British Copyrightw seoui ed Page 324 MAY 1922 THE ETUDE MAY 1922 Page 325 PIERRETTA VALSE AUGUST NOELCK.Op.227
Lightly and g racefully liU 1. J.= 72 a 3 4 ,1 f t 0 1 L. I'T' i a 3 -p-;-—
==|—■ j P 4 # | * ^\kir r 4 r j r r *=l j r H ^ * : —i Fed. tsimile 4 "i-- a te t npo A 3 2 *——^ a tempo •1 ii ^ 0 1 2 1 ok te~ jTT r f-.: fS 1» ^ |a t» frr - string. P y-r-7 2 1 4| trir1 a a U 5 1
r OLD FOLK DANCE J.E. ROBERTS In the rhythm of an old style gavotte. For practice this number may be played with rapidity, when it will have the effect ol a hornpipe. Grade 3.
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Copyright 1922 by Theo. Presser Co. International Copyright secured Copyright 1922 by Theo.Presser Co. British Copyright secured Page 326 MAY 1922 THE ETUDE THE ETUDE MAY 1922 Page 331 ON THE NILE THEME INTERMEZZO from“SYMPHONIE PATHETIQUE” E I. TSCHAIKOWSKY In modern popular style, with an oriental atmosphere. Grade 3. HANS SCHICK An excerpt from the first movement of one of the most colorful and impressive symphonies ever written. Grade 4. from Op. 74
British Copyright secured THE ETUDE THE ETUDE MAY 1922 Page 333 Page 332 MAY 1922 ■ NIGHTMARE DANSE GROTESQUE MANTON BENNETT, f^H=i W S ijji: : +trr• * ! t3—i 4=i= rR^ A clever bit of real musical hunmr, introducing a theme from Gounod’s March of the Marionettes and the refrain of Pop Goes the Weasel. Play with ^ * s * cresc. exaggerated expression. Graded! Presto - ■ - -*4- A ^ 1 . . N 1 -■ m Mm* jT* r “- -— —f— my n 3—■ *3- in i f — r n j n .... T rn. .j— r
pi i V V & cresc. - Both Pedals f- ^ f-j phh! f March time -A « *
3 ^ ^- ri iiri TI ROBIN GOODFELLOW 3 ' htn A pleasant little airde ballet. A#a study piece it will afford practice in staccato and in the playing of a legato melody in the middle voice. Grade 3. Allegretto giocoso m.m. d= 92 L.LESLIE LOTH ff* * G.4)1-* . 5 , a March time • (rf*3j4i #rfn if- «P3J J1 -j- 1| rp J J.J J [ffrr^dTi ^ LLL1 p tt* • 4ri—ri- Li-1 J \ d jl=^= m s=t=* J u njr t#’ =t+ / tv tf > -h , -r-k- h* r3~r fj'f -j P w= If? Hi t!
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Copyright 1913 by immond & Co. 3? From here go back to ^ and play to Fine} then play Trio. Copyright 1922 by Theo.Presser Co. British Copyright secured Page 334 MAY 1922 THE ETUDE THE ETUDE MAY 1922 Page 335 MINUET from Divertimento in D A< MOZART The Serenade or Divertimento for string orchestra, composed in 1797, is a most genial work, full of youthfu 1 vivacity- Grade 3%. Molto moderato m.m. Jrioo Page 336 MAY 1922 THE ETUDE THE ETUDE MAY 1922 Page 337 DOWN THE TRAIL O’ DREAMS TO YOU Marian Phelps A choice ballad for all singers. A haunting melody. R. S. STOUGHTON Page 338 MAY 1922 THE ETUDE THE etude MY PRAYER LINNIE C.BENOIT WILLIAM BAINES A song for every one,every day, every where. 0 Modir“,“ rS P,_, , fe - | - f - I IUL _ __————__- FaJfa-ther -t,her in h^jiv’nheavn A0
^ 3^ v v v v ^ r 3 tty-*--**- a tempo T "ft dim. rit — -—. P Tj j ^ r r. ^ ^ "O Page 340 MAY 1922 THEPTUDE THE ETUDE MAY 1922 Page 341 CANTO FILIPINO
A genuine Philippine folk melody which has been sung in the islands for many years. Mr. Santiago is a talented student of the musical department of the University of the Philippines. His transcription is most effective. A combination of Spanish and oriental coloring If desired, the lower notes of the “double stops” may be omitted.
Andante moderato FRANCIS. SANTIAGO MAY 1922 Page 31,3 the etude THE ETUDE %,3l«o£ns2 LOVE’S SWEET LONGING How Mendelssohn Recovered Himself PrenarJ Gt’ 8' * 4' mf eollP-to Sw- repare) Ch. 8' & 4' coup, to Sw. Lucky is the man who has learned land was overtaken by a terrific storm that wher things go wrong, a line of song which drenched him to the skin, ruined ' Ped. 16' & 8' rfif coup, to Sw. & Ch. C. B. CLARK 0r so may put him on his feet again. Some his notes and manuscripts and left him in Arr. by ORLANDO A. MANSFIELD troubles are too serious to be sung away a very depressed and irritated condition. IVERS & POND A taking soft voluntary for church recital or picture playing. Its easy hut varied pedal makes it a good teaching piece. in a few minutes, but there is deep, psy¬ In writing to his sister he said: chological truth in the fact that the man "Neither the dreadful storms nor the who can whistle in the face of disaster various discomforts I had endured an¬ or danger is often far better able to meet noyed me half so much as not being able the situation. There seems to be some¬ to remain at Interlaken, consequently, for PIANOS thing instinctive in this, for when a boy the first time since I left Vevay I was out is afraid he naturally resorts to whistling of humor for half an hour, and obliged to “buck up” his courage. to sing Beethoven’s “Adagio” in A flat Once, when a young man, the ever major three or four times over before i cheerful Mendelssohn whilst in Switzer¬ could recover my equanimity."
Eatser Carols A Glorious Idea. Community Service didly. Next year, arrange to take part in (incorporated) has been advocating the such a movement. The immense expansion the plan of making Easter another occa¬ of musical interest in America is due to sion for group singing in the open. We the fact that musicians, who in former can never have too much of this. Stories years thought that their work was done of the Easter Carols, by Professor Peter when they closed the doors of their W. Dykema, issued in bulletin form by studios, are now learning that their greater Community Service, have been used by mission is to preach the gospel of good thousands of newspapers to promote the music in every way, through every means idea of getting together groups of singers adaptable to a given purpose. Imagine to herald the dawn of Easter, by going the joy of being awakened of a glorious through the streets singing some of the Easter morning by voices singing Houi beautiful Easter Hymns. In a great many Finn a Foundation, ye Saints of the communities, the plan worked out splen¬
Why Not a Stradivarius Piano?
By Andrew Ross
Last night I saw a Stradivarius violin ten times as long as the keyboard that cost its owner $15,000.00. It poured instruments ? forth a beautiful tone and it was a work Is it because the piano makers do not of art in every sense. Reposing upon a regard their product as an art work but grand piano of one of the very best makes rather a factory product? I could not help realizing that the piano America which has produced several had cost only $1,500.00 or one tenth as of the great pianos of the world is con¬ much as the violin. Why is this? The stantly tending toward better and better Multum in Parvo piano is ten times as large and ten times as instruments. Judging from past exper¬ complicated as the fiddle, yet its market iences the piano will be made more and HE fine Grand shown above, our newest and more durable, but since the instrument T value is only one tenth. Is this because the piano is manufactured is operated by a machine and a machine smallest, represents the utmost quality that by a great many men working upon the must necessarily wear out with time, we can be condensed into a length of but five various parts,—while the violin is the work cannot hope for a “Stradivari” of the of one master maker? piano whose instruments made now will feet. Small enough for the tiniest home, it has the Is it because the violin seems to have be used one hundred years from now charming tone and delightfully responsive action- a durability which makes it live five or and command a higher price. touch distinctive of the I vers & Pond. Every detail of design and material shows the touch of Read Beethoven as You Do Shakespeare the specialist. No one supposes that you teach penetrated to the center and core and people Shakespeare with the idea of heart of the whole thing. Music is their becoming actors or even dramatists. something which belongs to ordinary hu¬ You teach them because Shakespeare is man life and intercourse, from which noth¬ Ivers £# Pond Pianos an essential part of their mental resources ing human is alien, and until we realise and mental wealth. And I assert that to that and frame our music and history are now used in over 500 leading Educational Insti¬ teach them Beethoven is exactly of the and life and civilization on that certainty same importance, and exactly on the same we shall not deserve to bring it back to tutions and 65,000 discriminating homes. Whether its proper place in the ordinary life of your need calls for upright, grand or player piano, “It is not true at all that there is our country. a difference between music and literature, ‘What would you know of Shakespeare, there is an Ivers iff Pond to fit it. Our policy is “but and that music appeals to the emotions if you had no means of making his one quality—the best”—and the purchaser can and literature to the intelligence. That acquaintance except at the theatre? How is not only nonsense, but mischievous non¬ do you suppose you are going to know invest in full confidence of obtaining maximum sense. Music, just as literature, appeals anything of Bach and Beethoven by hear¬ value in any Ivers iff Pond. to the whole of the spiritual nature of ing the B Minor Mass and the Eroica man. In so far as you can separate once a year? We make the acquaintance and distinguish them from each other. of the poets by taking them with us into Leading dealers through the United States display and I maintain that whatever range is covered our arm-chair and reading them over and sell our product. If none is convenient to you we can arrange over again. Why don’t we do the same by literature in its appeal to human nature to ship from the factory, on easy payment terms. For catalog is covered also, in a different medium, with Beethoven? not less surely, not less certainly, “People say you can’t read music. and valuable information to buyers, write us to-day. by music.” Nonsense. I believe we can do more “Why, have we so constantly ignored to make music familiar to us by reading music? In some measure musicians them¬ it as we read the plays of Shakespeare selves were responsible. One of the de¬ and the novels of Dickens than by any Ivers & Pond Piano Co. fects, until the last generation, was the other means so practicable at the present extraordinary inadequacy of books about moment. No one really understands mu¬ music, and our study of musical theory 141 BOYLSTON STREET, BOSTON, MASS. sic who appreciates it only through the ear. is still a great deal too much confined to rather dry rules of grammar and Sir Henry Hadow in an address at the composition. We have not nearly enough Royal College of Music. Please men THE ETUDE when addressing Page 3U MAY 1922 TIIE ETUDE MAY 1922 Page 8^5 TIIE ETUDE tered the Italian vowel forms and who Jx addressing the readers of The Any voca) “method” fit to meet the va¬ and here again have the sound repeated because through incorrect vowel forma¬ language, but also a prime requisite in many times. Proceed along this line until utilizes them as the basis of his vocaliza¬ Ivit'ije 1 realize that I have before me the ried and complex problems presented in tion the tone is localised, and so lacks the production of vocal sounds which will tion will be able to maintain a singing largest audience of voice teachers and stu¬ the studio of a busy teacher must lie ex the range in which the pupil may, at this resonance balance. Release the sound meet the esthetic demands of cultured time, be trusted to retain the condition of tone of greater freedom and more com¬ dents of singing that it is possible to tremely plastic. The only fixed elements from its localized contraction and the listeners. The singer must eliminate all reach through any single medium. muscle non-interference is indicated. Then plete resonance balance in all song lan¬ in a systeiri of voice teaching should be objectionable nasal sound will be auto¬ colloquial speech habits and base his utter¬ go over that range with any definite vowel guages because of this basic preparation. Doubtless the majority of those who The Singers’ Etude the basic principles. The devices through matically neutralized and agreeable reson¬ ances upon classical vowel forms—the scan these pages live and work in cities forms that may be secured under like con¬ Latin forms. Of modern song languages, which a student is trained into conformity ance balance established. There is never and villages somewhat removetf from the ditions of non-interference. The tone re¬ Speech Habits with these principles must be adapted to too much nasal resonance in a tone, save the Italian offers the purest example of principal musical centers. What I shall sultant from this process of exaggerated vowel forms, and for that reason is the Edited Monthly by Noted Specialists the peculiar vocal habits of the individual in proportion to other resonance elements. In eliminating colloquial speech habits say here will, of course, have general release may very probably be somewhat ideal medium for the vocal student striving pupil. The method must always lie I repeat, the corrective process is not one and establishing the classic vowel forms application to the problems of teacher “flabby” if judged by standards of a com¬ to master the classical vowel sounds. The tailored to fit the student. A real teacher of elimination but .of neutralisation. as the basis of the student’s vocal habit, and student wherever they may be Editor for May, JOHN C, WILCOX pletely satisfactory singing tone; but— five basic vowel sounds are the Itailian, i, c, never tries to "fit” the student from a (3) Unsteady, tremulous tone. Held there is no fixed formula which may be located; but I shall have in mind particu¬ under the very honorable and wise rule a, o, and u (phonetically e, eh, ah, o and “ready-made” stock of method devices. muscles either in the throat or in the followed. Possible divergences from the larly those who have not the advantages of “one thing at a time”—do not attempt oo.) It is impossible to express in the The true teacher has ever in his mental breathing tract—usually both—are re¬ correct forms are many, and patient, per¬ of direct contact with the music life of to concentrate the tone until the pernicious English alphabet the exact sounds of the ear his ideal (normal) tone, which is the sponsible for this common fault. Steadi¬ sistent reiteration of the correct sounds the great cities where the opportunities throat-muscle interference habit is elim¬ Italian e and o. Both completely avoid Master Tonje to which he wishes every ness of tone is not to be secured through under the guidt: :; of a teacher who holds of listening constantly to acknowledged inated. Eliminate the interference of the diphthong endings of the equivalent . pupil’s tone to conform. One pupil’s the voluntary control of the muscles about inflexibly to the standard, until the stu¬ artists and, perhaps, of studying under How to Remedy Common Vocal Faults voluntary muscles before attempting to (phonetic) English vowels a and o. The dent's habit of pronunciation is indelibly vocal habit will show a divergence from the diaphragm, as many singers, and a famous masters, minimize the importance develop the ’strength of involuntary Italian a (printed c)is achieved by sustain¬ others who may he listening: “We have a tient and skillful work in eliminating bad this normal tone in one direction. An¬ few teachers, assume. Such voluntary recorded, is the only process. Both teacher of the printed page in solving vocal pro¬ muscles. When the student is able to ing the first sound of our English a and student should remember that mastery work to do of gieat importance and dig¬ habit reflexes established under previous other’s will diverge in an opposite direc¬ control may reduce the undulating tone blems. make the basic vowel sounds throughout throughout the entire time of prolongation, of the classic vowel forms is an ab¬ nity, in inculcating among the great mass instruction. Is the tremendous responsi¬ tion. It is absurd to suppose that the line to a rigid line of less undulation; but Right here I wish to emphasize my be¬ a reasonable range without obvious inter¬ releasing it finally with no tapering toxvard solutely necessary step in the making of a of average students those high standards bility of the unsung Average teacher, to same treatment will bring both of these a rigid tone is most undesirable and there lief that the task of developing a genera¬ ference from the constricting muscles of the sound of c. The Italian o is sustained singer, and that without this mastery of singing exemplified by the chosen few whom is entrusted the first years of vocal divergent vocal habits to a common- is little virtue in a remedy which merely tion of better singers and of creating a the throat the exaggerated release of in the same manner with no tapering to¬ there can be neither thoroughly good tone of supreme gifts; for unless the many guidance, not apparent? center. The essential thing is that the substitutes for one undesirable tone more discriminating public in vocal mat¬ the “idiot stage” may be dropped and ward the sound of oo. Often in Italian have fears to hear, and minds trained to Once again, Mr., Mrs. and Miss Aver¬ another hardly more desirable. Flowing nor thoroughly good diction in any ters rests even more upon the average teacher shall (1st) correctly diagnose the attention turned to more constructive the o has a still broader sound, approaching comprehend, and faculties developed to age Teacher: Yours is not only the res¬ steadiness of tone—poised tone, if you language. teacher in the small town or city than pupil’s case and (2nd) prescribe such work. ; ■> our axu but that is a matter of understand¬ approximate in their own singing the artis¬ ponsibility of promulgating among the please—comes, only from proper coordina¬ (5) "Scooping" approach to pitch. This upon the metropolitan masters. If this treatment as will counteract the faulty ing- the Italian language itself, and need not tic standards exemplified in the perform¬ average students in your average com¬ The Nasal Twang tion of muscles throughout the whole common fault is due more to mental than is not apparent at first thought, just con¬ habit and in its place establish a correct concern us in the consideration of the ance of the gifted few, how shall those munity those high standards of singing vocal tract, from the diaphragm to the to physical causes. Ear training—sensi¬ sider that the classes of the metropolitan habit. (2) Nasal Txvang. Unless there be basic vowels as mediums of vocalization. standards prevail ?” established by our best artists in order some malformation or obstruction—such resonance cavities, and this coordination tizing of pitch thought—is the logical masters are made up, for the most part, In considering language sounds as a that discriminative appreciation may be comes automatically and involuntarily procedure for correcting this distress¬ from the exceptionally gifted pupils of Common Faults and Their Remedies as bone or polypus tissue growth—in the basic of vocal training it may be stated The Really Important Thing established; you must furthermore do through development of these muscles by these “average” teachers—young singers One cannot hope through the printed resonance cavities, the "nasal twang” is that the objection to English vowels is ing habit. There is not infrequently a .The vainglorious pride of Mr. Average your work so well at all times that in the systematically using them under conditions physical phase, when habits of throat- of such unusual endowment that pro¬ page, to indicate all the faults to which usually due to nothing more serious than found in their diphthong characteristics; Teacher often leads him to complain be- event some one of your students develops of non-interference. “How may I elim¬ fessional aspirations awaken within them embryo vocalists are subject and indicate a bad habit of speech. In other words, it to French in their too constrained or muscle interference cause the singer to causejiis-fnpst gifted pupils leave him, just a large talent and eventually goes to some inate the tremulo, the ‘wobble’ from my approach tones of high pitch with excessive as a natural reflex from the preferment the method by which those faults may be is usually a fault of pronunciation, and “close” formations; ,to German in the many as they are beginning to be a source of great center for greater opportunities of tone?” Let go of the interfering muscles shown them in their home environment, eradicated. It may Ire possible, however, may be readily cured merely by correcting guttural diphthong sounds of the language. tension and “scoop” to pitch because of satisfaction, to finish their education with study, the foundation laid under your in¬ of your throat and your breath organism the physical pull. The practice of a and who gravitate to the big musical cen¬ to list a few of the most common faults the habit of pronunciation. The “nasal None of these handicaps to free emission some already famous metropolitan master struction will prove sound and enduring. and under this condition of release prac¬ very light tone, free from any physical ters where wider opportunities await and to Suggest logical means of correcting twang” never bothers the resourceful exist in the* Italian language, and it is who will, when they have stepped into pub¬ Some glad day you may perhaps have the tice making vocal sounds until all the strain, together with mental concentration them. Thus, while the teacher of the in¬ them. I will try: teacher very much. It is far easier to therefore an ideal medium for vocali¬ lic life, get all the credit for their train-,, privilege of completing the training of a muscles involved are developed into co¬ upon the pitch’, will correct this habit if terior city, gathering his class from his (1) Throat-muscle interference. correct than the habit of muscle inter¬ zation during the formative period of ing. This is a cross that any teacher work¬ gifted pupil who will step from your ordinated strength. Hold your pitch line persisted in. Short, almost staccato, tones own immediate locality, may consider (2) Nasal twang. ference, which has had prior considera¬ vocal training. ing in a field outside the great centers studio to the professional stage and whose firmly in your mind; hold no muscle of are better for this corrective process. himself lucky to have in his list a very tion in this article. Induce the pupil to Let no reader jump to the conclusion may be called upon to bear. To desire success will redound pleasantly to your (3) Unsteady, tremulous tone. your body; forget the “wobble”, and one few pupils of such natural endowment as expand the vowel form and the objection¬ that I am placing the Italian language (6) "Breathiness” in tone. Unless there credit for good work accomplished is credit. Every teacher dreams of that (4) Constrained vowel formation. day it will no longer exist. to make possible their development into able nasal element is immediately neutral- above English as a medium for singing. be diseased vocal bands, with resultant human, and the ingratitude of pupils who eventuality. But even if you be denied (5) “Scooping" approach to pit eh. singers of more than mediocre ability— tized. (Not eliminated, mind you;—neu¬ (4) Constrained vowel formations. Cor¬ On the contrary, I believe English the most interference in their normal approximation, forget to mention the foundational work such an experience, remember the su¬ (6) “Breathiness" in tone. and doubly lucky if the choicest of these tralised.) Never try to eliminate nasal rect vowel formation is not only the neces¬ expressive of all song languages. But I breathiness is merely diffusion of reso¬ done by the first patient teacher because preme importance of keeping your work (7) “Breaks." elect do not fly to the big city before he resonance from a tone. It sounds nasal sary basis of good singing diction in any also believe that the singer who has mas¬ nance waves, due either to faulty formation has an opportunity to definitely shape more prestige attaches to the name of in accord with the highest standards, that Before attempting to indicate treatment their vocal habits—the metropolitan the “finishing” teacher deserves sharp re¬ you may contribute to the general ad¬ for the correction of any one of the teacher is blessed with pupils of far buke. Yet this is a matter of relatively vancement of your country in vocal art; common vocal faults above listed let me greater ability and must be deficient in¬ small importance. The really important in order that students of even average say that none of them is likely to appear For the First Time in the History of Music deed if from among them he cannot oc¬ thing is that the first teacher shall do his talent may at least approximate the best in such isolation as to permit of independ¬ ent consideration. One of them may casionally develop an artist who will bring work so well—shall establish such a good standards; in order that, so happen there him fame. Predominate to a degree that will make Master School foundational vocal habit in the pupil—that be entrusted to you the early training of it paramount; but in most cases the inter¬ of r when the transition is made to the finishing one who shall later on be given the The Average Need ference will be a composite one, including MASTER SCHOOL teacher there will be no necessity of un¬ opportunity for the most advanced artistic But here is the point: While the to a greater or less degree several of the Modem Piano Playing U Virtuosity doing what has already’ been done. Then OF standard of American singing will be set preparation, your guidance shall prove to faults here Catalogued. will gratitude flow from the hearts of both have been wise and sound. And—who to a great extent by the work of these (1) Throat-muscle interference. En¬ pupil and master toward that teacher who ALBERTO JONAS conspicuously gifted artists emerging knows ?—if you hold yourself to this high courage in the pupil as a temporary, cor¬ MODERN PIANO PLAYING and VIRTUOSITY laid a good and true foundation, and hon¬ With the collaboration of The Greatest Living Pianists from metropolitan studios, it rests with standard, you may yourself become, at rective process the repeated utterance of the average teacher in the average Amer¬ est satisfaction will be his for work well last, one of those metropolitan teachers to the sound shotting the least interference By ALBERTO JONAS 'done ican city to maintain and promulgate that whom come the opportunities and fame upon the pitch most favorable to this I believe it is safe to say that approxi¬ standard among the average students of that you now so much envy. particular pupil under conditions of For the pa6t three years we have been preparing for publication the greatest, most singing. mately ninety per cent, of the students ' comprehensive and thorough work on piano pedagogics ever presented to the musical world. greatly exaggerated release of throat, Say, for example, that one out of every entering the studios of famous metropoli¬ Practical Helps in Meeting Problems The MASTER SCHOOL OF MODFRN PIANO PLAYING AND VIRTUOSITY jaw, tongue and facial muscles. Some¬ by Alberto Jonas embraces all the technical and esthetic elements required for the highest thousand students has the supreme gift tan masters have first spent from one to In this article I wish, if possible, to thing! approaching the grunt of a half-wit pianistic viituosity. It contains many new, as yet unpublished effective features. It also gives to make possible a notable public career. five or more years of study under other suggest a few practical ways of meeting will most quickly establish a liasis of excerpts from all the best pedagogical works extant and approximately one thousand ex¬ That one eventually become a conspicu¬ teachers; Sometimes this means that com¬ the problems that present themselves to amples, instructively annotated, taken from the entire classic and modern piano literature. ous artist and by well-schooled, intelli¬ vocal release. (I know a highly success¬ paratively little work with a pupil will the average teacher of voice development. gent performance, helps to advance the ful metropolitan teacher who calls this But what places the MASTER SCHOOL OF MODERN PIANO bring to the Iticky master a great deal of While I shall address the teacher more natural standard of singing. Fine! But— credit, most of which would more fittingly phase of corrective work the “idiot stage” PLAYING AND VIRTUOSITY without precedent in the history If the nine hundred and ninety-nine specifically, the vocal student may, by de¬ —and it very aptly suggests what I mean, accrue to the former teacher or teachers. duction, extract such helpful hints as will of music is that practically all the great piano virtuosos have other vocal students of lesser gifts are Many times it means a great deal of pa¬ the self-consciousness that restrains the not taught the correct principles of sing¬ fit his own individual case. average Anglo Saxon from yielding him¬ collaborated. All have contributed numerous original exercises, ing and so can neither appreciate the self to such a radical treatment usually expressly written for this work. work of their gifted contemporary nor requires more time to overcome than does themselves help to educate the laymen of Mr. John Wilcox, for many years one of the foremost of vocal A FEW ENDORSEMENTS ‘he pernicious muscle-interference itself, their respective communities to such ap¬ teachers in the West, was born at Sebewaing, Huron County ••This is the greatest and most valuable work that ever existed" Josef Lhevinnc once such yielding is achieved.) Adjure preciation, how long do you think it will “fn’ln 187.0’ Hls vocal training was received from some (underlined by Lhevinnei the pupil who is trying to work out of "The most monumental work ever written on piano playing Ferruccio Busoni ■ take to make universal that high standard of the leading voice teachers of the large American music centers such muscle-interference to keep out of "1 his immensely valuable work has aroused my deepest interest. 11 is a master-work (Meisterarbeit)" of singing atfained by the gifted one-in- and later his own gifts were so pronounced that he became asso¬ Ins mind any notion that he is trying to' (underlined by Rosenthal) Moriz Rosenthal a-thousand? Under such conditions the ciated with these same teachers in their studio work. As a sineer "A wonderful, unique work. A maen ficent, supreme achievement" Teresa Cum™ vocal millennium must for a long, long swg or make a singing tone. Treat the Ignaz Friedman time continue to be spoken of in the fu- Inmans tnd !?°r- \haS ^wide and valuable experience! effort simply as one to secure a mere "Without doubt*the most monumental effort of its ki'nd'in existence" Harold Bauer In 1908, he settled in Denver Colorado and has since made that sound which shall cause the vocal organ¬ Fannie Bloomfietd-Zeisler city the center of his principal work. Ther,e he became con¬ ism to function in involuntary co-ordina¬ SPECIAL INTRODUCTORY OFFER Importance of the Average Teacher’s Work ductor of the Denver Municipal Chorus (300 voices) ; he has pro tion. Once this sound is secured on either The price of the FIRST PART (in 2 books—Book I, 258 pages; Book II, 290 pages) is ?10.00. And so, Mr., Mrs. and Miss Average duced many leading oratorios. The success of his work has been a speech inflection or a monotone, have it Vocal Teacher, resident in Averageville, such that he has been invited to many other large cities to con repeated many times, until the sensations WRITE FOR SPECIAL DESCRIPTIVE CIRCULAR duct special courses for voice teachers and singers. U.S.A., throw out your chests, take a accompanying it are registered upon the ORDER THROUGH YOUR LOCAL DEALER deep breath, look the world squarely in Editor’s Note Pttpds consciousness so that he may re¬ the eyes, and say to yourselves and to any produce it at will. Then change the pitch’ CARL FISCHER, Cooper Square, New York 380-382 Boylston, Boston 430-432 S. Wabash, Chicago slightly upward or downward as is in- Please mention THE ETUDE when addressing advertisers. Page 31,6 MAY 1922 THE ETUDE MAY 1922 Page 31,7 the etude of the sound or to forced breath exhalation eliminate a bad “break," and finally —or both. Practice upon the close vowel succeeded. SUMMY’S CORNER form c (Italian i) avoiding any undue “Breaks” appear more frequently in the breath pressure and emphasizing the nasal voices of contraltos than in any other humming element of resonance should division of vocalists—due, in my opinion, IF THE BEGINNINGS ARE RIGHTLY TAUGHT afford a starting point for the entire to the morbid fondness of almost all un¬ THE REST WILL TAKE CARE OF ITSELF vowel series with a tone free from “breath¬ cultured listeners for the heavy, masculine, iness.” Then follow with the other vowel “freak” tones that are so easy for con¬ sounds, retaining a close formation and traltos to produce in the lower range— The fact that upwards of 75,000 of constantly thinking the compact humming commonly called “chest tones.” Praise THE VERY FIRST LESSONS AT THE PIANO element of nasal resonance, until there is and applause—ignorant though its source By Mrs. Crosby Adams. Price $0.90 no longer diffusion of resonance waves, unquestionably be—encourages the young have been used by the most progressive teachers, testifies to its value. or “breathiness.” contralto to sing these heavy tones as (7) "Breaks.” Whether one affirms or high as possible in her range, with the A book that stresses that modem ideal of education—UNDERSTANDING denies the existence of the vocal “regis¬ result that she soon has a “break” that hurts every sensitive listener and will preceeds EXPRESSION, is -- ters,” the fact remains that in many voices cause her plodding, tiresome work to over¬ THE CHILD AT THE PIANO. By Meda Z. Steele.Price $0.75 which have been incorrectly used, there occur “breaks” between the low and med¬ come. The fact that so many contraltos whose vocalization is marred by pro¬ As a means oj contributing to the development of interest in opera, for ium sections, and the medium and high many years Mr. James Francis Coolee. editor of “The Etude." has prepared, In addition to the usual beginnings, sections of the singer’s vocal range. While nounced “breaks” have nevertheless won gratuitously, program notes for the productions given in Philadelphia by The THE FIRST MELODIES FOR THE PIANO. not a few authors of vocal treatises have public fame attests the lack of discrim¬ Metropolitan Opera Company of New York. These have been reprinted ination among the concert going laity, and extensively in programs and periodicals at home and abroad. Believing that By Lillian S. Jackson (new) $0.75 stated that these “breaks” occur at prac¬ our readers may have a desire to be refreshed or informed upon certain (With verses and illustrations) tically the same pitch in all voices greatly increases the difficulty of the con¬ aspects of the popular grand operas, these historical and interpretative notes Furnishes special material for the early teaching of transposition. (between E and G of the scale) my own scientious vocal teacher who is trying to on several of them will be reproduced in “The Etude." The opera stories experience is that while in most high voices convince his contralto that the masculine have been written by Edward Ellsworth Hipsher, assistant editor. the “breaks” occur here, in most low voices sounding “chest tone” is both inartistic CLAYTON F. SUMMY CO., Publishers the point is between A and D-fiat—usually and a sure voice wrecker. at B-flat or B. Is your skin pale 429 SOUTH WABASH AVE., CHICAGO The “break” is caused by forcing the Breathing Eastern Agency: HAROLD FLAMMER, Inc., 57 West 45th Street, New York City tone upward with such constriction of the Would one dare write even a brief trea¬ “Andrea Chenier” extrinsic muscles of the throat as to pre¬ tise upon the subject of vocal training Of the group of six or seven modern The character of Andrea Chenier is vent the natural adjustment of the without some reference to breathing, or Italian composers of opera, whose works historical. Saint Beuve ranks him with and sallow? involuntary vocal muscle for the higher breath control? For fear that some of my have attained popularity outside of Italy, Racine as a writer of French verse. The pitches. I believe it well established that readers might otherwise feel cheated, I Giordano has a very loyal following. Of book of the opera is, however, not his¬ D. A. CLIPPINGER the vibrating part of the vocal bands is, will state, very briefly, my ideas on this all his works, however, Andrea Chenier torically exact, as the poet and patriot —How you can rouse it under normal conditions, automatically subject: Summer Term for Singers is generally accepted as his masterpiece was charged with heading a conspiracy lightened in weight as it is brought to I believe it the business of the vocal and, together with twenty-three others, Five Weeks, Beginning June Twenty-sixth increased tension for each upward pitch teacher to help the student to re-establish thus far. LEEP, exercise, the right food — all these contribute to a Umberto Giordano was born at Foggia, was beheaded in prison for political S progression. When the extrinsic muscles the natural habit of respiration. Just why healthy condition of your skin. PRIVATE LESSONS INCLUDE VOICE PRODUCTION, INTERPRETATION August 26, 1867. His first teacher was reasons. Illica, however, in his very in¬ of the throat are so tensed as to prevent every adult must be laboriously taught to REPERTOIRE, SONG CLASSICS, ORATORIO Gaetano Briganti. Later, at the Naples genious libretto, introduces Gerard as a But your skin itself must have special care, if you wish it the involuntary adjustment of the vocal breathe again in the exact way that he Class Lessons, Lectures. An unexcelled Teachers’ Course Conservatory, he studied with Paolo rival of Chenier for the love of Made¬ to show all the beauty and charm of which it is capable. bands, they are forced to vibrate under this breathed when he first came into the Mr. Clippinger is the author of two widely-used books Serrao, well known in Italy for his operas leine. Madeleine, to save Chenier, offers Your skin is a separate organ of your body. Neglect of its increasing tension demanded by the higher world, is something that I will not attempt and his sacred works. In 1889 he entered herself to Gerard, who is so affected by special needs may result in an unattractive complexion, even The Head Voice and Other Problems, $1.25. Systematic Voice Training, $1.25 pitches without the lessening of weight explain. That almost every adult must be the famous prize contest offered by the the girl’s devotion to her lover that he SEND FOR CIRCULAR-ADDRESS that takes place under normal conditions. though your general health is good. so taught, I know from experience. And Italian publisher Sonzogno, with the opera joins in the plan to save the poet’s life, As a result, there is a point in the scale If your skin is pale and sallow, use the following treatment D. A. CLIPPINGER so I first induce the pupil to “pant” the Marina. Unluckily for Giordano, Mas¬ but without avail. Chenier, with his above which the bands cannot be forced 617-18 KIMBALL HALL CHICAGO. ILL. breath, gently and without voluntary push¬ cagni won the prize with his Cavalleria sweetheart, goes to his tragic end to the to give it color and life: to vibrate under this unnatural weight of ing or pulling of the muscles—just as Ruslicana. This little work, however, music of the Marseillaise. Giordano’s tissue, and so, in place of the very grad¬ ONCE or twice a week, just before retiring, fill your he did in babyhood; just as every other brought him other commissions; but it score is richly colored and the opera offers ual readjustment of muscle balance basin full of hot water—almost boiling hot. Bend baby in the world does; just as his pet was not until the production of Andrea opportunities which are greatly prized by over the top of the basin and cover your head and the intended in the natural scheme, there dog does. Then I induce him to make Chenier, at La Scala, Milan, March 28, singers. bowl with a heavy bath towel, so that no steam can TINDALE must be an abrupt readjustment; and when short vocal sounds on the outgoing “pant¬ 1896, that he achieved a real triumph. When the opera was revived by Ham- escape. Steam your face for thirty seconds. Now the upward scale is continued with the ing” breath. Then these sounds are some¬ Since then he has written several other merstein, in 1908, one interesting circum¬ lather a hot cloth with Woodbury’s Facial Soap. With inevitable new adjustment, a different this wash your face thoroughly, rubbing the lather well MUSIC FILING CABINETS what prolonged, always taking and expell¬ works, including Fedora, Siberia and stance was that the wife of the conductor, quality of tone prevails. ing the breath on the same unforced “pant¬ Cleofonte Campanini, was the Maddalena into the skin with an upward and outward motion. Then Your music kept neatly in order, protected from Mine. Sans-Genc. All of these works rinse the skin well, first with warm water, then wkh ing” impulse. Persisted in until this habit have been produced in America. Mme. de Coigny. Mme. Campanini is Eva, a damage and where you can quickly find it. Breaks cold, and finish by rubbing it for thirty seconds with a of breathing is established as a subcon¬ Sans-Gene had its premiere in New York, sister of Luisa Tetrazzini, and the public The relative ease or difficulty in elim¬ Nearly 7000 now in use by artists, teachers, schools, scious process, one has the correct breath January 25, 1915. curiosity to hear the sister of the already convents, professional musicians and music lovers. inating a, “break” depends upon how long habit for singing. Andrea Chenier was first produced in famous Luisa sing was very great; but The other nights of the week cleanse your skin thoroughly it has been persisted in—how deeply the Do I not believe in breath control? Yes New York in 1896, the year of its premiere Hammerstein did not consider it sufficient 12 Styles to Select from, Oak or Mahogany in the usual way with Woodbury’s Facial Soap and warm reflex muscle habits are ingrained—and indeed, but not in voluntary breath control. in Italy. The impresario was the famous for another performance. upon whether or not the vocal muscles water, ending with a dash of cold. Send for Catalog I, and ask for our Easy Payment plan Voluntary breath control means tensed Colonel Mapleson, and it is said that this Some of the records of numbers from have been so strained as to cause chronic Special treatments for each different skin need are given muscles—and that means tone rigidity. season caused the ruin of that enterpris¬ the opera have been very popular. Among relaxation. If there be this chronic re¬ Consistent, persistent, reiterated use of the in the booklet of famous treatments wrapped around every TINDALE CABINET CO., 159 W. 57TH ST„ NEW YORK ing operatic director. Mr. Oscar Ham- these may be counted Son sessant’ anni, laxation, the “break” is practicably incur¬ breath in vocal practice as I have indicated cake of Woodbury’s Facial Soap. merstein revived it for one performance known in English as My Aged Father; able in any complete sense, although it will give strength to the breathing muscles only in the season of 1908. In 1916-1917 Get a cake of Woodbury’s today — begin your treatment may nearly always be greatly helped by and that coordinated balance of energy the Boston Opera Company presented it Improviso; Un di all’ assurro spado. proper treatment. tonight. which is control—as surely as persistent, with success, and since that time it has known in English as Once o’er the Azure QFri T| A R GINGERS P°ssessin? th!s volume are well prepared for A 25 cent cake lasts a month or six weeks. U dYet concert, , singing, „ -o- or forp pleasurableleasurable moments of To cure a “break”: Begin at a point rational use of any muscle of the body steadily increased in favor. Fields (a favorite number of Caruso) ; recreation at the keyboard with other singers. Practically of the scale just above the change, with will develop that muscle into controlled DUETS all“ combinations of two voices are covered and in this a very soft humming tone, released from strength. A complete miniature set of the Woodbury _, .. ,, . one nundred and two page volume there is a wealth of care- any interfering tension, and carry the The Story of “Andrea Chenier” skin preparations For all Voices ‘ul'y selected, good duets. hum downward by chromatic intervals Every “stop” consonant, which in un¬ For 25 cents we will send you a complete miniature A New and Worth- Price $1.25 over the point of difficulty. When the The hero of the opera is Andrea Chenier, the poet, whose destiny becomes involved skilful enunciation may seriously interfere in the shifting impulses of the French Revolution. . set of the Woodbury skin preparations, containing While Volume for scale fragment may be hummed easily and with free vowel emission, has an “affinity” Act I. Andrea Chenier is a guest at a ball in a Chateau. Madeleine, the countess samples of Woodbury’s Facial Soap, Facial Cream, THEODORE PRESSER CO., PHILADELPHIA, PA. rapidly both descending and ascending with consonant in the free group that may be daughter, asks Chenier to improvise a poem of love; but instead he sings of the wrongs Cold Cream, and Facial Powder; together with the no break in the resonance line, use the close mixed” with the stop consonant with of the poor, and discloses his revolutionary tendencies Madeleine weanedof a life vowel c (Italian i) in the same manner. treatment booklet, “A Skin. You Love to Touch. happy results. “Mix” k with hard g; f of fashion and Chenier discover feelings of common interest. Gerard, a servant, also (If the difficulty is experienced in singing with »; t with d; p with b; ch with j. a revolutionist and secretly in love with Madeleine, appears with a ragged, mixed crowd, Send for this set today. Address The Andrew the vowel sound, prefix each chromatic step Use just enough of the “affinity” con¬ Jergens Co., 5603 Spring Grove Ave., Cincinnati, with “m” making the syllable “me.”) who are expelled at the countess’ command. . . _ , , .. Jc0HN sonant to neutralize the stop consonant Act II Paris, several years later. The Cafe Hottot. Chenier has offended the « Ohio. If you live in Canada, address WILCOX Once the close vowel transition is accom¬ but not enough to make the process obvious revolutionists by denouncing Robespierre. A spy sees Madeleine’s nurse^ss a note to 1W" ~t\ The Andrew Jergens Co., Limited, 5603 Specialist in plished go on to the other vowels. When to the auditor.—J. C. W. Chenier. It is from Madeleine who now loves him and begs that he come to l^r aid K ! Sherbrooke St., Perth, Ontario. English the downward transition is accomplished, VOICE DEVELOPMENT Robespierre passes, a mob following him. Madeleine comes to meet Chenier and they agents: H. C. Quelch IA Co., 4 Ludgate try the ascending scale passage; also direct and There is not such a divergence in meth¬ are about to flee when Gerard interposes. A combat with swords ensues, in which approach to individual pitches in the vi¬ Square, London, E. C. 4- ods among successful teachers as would Gercird is wounded. The lovers escape. t , „ TEACHING METHODS cinity of the “break,” always releasing appear from the several spoken and printed Act III. A tribunal of the Revolutionists All join in the Carmagnole Chenier the throat muscles so that the vocal bands expositions of these methods. The lack is captured and Gerard writes the indictment for his rival. Madeleine pleadsi for her Guest Teacher at Chicago may automatically adjust with the lightest of standardized vocal terminology is re¬ lover even to the limit of offering herself to Gerard if he is spared. Mo\ed by her Musical College Summer possible tension. Do not be discouraged sponsible for much of the apparent con¬ devotion, Geld agrees to do what he can. At the trial he declares the charge against Master School if you have to work many months before tradiction between vocal masters. Reduce Chenier to be false - but the mob rave for the poet s death. the transition over this “break” area may Act IV The Prison of St. Lazare at midnight. Madeleine and Gerard enter 2, by The Andrew Jergens Co. their ideas to standard idiom and you would Resident Stnrlin 1712 SHERMAN ST. be accomplished satisfactorily. I have Chenier’s cell She has bribed the jailer to allow her to substitute for another woman Resident studio DENVER, COLO. find them pretty well agreed upon fund¬ worked fully two years with a pupil to prisoner If she cannot live for him she can at least die with her lover. Together they Please mention THE ETUDE amental vocal truths.—J. C. W. Please mention THE ETUDE when addressing o rtien addressing our advertisers. go to the scaffold. Page 3J+8 MAY 1922 MAY 1922 Page 349 THE ETUDE tiie etude The responsibility for the care of the manuel. Occasionally it can be released Chant Accompaniment blowing plant is not always definitely by drawing and withdrawing the first placed. A water motor should be left Open Diapason on the same manuel, but alone and protected from the average By William Reed this is seldom effective and can never sexton. When the stroke has been ad¬ be relied upon.” justed and the automatic rigging properly Organ Department This was written by a lady who had installed, the only attention required is Chant accompaniment, as an art, stands just accepted an important organ position the occasional emptying of the air chamber. in a class by itself. Edited by Noted Specialists near New York. As a piece of analysis The packings should not wear out in less Assuming that choir singers are safely than ten or twelve years, — unless the it is perfect, and indicates complete fa¬ solid in their work of chanting, they can, water is sardy, A water motor is, after miliarity with the organ from the key- once started, be left to themselves, the or¬ all, the most long-suffering and automatic desk, as well as a refreshing power of gan, while keeping somewhat in the back¬ deduction. ground, yet furnishing adequate support machine ever made. What Every Organist Should Know About the Organ All electric blowing mechanism needs Such clear information is most helpful and occasional suggestion. Both support to the tuner. It should be as exact as and suggestion are, however, to be kept periodic inspection and oiling. An elec¬ By Reginald McCall trician should do this, though many sex¬ possible. Sometimes, due to various within certain limits, the resultant effect tons take excellent care of electric motors. reasons, the trouble has disappeared when (halfonte- being that of a sensible undercurrent of Where there are belts, either for the This article is a continuation of a very unusual address prepared and delivered by he arrives, and unless he has an accurate color and variety. blower or the generator, the method of Reginald McCall at a convention of the National Association of Organists. Mr. McCall description of the facts he cannot locate HaddonJ-Jall The nature of a psalm will necessarily keeping them tight should be well under¬ m addition to being an Organist, was for some years employed by a large organ % or correct the cause. For example, it ATLANTIC CITY, N. J. indicate the pervading type of accompani¬ stood. It is obvious that the organ tuner facturcr. The first part appeared in The Etude for December. is not very helpful to write that the organ Combined in ownership and ment desirable. In the cases of the Canti¬ should inspect this apparatus at each reg¬ squeaks, or that the power gives out, or management. Hospitable, quiet cles and Psalms of Praise, a general, ular visit, and notify the church when selves when the need arises. Among the Care and Repair that the Choir organ sounds all the time, homelike. Broad deck porches though not a monotonous, accompaniment overlooking the sea. Beautiful any electrical repairs are necessary. The simple things they can handle are fix- Passinsr on we or tnatthat t,lethe Swell^wel1 is out of tune.tunc. The will suffice. organist and sexton should know how the ing a rattle in the front pipes, and often value of the o’rganist’s practicTl knowledge ^ WiU h'V5®^ fT lllC rooms Golf and yacht club privileges. On the other hand, the penitential and historical psalms offer more scope. Here, wind supply is regulated, — if near the Pi el o le pipes taking out a when he is keeping his instruc t in , "fn W%*‘ he *tatfs conditi°"s OnBeachandBoardwalh American The quality of its tone blower, or at the organ by means of cur¬ pipe that cyphers, greasing a swell proper repair. People are now SiW l " ^ them' The lctter quoted the background of support may be re¬ duced, while variety in registrative color (5) A or T as a solo in its own regis¬ tain or other valves in the regulators connection, easing a key that sticks at that the only fair way to treat an ™ rZ saved a grcat dcal °f ‘™e. ter. enraptures the heart So often an annoying accident is due the pin, etc. In emergency they can tune is to arrange for frequent and periodic / “ lnteref"g to "otiec its writer and harmonic distribution are needed in order to relieve monotony. At the same (6) S. A. on different manuals, well solely to the breaking of a cord or its a reed, or touch up single pipes that visits from the tuners. It s the way the f, S° possessed fhe ,(|l,a ,t>' of courtly, for balanced and with assimilating tone-color. as its beauty of con¬ coming off a pulley, or the sticking of have gone off pitch, though it is some- Chinese n-iv ? X- the vcry next wcck shc wrote: — time, care must be taken that such variety does not degenerate into sensational tone¬ The combinations are endless. the valve, which can be fixed in a few times hard to locate these pipes. A few doctor’s fees are paid only as long as the “,The defect in tlle orSa»> concerning In varying the registration, changes struction delights the minutes. organists~ are iS'Aiyreally guuugood mecnanics.mechanics. I patient is well and thus it is to Hie wl!cl1 1 wrote you> was repaired very painting. Such, even when effected with conspicuous ability, is unecclesiastical—to should melt, as it were, one into another, What kind of air is driven into the ..knew two. Iwho had regular' repair• shops' doctor’s interesl to keep him well It t °" Satu,rday’’ the reeds being used with judicious re- eye organ? fts temperature, degree of hu¬ in their organs and took entire charge say the least. is just the same with an organ ’ Pav u g"? SUch orgaillsts our vcry A clear enunciation being important, it midity and cleanliness are of vital im¬ of them. Several more do all the tuning. the builders to keep it well Do not 'lest ®ervicc- and wlth goes a respect A certain effect of continuity between portance. The air should be taken into should not be obscured by a thickened ac¬ As a general thing this is not wise. It wait until the organ groans and squeaks °T. e deteWo'f T”*' , , verses is frequently desirable, being indi¬ the blower room some distance above the companiment. Consequently, doubling of takes up time which should bg of greater before you give it attention. The only dJ to trd USe and°l«r °T' V cated mainly by the' cohesion of the text, floor, — not, as some have supposed, by a the inner harmony is undesirable. Also, Schomacker Piano value to the organist, and it spoils the disadvantage of the most durable organs ° , r T , Z sma,,cr as previously hinted, the organ should fol¬ this continuity may be produced by slight cold air box from the outside! The Church. The next organist may not be is that they last so long without adjust- ® supposed. I do not believe that crcscs or dims; overlapping of the manuals air should be of the same character as low the singers lead. Company able to continue the practice, and it will ment, that they- rget. horribly. oS of St- r°Y TTVY hUnd,r,ed is real,y For the announcement of a chant, thc by finger-extension and thumb notes; or that in the organ chamber, and wherever and people willingly suffer that state of Zt B ZZ "S.e W1" r?'cal an-v wt’ak- PRINCESS by means of the pedal only. But the pedal possible it is wise to draw it directly be harder for him to secure the usual ;TaffoiVc;Pe0pl ?t -tj -i ness, in fact time without hard use soft 8 registers are best. A penitential ESTABLISHED 1838 attention from the builder. affairs, — I would almost psalm is effectively announced on the Voix should not be used continuously through¬ from the chamber itself. The air should seem to enjoy it. Such must.usYbet be the theex¬- Will’bri"* « thelefertf out a psalm. also be of the same humidity as that in WATAHWASO Celeste or some soft, string-toned register. PHILADELPHIA, PA. perience of the writer of the following If a chant be unfamiliar, it is well to an¬ The Gloria the organ chamber. The dryness of the _ 4J.. C,eaning letletter™ • U1 ~ Wnter 01 the i0l-l0wil* Merftag the Problem nounce it in solo-form. The first verse is The Gloria may be separated or contin¬ winter steam heat must be overcome. In addition to the regular care of the “In 1903 we placed one of your organs S° We sce then tllat thc fa* of an to be accompanied generally. ued from the preceding verse. Continue organ, the pipes should be removed and in our Church; nothing has been done to °rga" depends 0,1 the brains and material it like this :- Screen the Air entermg mto its design, the conditions of SOU or" °rga” C,CaneCYVCry f?W -VCarS- !t Since- What ^ur opinion should J ‘. . Ex. 5 The air should certainly be screened. Some organs require this much sooner our organ need now in the way of clean- its installation, and the intelligent co¬ In Recital P{i\ The only way to keep reeds from dust than others, depending upon the amount ing and tuning?’’ operation of those who care for it. of //: (PP Ttf is to prevent its ever reaching them. of dust that settles on the instrument. If It is a serious mistake to allow the This statement defines the responsibil¬ w r r Indian Songs, On one organ which had a Slip, blower the church is cleaned by a vacuum cleaner organ to get badly out of tune. This ities of the organist and indicates the ■V, felp 4i - - - a piece of cheese-cloth had been tied the organ will not need cleaning so condition is most injurious to the choir great need of his fitting himself for this Dances 1** \m E furnish our- over the intake while it was being tuned. W frequently. to say nothing of its effect on solo - and 3j| tools, action model, le After awhile it was found that there business advertising which makes you a master Rebuilding Paying. To prevent it, the organist should „ H°W 1S hc ,to do so? Many of the Folk fm of the tuner’s art. Diploma given graduates. 17 was not enough wind for the full organ. YEARS' EXPERIENCE in teaching the most It was discovered that this was due en¬ The organist's special opportunities are, ITorJpSSf £ Lore independent and lucrative profession by corres¬ tirely to the amount of dust caught in |j ■m pondence. SIMPLER AND BETTER THAN however not limited to the purchase and then ^ter j^liaritS in mder to ^ a practical Point oY view j * - fH ORAL INSTRUCTION. Write to-day for the cheese-cloth. What a good thing care of his organ, but may occur if there give the tuners the information they6need ® mUSt read thc general literature of FREE illustrated booklet and guarantee plan. 5 J- J i ^ ;b8= it was to lravc prevented so much dirt is a chance to rebuild or improve an Organists are of two kinds SoL can the °rgan alld the physics of tone dLil NILES BRYANT SCHOOL of PIANO TUNING from entering the instrument! Booking Now old organ. It is a fact that a really only learn to diagnose correctly tiie trou tmf^T H.e stlould visit an organ fac- ' il The circulation of air in the organ for Season fine organ fifteen or twenty years old is blcs that may occur others are ahle tn X" ’ alK perhaps apprentice himself in i .IT'S Taking the above well-known chant as a A time-honored and striking effect, still is worth studying. The front case-work TETAL ART PINS often worth adapting to modern con- minor ad^tments or evtu mt T tU.erfctmJ room. He can at any rate of 1922 subject, a plan of procedure for the body heard in some old Cathedrals, is that of is often quite high and behind it is an Write forFREE48page catalog show- ditions. Read the history of the impor- be trusted not to break d ’ a” Can ?|SISt m ‘he erection of some new organ. | 111 of the psalm may be outlined as follows :- playing the second half of the verse pre¬ air tank which never gets its proper cir¬ ceding the Gloria thus :- off Hut^or “hool wann’a pb.°we,”irilj T’ e"T“,' org"s- ^ S2,br“k or ^ ,he J- (1) Gt, Sw. or Ch., mp, mf, manuals send samples for selection with catalog. culation. It is much colder in winter always rebuilt, and very seldom brand iral llclr tonalr a,Kltm mechan- wM~ 11 ical features. He can watch any extensive METAL ARTS CO., Inc. and is generally more damp in summer This plan can only be carried out Analyzing Conditions 7765 South Are., Rochester, N. Y. than the upper part of the chamber. In if the original organ was of the finest rebuilding or repair work, or cleaning or Every organist should at least know old organs the only opening near the quality. Otherwise the results will WATAHWASO STUDIO nse the results will not how to make such an analysis. An organ tions as ‘he organ'TnenYaYanswer ^IIi" 111 W. 68th St. New York Arranging and Correction of Mss. floor was where the Swell pedal was set justify thc use of expensive labor A SPECIALTY in the knee panel and many of us can material. I do notnot ref^TsoilleVrY-refer to so-called a Tfntless animated bundle of causes fan study ‘°ne production, cultivating : . . . . alld effects, and no one who lacks the keen eaear.r. In all these andpnrl many other A. W. BORST, 3600 Hamilton St., Phiia.. Pa. remember the cold draft which struck building in which a few old pipes STUDY HARMONY logical faculty can master it. You tell ways he must be thoroughly alive to the and COMPOSITION the foot at that point. To remedy this, incorporated in an entirely* new organ by MAIL ““djrthePersonal several gratings should be cut in the that the artistic temperament does r need for original first hand investigation. case close to the floor. The effect of In conclusion, I hope that these remarks •nay stimulate us all to be more faith¬ SlOO aWeek large windows on the temperature is of¬ ■ates. Composers’ MSS. corrected. {'Af FOR DRAWING ten serious. ful stewards of our noble calling, not being content wich smatterings or confes¬ ALFRED WOOLER. Mai. Doc. It is a universal rule that mechanical A171 Cleveland A.e. Buffalo, N. Y. and other useful foundation work. The jntr bis resristratinn ™ , , y sions of ignorance and even indifference, ft swell pedals should be left open. Electric organist will lind ,he ,a,k ,c,„i„ a„ t?£Z but striving to lay as much stress on swell actions automatically remain open his ingenuity, and it will thoroughly test reason close v k„-m' ,.hlm lo our practical knowledge as we do on PIANO JAZZ when the power is shut off. I noticed thn pracfal tawlodg, he to «c,„ir,A lh? „me po,,, our artistic ideals. recently that out of more than forty tuning How A,?“,de "h"h'r. or»n M'W out tire can* of an, nrechaniea" reports about three-quarters stated that is worth rebuilding? A good test is to trouble. the tuners had found the swell boxes All nature is but art, unknown to thee, see whats parts must be replaced, Fine A note was received this spring which closed. It is needless to say that not not^ dlrection’ which thou canst organs generally" show■- wear- only ‘ small icctuareads as followsluuows : much tuning was possible. VatermanPiapoSchooI.241Saperba Thoat«rBldg.,losAngsleB,Ca: One of the strangest of musical customs from the picture. Many of the Ragas are - /mg Parts, or the bushings of the “When the second Open Diapason is AH discord, harmony not understood; is that of visualizing music by means of said to have mysterious power and the action, or the bellows. They do — —--> - - -< - ■ - 1 All partial evil, universal good; 12 DeMaupassant Stories 1 Ar natives often believe implicitly in this leg¬ Practical Care T*“ uu I1U[ re* used on the Great, either ^‘drawing Anna!/ arnfA1* 1 nCervi1 ’ juni . ' . 9 pictures. This, according to the well Tfl ;mdamfn al defect.s ‘be chests, the stop, or using a piston, or by mean! A"d Sp,te of P^de i.erring. reason’stcasulls 239 Book Catalog FREE A V/V' known authority on Indian music H. A. endary character. For instance, the Megh These points should be mastered by all Send us your name and address and 10c in I well cared for. the pipes are not mu- of the Crescendo Pedal, it cannot be OnT f u • eom or stamps and we will send you a book of Poppley, is common in India where the var¬ Raga is believed to be a cure for tuber¬ organists, but some who are more prac¬ tllated at the tuners. Such an organ may released, thereby making it impossible to °w Y?tH 1S clear.—Whatever is, is ' “ short stories by De Maupassant and " ro° ious Ragas or - primitive songs are so culosis. The same authority asserts that tical can attend to minor troubles them- ['4-page catalog of rt0rt --Kr deserve to be rebuilt. use the Flutes' and Gamhn ,,n »i,n . g history, philosoph; identified with pictures telling their stories American Chippewa Indians have pictorial adventure, which we sen a Ways of indicating certain tribal tunes. Pope (Essay on Man) Haldemnn-Tnlhis Co,, Dent 1 that the Indian musician can literally sing THE the etude MAY 1022 Par,, Sol Organ Recitals and Their Musical Value TO DIRECTORS of CHURCH CHOIRS, GLEE CLUBS, WOMEN S MUSICAL CLUBS LIBERTY AND COMMUNITY CHORUSES, etc. L ' j OUR NEW OCTAVO CATALOG Question and Answer Department ? Duets, Trios, Conducted by Arthur de Guichard MALE, FEMALE and MIXED VOICES Which is equipped with Sacred, Novelty, Comic, Irish, Negro, Jazz, Rag and other Dialect songs of Oblong ALL-Rubber Button every description are to be found within its covers. clasps, holds the stockings YOU ARE CONSTANTLY SEARCHING FOR in place securely—and NOVEL, SUITABLE AND USEFUL MATERIAL without injury to the most THIS CATALOG IS FULL OF IT delicate silk fabric. Only one of its kind, embraces every SENT FREE ON REQUEST Make sure that Velvet M. WITMARK & SONS BEAUTY has helped many a girl to success AUSTIN ORGANS] “TSSS
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STILLMAN’S reputation grows stronger. Tt iaTre'b^ p\RAG^?i FRECKLE CREAM AUSTIN ORGAN CO. J. VAN BROEKHOVEN g Teacher of Singing and Composite STUDENTS -prepared for the CHURCH SERVICE The True Method of Tone and RECITAL WORK
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Send for catalog marnmm Dr. William C. Carl, Dir. Evangelistic Piano Playing MEMORIAL DAY HYMN
! NORDER early PIPE ORGANS
HERE YOU ARE! JUST OUT! “DREAMING”
■ ■ Jt,,™'STOPHEH M=CO.nois This Coupon is Worth 25c SONG SUGGESTIONS
audience. Those songs. Dear
Theodore presser Co. ph^a- in a quietly whimsical way and is set in esting, to say the least. A. L. M. Pages 359, 360, 361, 362 and 364 of this issue. CXSfe Page 352 MAY 1922 the etude the etude MAY 1922 Page 353
Let him take up the study of the piano “In bowing, the edge cf the hair (with Practical Advice on Mastering the ’Cello and the violin, and theoretical studies. the stick of the bow inclined away from By the Most Famous Living ’Cellist 1 con ider it absolutely necessary that the bridge) is used at times, and at others every musical student should study the the entire surface of the hair is kept on Beauty* PABLO CASALS piano, since that instrument is complete the string. It takes great strength and the Secured Expressly for The Etude Music Magazine in itself, string and wind instruments are full surface of the hair to produce a full 1 not. The piano player gets the musical and resonant tone on the C and G strings, By ROBERT BRAINE but on the D and A strings and when pro¬ Yours picture complete, and not simply part of ducing lighter tones, the stick can be in¬ it, as is the case with other instruments. The steps by which a great artist has I was already a musician, although a your work shows great talent for composi¬ be a sensational debut. I awoke the next clined away from the fingerboard and the The study of the violin is also valuable SECRETS achieved fame and fortune are always of young one, and I consequently made very tion. I should advise you to go to Paris, morning to find myself famous. Engage¬ Gemunder edge of the hair used.” because the problems of violin playing the highest interest to the music student, rapid progress. I studied in Barcelona hear all the music you can, write indus¬ ments poured in, and since that day, I “What of the position of the left hand?” CENTURIES' _ 1846 THE VIOLIN NAME OF FAME 1922 are very similar to those of ’cello playing. as well as the general musical reader. This four years in all, and during that time I triously and introduce your compositions have never known what it was to be with¬ “In regard to the position of the left is the story of a man, who, from a humble ALL KINDS OF VIOLINS Theory, harmony, counterpoint, etc. can OLD ''EXPOSED!/ suppose my actual practice on the ’cello wherever possible. I think you will suc- out a choice of many engagements, if not hand there is some difference of opinion. beginning in a provincial city in Spain, be¬ would amount to four hours daily. in one country, in another. Since that be added as ,fast as the young pupil is yOUCAN be beautiful fascinating an MODERN USED & ANTIQUE The Brussels school has a position of the came the greatest cellist of his generation, “Most artists have had many masters “I followed this advice, set out for time I have been on the go, visiting and able to comprehend them. trait above Is living proof of what I can d “ ll<»\V TO SELECT VIOLINS FOR PERSONAL USE” left hand very similar to that used by a for you, too^My Secret a of Beauty teU yo because, as he says, he studies the art of on their chosen instrument, but I had Paris, and settled down to composition. playing in every civilized country in the “The average pupil of ten, usually re¬ AS EXPERT VIOLIN MAKERS AND PLAYERS our violin player, that is, the neck of the ’cello French Courts, toilet rites which kept th music thoroughly, as well as the technic only the one ’cello teacher, Jose Garcia, Unfortunately I had not gained the formal world. My life has been a succession of quires a half-size ’cello, and the change is grasped between the finger and thumb. flaming French beauties young for man of his instrument. and four years lessons in all. At the age consent of the Secretary for leaving Brus¬ concert tours.” years longer than our modern women,myj to a large instrument can be made as the 1 do not approve of this position as the Of actual ’cello lessons under a teacher, of sixteen, I had conquered the fundamen¬ sels and going to Paris, and when he These and many other beauty secrets Drt pupil grows. stretching capaci*y is less and as it throws he enjoyed but four years, from the age tal technic of the ’cello, and after that heard of it, he considered it a case of Is the ’Cello More Difficult than the Violin [E VIOLIN WORLD”—th< flushed witj^the git “I consider the largest sized ’cellos too the second finger too far forward on the of twelve to sixteen years. These four age depended on myself entirely. to build your figure rebellion against his authority and induced “How would you compare the violin large for even an adult - player. The years instruction gave him a thorough com¬ “About this time my playing attracted fingerboard in making semi-tones. The the Queen to withdraw my pension. This and the ’cello in point of difficulty?” AUGUST GEMUNDER 8? S0N5 length of the body of the largest sized BANISH bSkrAcS5SSioiuo?S mand of the technic and resources of his the attention of Queen Christina of Spain, position which I use, and which I think JrA1 n n Beauty Expert.” left me stranded in Paris with my mother Mr. Casals was asked. ’cello is from 75 to 76 centimeters. The Coarse Pores free-Book of instrument—all the rest he worked out and she conferred a decoration on me and is the best, is where the ball of the thumb and two brothers, who had come to the “If one would play pieces of any diffi¬ body of the Bergonzi ’cello I use in my Wrinkles beauty secrets himself. How well he did this work is also granted me a pension, so that I is held against the neck on the under side, French capital to be with me. As I was culty in an artistic manner, the ’cello is own playing is only 73J4 centimeters. I Elackheads name ^d* addremTand evident from the esteem in which he is could go to Madrid for further develop¬ as shown in the picture. The hand is held Pimples not yet known in Paris, we decided that much more difficult than the violin,” was find that I can play it much more effec¬ held by his eminent confreres in the world ment in my profession. ' The age of seven¬ well out from the neck, with fingers at rreckles nothing to write — and there was nothing to do but return to his reply. “ ’Cello playing has all the difll- VIOLINS BUILT IN OUR OWN tively than the largest sized instruments. of music. Of him Ysaye has said: “He is teen found me in Madrid where I remained almost right angles to the neck and resting Oily Skin ^'. dearfel Spain, and after many hardships suc¬ culties of violin playing, and many diffi¬ Strange to say, my playing seems to have the greatest intrepretative artist I have for two years, but took no ’cello lessons. WORKROOMS with their tips on the strings. This is the ceeded in returning to Barcelona. Upon culties which are peculiarly its own. The Of Finest Material and Workmanship as much volume and brilliance on the Tuolle’young! ever heard,” Fritz Kreisler, the violinist, I played the ’cello parts in the chamber position which the best teachers and the Room 265, Lucille Young Bldg., Chicago reaching that city a meeting with the ’cello calls for much greater strength and smaller instrument as on the larger.” Without obligating me in any way, please says: “He is the greatest musician who music organization of -which the eminent leading ’cellists use. In Paris some of the secretary followed, and after I had ex¬ more vitality on the part of the player, as send complete information; also your free has ever drawn a bow.” Josef Hofmann, violinist and. musician, Monasterio, was “What are the finest toned ’cellos in teachers use a position which is somewhat book, “Confessions of a Beauty Expert.” plained matters to him, a complete recon¬ the strings offer more resistance. The eminent pianist,\ says i“When the Russians the head. This did much to broaden me existence ?” of a compromise between these two ciliation followed and I was restored to left hand technic presents many diffi¬ speak of Casals, they speak of him as a and perfect my style. “Those of Stradivarius and the other positions.” royal favor. For the next three years I culties not found in violin playing. The God.” “The Secretary to the Queen, who Cremona makers. These great men made “How about the use of stretching ma¬ remained in Barcelona, practising my pro¬ strings are larger, and require much pres¬ Pablo Casals enjoyed from his babyhood looked after my pension then suggested that violins for the most part, but most of chines and devices for stretching the fin¬ fession. I filled the position of first ’cello sure to press them to the finger-board to Music Buyers are Invited the “many-sided musical intercourse” I go to Brussels to see Gavaerts, a fa¬ them also made some ’cellos. The ’cello gers, which have come into use during the in the symphony orchestra, and the orches¬ ensure a perfect tone. Then in the lower which Robert Schumann recommends as mous and influential musical authority I use in my concerts was made by Carlo past few years ?” tra of the grand opera, and gave lessons positions it is required to skip a finger in to send for catalogs and folders so necessary to the growing artist, in his there. In Barcelona and Madrid I had Bergonzi, at Cremona. Bergonzi was the “Positively not. I am strongly against on the ’cello. making whole tone intervals in many Rules for Young Musicians. His boyhood devoted much time to composition and of the class of music they use. greatest pupil of Stradivarius, and his the use of any mechanical stretching ma¬ “At twenty-two, I returned to Paris, passages, instead of using consecutive fin¬ Violins added one more to the list of eminent mu¬ theoretical studies,, and I took many of my violins and ’cellos are of the highest chines. The use of these machines has be- • and here followed the first really great gers as would be done on the violin. The sicians who sang as choir boys in their compositions along to show to Gavaerts. Theodore Presser Co., Philadelphia, Pa. quality, and are constantly increasing in come quite a fad in Europe within the past For more than twenty-five years event of my career. I had an introduction stretches are much greater on the ’cello, early youth. At the age of five he sang After inspecting them he said: ‘Young value. This Bergonzi ’cello is valued at few years, but I think they are quite un¬ this house has been famous for its to play for Lamoureaux, the director of wonderful Violins—some of our own in the local church at his native city of man, you seem to have studied theory, har¬ which adds to the labor of playing it. $20,000.” necessary and do more harm than good. the famous orchestra concerts. He liked The distance for the intervals are greater, make, others of German, French, and Vendrell, in Spain, where his father was mony, counterpoint, composition and all my playing and engaged me to play a “Which do you consider the world’s The ’cello student can get all the stretch¬ making perfect intonation more difficult. Italian makes. organist and choir-master. The mystic branches of the musical art thoroughly. ’cello concerto with the orchestra at the greatest ’cello?” ing necessary in playing good technical Then in the “thumb” positions on the VIOLINS swell of the organ, and the melodious Chant You know the technic of your art, and exercises on the ’cello directly, without the These Violins are in all grades, next concert. I played, and it proved to Deep, Mellotv, Soulful “The Mendelssohn Stradivarius. This new ones beginning at prices as low of the voices, rising to the fretted arches ’cello, the left thumb must be withdrawn manipulation of his hand by machinery. I entirely from the neck of the instrument great ’cello is one of the masterpieces of as $5. Rare Old Instruments at of the roof of the church, and the stately Antonious Stradivarius. It is owned by do not approve of these stretching devices prices beginning at ?30. ceremonials of the mass, filled his boyish and placed directly on the string required for the hand of the violinist either.” where it acts as a moveable nut. To get the Mendelssohns the famous bankers of Nowhere in America can you soul with an undying love for music which “What are the best ’cello hows ?” the thumb exactly in the right place is Berlin. The family are descenderits of find such a collection ot worth-while bore golden fruit later on. “Those made by Tourte, who also made very difficult. In the case of the violin the Mendelssohn family of which the fa¬ Instruments. At five, he commenced the study of the mous composer, Felix Mendelssohn Bar- the best violin bows. Tourte, you know, the thumb is never entirely withdrawn Are You Organizing an Orchestra or Band ? violin, and piano, and gradually added was a genius. He is called the Stradi¬ Descriptive catalogs r. died from contact with the neck or the side of tholdy, was a member. One of the theory, harmony, counterpoint, and com¬ chrat?? and Band® Books?8 ROOT’S IEGHKnNTBBS on application. the violin. Mendelssohns is a ’cello pupil of mine, varius of the bow. His ’cello bows have position as he grew older. By the time he who takes lessons when I am in Europe the same supreme qualities as his violin “The control of the bow is much more was twelve, he was already a good violinist', bows, for balance, elasticity, correct weight difficult in ’cello playing, since the ’cello anywhere near Berlin. I have thus had John Friedrich & Bro. pianist, and had added a wind instrument ample opportunities of studying this great and all other points of excellence. They is held in a vertical position. This being 279 Fifth Ave., New York —the flute to his studies. At this age his instrument. This ’cello originally belonged , command the highest price of any ’cello the case the strings offer no support to the theoretical and composition studies were to Signor Piatti, the famous London also well advanced. bow. which must be supported and kept at all times in playing position by the ’cellist, and at his death, some years ago, “What of great teachers ?” the ’cello was bought from his widow by A Fine Beginning thumb and fingers. The violin is held in “There are a number of great teachers OUR “SPECIAL” In an interview for The Etude, obtained a horizontal position, and the strings offer Special Violin Outfit the Mendelssohns. It is one of the highest of ’cello. Two of the greatest are Julius priced stringed instruments in the world, if 10Tested Lengths,*! by the editor of the violin department, Mr. a support for the bow a great deal of the Klengel, of Leipzig, Germany, and Diran not the most valuable of all. On one occa¬ )CSilk Violin E, for^D1* Casals said of his career: “I was born in time. This is an important help in many Alexanian, of Paris. Alexanian has just Vendrell, in Spain. My father was or¬ kinds of difficult bowing.” sion I offered 150,000 marks for the ’cello, completed a ’Cello School for students Send for Violin and Cello Catalogue at the time when the German mark was ganist and choir-master of the local church, “What advice would you offer to the which will soon be available, and which I MUSICIANS SUPPLY CO. at full value. This would be in the neigh¬ 1 took to music almost as soon as I could student who wishes io become a first rate consider the greatest of all educational [60 Lagrange St., Boaton, Maas. walk, and at five, began to sing in the choir ’cellist?” I asked. borhood of $37,000 American money. My works for the ’cello. It is not yet on the offer was refused however.” and studied the piano, violin and flute, be¬ “The boy who is destined for the pro¬ Model No. 550 Price $25.00 American market.” sides beginning theoretical studies in music. fession,” said Mr. Casals, “should be Outfit Includes “What about new ’cellos ?” “How about practice ?” I was considered something of a prodigy “I have played on some new instruments “At first two hours daily will be enough strong, sturdy and healthy, since it requires VIOLIN, FULL SIZE Q or V?£*«|[a“d) on the violin, and by the time I was twelve, much strength to play the ’cello. He in Europe made by modern makers, which for the young student, but as the pupil pro¬ I had acquired enough technic to play should have a perfect ear and good all keratol case chin rest were of fairly good tone. I however pre¬ gresses he can increase this to four hours, several concertos. I suppose I would have round musical talent, otherwise he could WELL-BALANCED BOW ROSIN fer the old ’cellos made by the makers of but as it is very fatiguing to practice the been a violinist, but the fates decided other¬ not possibly make a success on this instru¬ EXTRA SET OF “ETUDE BRAND” STRINGS Cremona to all others. These great men ’cello, the practice should be divided into wise, for when I was eleven, an event hap¬ ment. He should have a hand large Entire Outfit made in the U. S. A. had the genius and inspiration which en¬ short periods of an hour or less. Four pened which made me forsake the violin enough to make the stretches required in V'OLIN is a copy of a Stradivarius, made abled them to attain the ideal tone in their hours practice should be enough for any for the ’cello. That event was when I of selected maple, back, neck and sides, violins and ’cellos, and their instruments ’cello playing. People with very small showing an excellent figure. The color is heard Jose Garcia, a very good cellist of hands have no business with the ’cello. a Buckeye Brown, shaded, hand-rubbed have never been equalled or even ap¬ “How about strings?” Barcelona, play several solos. I was over¬ Abnormally large hands again are not re¬ and polished. Best trimmings. proached.” “I do not adhere to any particular brand whelmed. It was a revelation to me. If quired, since extraordinarily long fingers THE CASE is Keratol, three-ply covered and “How do you hold the bow?” of strings. I buy good strings wherever was like a case of love at first sight. I are only in the way. A normal hand, with “The bow should be held as shown in I can find them. I do not actually insist fell violently in love with the ’cello. It fingers long enough to make the stretches WHEN ORDERING MENTION NO. 5*0 the picture which accompanies this article, on the C and G being wound with pure was what the French call a coup de fon- on a normally sized ’cello, is all that is We carru a complete line of Violin m'tsic, studies, which shows it very clearly. The thumb silver wire, copper wire will do if the dre. I felt that here was the instrument required. The actual start on the ’cello Pteces an I albums. A valuable little circular, Jl Few is held against the stick opposite the second winding is done evenly. The workman¬ Suggestions for the Violinistmill be sent gratis upon which realized all my ideals. should not be made at an extremely early and third fingers, as in violin playing (as ship of the strings is the main thing. “At twelve, I moved to Barcelona to age—10 or 11 years is soon enough. illustrated in Courvoisier’s Violin Technic.) They must be perfectly true and produce a study the ’cello with Garcia. I started ttafled, pastor However, I should strongly advise the Theodore presser co. I do not bend my thumb outwards though, fine tone. Really first rate strings are on a half sized ‘cello, my previous prac¬ future ’cellist to commence his studies in 1710-1712-1714 Chestnut Street so that the root of the thumb nail touches sometimes difficult to procure. Any good BUESCHER BAND INSTRUMENT CO. tice of the violin, piano, flute and my music as early as five or six years of age. PHILADELPHIA, PA. the edge of the hair of the bow, as is the viclin resin will do for the ’cello. Patent theoretical studies stcod me in great stead. Pablo Casals case in holding the violin bow but hold it pegs of any kind are an abomination. Or¬ (Continued in ihe Violin Dept, on page 3f3) straighter. dinary pegs which have been fitted by a Page 354 MAV 1923 THE ETUDE tiie etude MAY 1922 Page 355
How to Arrange for a Small Orchestra An Eight Months’ Trial Professional Subscription to the Directory BOYS’ MAGAZINE SrSSSt. sassSelSffiSe ^Seli^t£S?i[SSs& ■: %~ssri BEECHWOODSSaS rsssrfi. ss# Mr. Braine’s Replies to Violin Inquiries CqSKT^^aSSx DUNNING BJBSigB! EDDY gSfSfSS FABRS SsSSSiS GILBERTSSil» Sherwood Piano Lessons HAWTHORNE for Students KRIENS MOULTON USr"U2EZ 7139 Main St.,
Sherwood Normal Lessons Street or R. F.D.. NEW YORK City- for Piano Teachers i fgi§ 1 THORPE SS'S IHS2§sSk ||pJJtijk 111=5$ jflRGI L~*^fe«Kca»^
Harmony AMER ICAN^SIF-”XS BURROWES'SSSS, CHICAGO SgSprS Harmony Teaches You to CINCINNATI Sre^Baa kSHISSS COLUMBIA ■sSSSh*. DETROIT ZwSEffia-. DETROIT
SAUNDERS TOMLINSON Sjg
WESTERN^gggar University Extension Conservatory
A170 Siegel-Myers Bldg. Chicago, Ill. BRYANT CONVERSE COLLEGESSi THE fJTUDE MAY 1922 Page 857 Page 856 MAY 1922 THE ETUDE “From the Far East” Our Talking Machine New Orchestra Secrets of the Success Kindergarten Book songs and piano numbers for the pro¬ Six Orientals for Piano gram and also a few suggestions to aid Department Folio of Great Musicians By Mathilde Bilbro those who desire to make a graduation By George Tompkins We are again calling attention to our By Eugenio Pirani This is not a theoretical book for the The day of cheap records that wear out teacher but it is a real Kindergarten gift to a student friend. These gift sug¬ after a few playings seems to have passed. Mr. George Tompkins is a most prom¬ former announcement that we have in This is a book by a famous pianist A DEPARTMENT OF INFORMATION gestions also make very practical awards. ising American composer who has original preparation a new Orchestra collection book to be taken up by the younge.-d be¬ Things are getting back to normal, and about other musicians, classic, modern and ginner. The child is given something in¬ Remember, above all, that it is advis¬ this fact is particularly noticeable in the ideas and methods of presentation with¬ which will be espeeialy adapted for use contemporary. Mr. Pirani, who has had REGARDING able to avoid waiting until the last min¬ out needless or extravagant methods of by amateurs, by school orchestras and teresting to do from the very start and talking machine line. Everybody knows a cosmopolitan career, has had oppor¬ there is sufficient of explanatory text that ute to secure program material or awards. jvhat the Victor records are, and the treatment. His Six Orientals, recently similar non-professional organizations. tunities of meeting all of the great mu¬ This suggestion is none too early and it composed will be Issued in book form in The instrumentation differs somewhat any teacher may be able to take up this New Music Works public is gradually coming to know the sicians of his time. Where he has not work and use it to the best advantage would be well to act Immediately upon merits of the Brunswick records. It is a handsome volume. These pieces con¬ from the usual one in order to afford had personal knowledge of the musicians commencement details such us these. sisting of a Prelude, Chawazi Dance, everyone a chance to play. In addition from the very outset. Nowadays many AND OTHER MATTERS OF INTEREST a noteworthy fact that during 1921, which treated in this work, he has had excep¬ little ones are learning to play for whom was a period of great business depression, Ouled Nail, Lover’s Lament, Street to the usual instruments there are parts tional opportunities for acquiring the au¬ TO MUSIC BUYERS Settlement of Dance, and Invocation to Allah, have the for violin obbligato, (a) and (b), solo the usual instruction book seems too ad¬ during which time phonograph manufac¬ thoritative traditions. There is a chapter vanced but for such this new book will be Accounts turers and dealers went into the hands of real atmosphere and coloring of the East. violin, third cornet, E flat alto, and devoted to each musician beginning with They are characteristically melodious and tenor and melody saxaphones. Some of just right. The author who is a most ex¬ Although it is Customary for us to mail receivers, the Victor output was greater Bach and ending with Donizetti, together 1 perienced teacher has made a specialty of specific directions with yearly statements than in 1920. Our own sales of Victor appropriately harmonized throughout. In the best arrangers in the country have with a supplementary chapter dealing point of difficulty they do not advance been employed in this work. Among some books and music for the young. Many J in June of each year, we believe that records during 1921 compared very favor¬ with some contemporary players and of her works have achieved great success. some of our patrons, those wishing to ably with previous years and our mail beyond the fourth grade. Either for of the most popular numbers in our cata¬ composers. This book is not a dry array study or pleasure these pieces will form log which will be found in this collection The special introductory price in ad¬ make settlement of their accounts before order department has been unusually busy of facts but it is full of living interest. vance of publication is 50 cents, postpaid. New Music on Sale June 1st, will appreciate this preliminary since the first of this year. a delightful addition to one’s repertoire. are—“Salute to the Colors,” Anthony— The special introductory price in ad¬ NEW WORKS. The special introductory price in ad¬ “The Color Guard,” Felton—-“Garden of vance of publication is 75 cents, postpaid. During the Summer Months notice and the knowledge that upon our The Governor of Nebraska has just is¬ Class Method for the Violin receipt of the teaching materials they sued a statement in whieli he says that vance of publication is 40 cents, postpaid. Roses,” Ritter—“Lilacs,” Kern—“Pizzi¬ Choir Collection By Oscar J. Lehrer Great numbers of our regular patrons, intend to return for credit, we will send his State has “turned the corner and is cato Serenade,” Franklin—“Awakening,” Advance of Publication Offers — in fact almost all of such, receive from us Transcriptions for Engelmann. There are many good instruction books revised statements of their accounts in now well on the way to normal and per¬ By Harry Hale Pike during the winter months a small pack¬ for the violin but very few are suitable May, 1922 advance of those mailed on or about manent prosperity.” Violin and Piano The special introductory price in ad¬ Hymn-anthems and anthems of festival age of New Music at regular intervals. vance of publication is 15 cents for each for class instruction. Mr. Lehrer's book ■Brahms’ Album . June 1st. At the recent Victor Dealers Conven¬ By Arthur Hartmann type are included in this new collection A great number receive piano music, instrumental part; 30 cents for the piano Has been planned with this definite ob¬ Broekhoven’s Harmony. Of course this notice is intended chiefly tion in Philadelphia, optimism was the and the eluirchly texts are so varied in Carnaval Mignon—Schutt. others desire new songs; and then we We take pleasure in announcing a new part, postpaid. ject in view, each exercise or recreation Casse Noisette (Nutcracker) Suite— for those of our patrons who have had On keynote throughout all the proceedings. collection for violin and piano made up of, theme that at least one selection suitable from the very beginning is completely also send octavo music, sacred and secu¬ Sale Accounts during the teaching season may be found for any occasion. The com¬ Tschaikowsky. lar, as well as music for the violin and It is these facts that have justified us some of the most popular transcriptions harmonized in three parts of exactly equal Child’s First Book of Melodies—Honska now drawing to a close. Those of our pa¬ in largely increasing our Victor and Music and Morals poser’s gift of .melody together with his - a Play—Tompkins piano and for pipe organ. The sending by the celebrated violinist and teacher, Mr. difficulty. A piano accompaniment is trons, however, who have regular monthly Brunswick record stock and in perfecting Arthur Hartmann. These transcriptions By Dr. H. R. Haweis long experience in church music combine never necessary and the class may be Choir Collection—Pike. of these packages is discontinued from accounts and who have not settled them Class Method for the Violin—Oscar J. May until September but there are many our facilities for prompt shipment of all are chiefly in the first and third positions, Very few books in the history of the to make this a most practical collection divided into three sections, each section at thirty-day intervals as expected, will for choir organizations of all degrees of Lehrer . of our patrons who continue their work, orders to any part of the United States. none go beyond the third position. Among art have had more influence in stimu¬ in turn playing three of the parts. The ” Hymns tor Men’s Voice's— certainly earn our hearty appreciation if The Victor record shortage, which lating an interest in music ;1 an Music and ability. If the choir leader is absent, any exercises are melodious and sound well Wick . and to those we ' desire to say that a they, too, will plan an early settlement of the numbers included are transcriptions reached almost alarming proportions a Morals by the Rev. Hugh R. Faweis. Dr. volunteer choir may pick up with short right from the beginning. In view of e (Far East—Tompkins . postal card will bring two or three pack¬ their accounts. of songs by Rubinstein, Godard, Dvorak, Granberry’s Writing Book . year or so ago, has now been nearly Haweis was a genial English clergyman, preparation one or more of the easy an¬ the increased interest in the study of the ages between the months of May and It is possible that when planning to Gretchaninow, and others, and instru¬ “Green Timber’’ Songs—Lleurance September inclusive. Piano, or vocal, or wiped out, and we are carrying on our mental numbers by Schutt, Tschaikowsky, born in London in 1838 and died in" 1901. thems—if the soloist is ill, a short anthem violin, especially in schools, we predict a Kindergarten Book—Bilbro . make return of teaching material sent On may be substituted in which the solo work Music and Morals—Haweis. both,, or anything you may desire in any shelves at least 90 per cent, of the entire Fibich, Barmotine, Granados and others. He was an accomplished violinist with a great success for this instruction book. Sale this season and which thus far has Victor catalog. New lists arc now ready is unimportant and may be done by the New Orchestra Folio—Parts, each . . of the other classifications mentioned will not been disposed of, certain selections This is a splendid collection for teaching great love for musical history. An inde¬ The special introductory price in ad¬ New Orchestra Folio—Piano Part . . he sent and you would do well to have and we are prepared to forward all rec¬ or recital purposes. The numbers are fatigable reader, with a splendid imagin¬ voices in unison—a quartet choir may ob¬ vance of publication is 50 cents, postpaid. Preparatory School to Bach—Liftl. . may appear worth holding over. In such your name entered on our lists. ords insured against loss or breakage. all beautifully arranged and have been ation and the gift of writing in a manner tain beautiful effects of artistry in care¬ School of the Pianoforte, Vol. Ill case we will be quite pleased to extend Postage is free on all orders of $3.50 or ful rendition of these directly appealing Theodore Presser. The music is on inspection, any or all the courtesy of permitting these selections tried out with success by Mr. Hartmann, to compel interest, his works were in very Transcriptions for the Organ Science in Modem Pianoforte Playing of it not used may he returned. The over. If you have no phonograph, and personally, in his own recitals. great demand. We have the exclusive numbers. to be carried over until the following sea¬ The special cash price, in advance of By Humphrey J. Stewart —Brandt . discount is the same liberal one as on are at all interested in having the pro¬ The special introductory price in ad¬ right to this, his best known book and Secrets of the Success of Great Musi¬ son, our patrons to pay us for what has publication, is 20 cents, postpaid. The final proofs of this new work are regular orders, the only responsibility ductions of the world’s greatest artists in vance of publication is 50 cents, postpaid. our friends will be glad to know that it now being read and it will soon go on the cians—Pirani . already been disposed of; with the under¬ your home, write us for booklets and Transcriptions for Organ—Stewart. . . being a small amount of postage. standing that a complete settlement will is once more obtainable in a fine edition. Child’s Play press. This is an excellent opportunity Transcriptions for Violin and Piano— terms. Perhaps you are not aware bow Woodsy-Corner Tales and The title suggests a kind of sermon upon for organists to add to their libraries Arthur Hartmann . be made at the close of the second sea¬ easily you may own a machine? Let us Ten Little Pieces Awards son. If, how.ver, a complete settlement Tunes for Little Ones music and morality but it is far from something really new. These are practi¬ Woodsy-Corner Tales—H. L. Ci tell you about it. that. The first part is a collection of By George Tompkins of Merit is intended at this time or after the teach¬ By H. L. Cramm cal and playable transcriptions such as most interesting essays upon musical sub- This is a good book to take up in first ' many organists are accustomed to read From time immemorial the victor in ing season closes-, our earnest request is, Comfortable and Convenient Science in Modern This is the most recent addition to the . jects and the second part a series of very or early second grade work. All of the at sight on emergencies, either for church any event has been distinguished by re¬ that it be made before the summer is too series of books for young people by the Summer Music Buying far advanced. Our reason for making Pianoforte Playing sympathetic and readable biographies of little pieces are in characteristic style hav¬ work, recitals or picture playing. They ceiving a reward in the form of a medal, very popular writer, Helen L. Cramm. It the great masters of music. Everything ing an accompanying text but this text for Teachers a pin or some article of jewelry which this request is that during the so-called By Mrs. Noah Brandt are all new transcriptions chiefly of num¬ is a collection of little nature pieces for is done with the fascinating touch of the need not necessarily be sung. The pieces bers which are not to be found in any Just at this season while a large body the recipient is proud to wear. “slack” or “off-season,” we are able to the piano written in characteristic vein augment our force of trained clerks who Readers of this publication who have born writer. The advance of publication are well written musically and most of other collections. These pieces have been of teachers are preparing to discontinue During the past few years this plan of and in Miss Crainm’s best manner. Each handle the parcels of returned music and followed the very practical articles of price is 8G cents. We hope to have the them are harmonized with the parts di¬ used with great success by Dr. Stewart their work until Fall there are still a rewarding meritorious students and hon¬ piece is preceded by an appropriate little thereby admit of better service, fewer Mrs. Noah Brandt, will be delighted to edition ready for delivery soon. vided between both hands. They will in his own recitals. It will be a large and very considerable number making ar¬ oring choristers has grown and with the story which may be read before the piece errors and the certainty that full credit know that she has made a book upon prove useful as recreations in addition to substantial volume. rangements to take care of pupils who, thought of proving helpful to our many piano playing. Mrs. Brandt has for years is played. In addition, some of the pieces their value as studies in style and inter¬ teacher friends, readers of The Etude is being given for every piece of music Brahms’ Album The special introductory price in ad¬ excused from routine school work, are returned. been one of the leading teachers on the have verses which may be sung if de¬ pretation. vance of publication is 75 cents, postpaid. ready to begin or to resume their music- and others, we have added several new for the Pianoforte Our patrons will help us materially and Pacific Coast and is a disciple of Dr. sired. This is a very good book to sup¬ The special introductory price in ad- cal studies. This is especially true as and novel lines to our stock of Sterling Our new Brahms’ Album will include as well spare themselves the possible de¬ William Mason. The best testimony as plement any instruction book or for recital . vance of publication is 30 cents, postpaid. Child’s First Book of Melodies regards beginners in piano or violin Silver, Rolled Plate and 10K Gold Jew¬ to the excellence of his influence has been or recreation purposes. In point of diffi¬ about all of the numbers by this master elry which we show on page 330 of this lay of credit for returned music, by at all that are usually heard in public. This By W. E. Honska music. Our observation has been that times observing the following few simple found in her pupils, notably in the work culty, the pieces lie in grades one and Granberry’s each summer there is an increasing vol¬ issue of The Etude. two. album will dignify any musical library. Nowadays it is the custom in teaching rules concerning the return of On Sale of her daughter, Enid Brandt who, a few Writing Book children to use various adjuncts in con¬ ume in the demand for teaching ma¬ Chqir and Choral Organizations, Gradu¬ years ago, astonished European musical ■ The special introductory price in ad¬ All serious students who have reached the ating Classes and Music Clubs also find moderately advanced stage should begin This is a writing book for the earnest nection with the usual method or instruc¬ terial, not only for beginners, but for 1. No matter how you make returns, centers by her virtuosity when little more vance of publication is 30 cents, postpaid. more advanced students as well. Pu¬ in these distinctive designs, appropriate to take up the music of Brahms. It will student, based upon the principal that tion book. Instruction books too, are whether by mail, express, freight or par¬ than a child. Her tragic death, as the by writing a thing over and over again, pils naturally depend upon their teach¬ emblems for Class, Society and Club Pins. Wick’s Famous Hymns prove more than an intellectual treat since much shorter and more compact than they cel post, YOUR NAME AS SENDER result of a contagious disease, forced Mrs. one learns it more thoroughly than in any used to be. Honska’s Child’s First Book ers to provide the proper teaching pieces, These medals and pins, although inex¬ Brandt into retirement for some time, most of the music of Brahms when intel¬ pensive, not only look well but they wear MUST APPEAR PL A INI, Y WRITTEN for Men’s Voices ligently interpreted is full of sensuous other way. The author of the book who of Melodies, may be used in conjunction studies or instruction books and the ON THE OUTSIDE WRAPPER. With¬ but she felt that the theories she had teacher must, in turn, depend upon the well. Pupils and others receiving them Inspired music of the church never charm. This volume is now in course of is a well known educator, intends that with any instruction book and it will aid out this means of identification, we can¬ evolved should be put in permanent form dies and this collection contains many of through writing the book shall prov; a in developing a feeling for melody, nearest music store either in the same will feel rewarded, we assure you, for the and the forthcoming book is the result. preparation and is already engraved in efforts they may have put forth to earn not guarantee proper credit to the person the immortal hymns arranged for men to part. The entire work has been carefully guide to sight reading. This volumz is rhythm and harmony, and consequently community or in some nearby town or making the returns. The advance of publication price is 50 city. Very often such sources of supply an award of this kind. sing. Since America is beginning to sing, revised and edited by the well known to be used in connection with the reg liar serve to lay a foundation for true mu¬ 2. While we do not like to refuse to cents. the demand for meritorious numbers for are inadequate even for the needs of a Special discounts are allowed when six authority, Mr. Louis Oesterle. The entire vocal or instrumental lessons. It covers sicianship. This little book has the ad¬ or more articles of the same design are accept for credit any teaching material men’s voices is insistent. These familiar work will comprise about 150 pages. all the details of notation and in orcier vantage of beginning at once with both few pupils and as a consequence much returned, we ask our patrons not to re¬ “Green Timber” Songs time is lost in obtaining what is needed ordered. Remittance by check or Money hymns are arranged in a most masterly The special introductory price in ad¬ to establish the relat’on between the key¬ clefs although it is so simple at the turn to us any soiled or used copies of By Thurlow Lieurance board and the staff, ire ;uept diagrams from the local dealer’s wholesale house. Order, including the Government tax of manner—maintaining the simplicity of vance of publication is 75 cents, postpaid. start that it may be taken up after the 5 per cent., should lie mailed with order any music ordered on regular account. The idiom of the Indian has surely been their greatness but keeping well within are employed showing sections of the key¬ beginner has had but a few lessons. Under these conditions the logical Unless understood at the time of purchase thing for the teacher to do is to get in unless person so ordering is known to us brought over to us by the art of music practical range. The melodies are the Player’s Book board in combination with the notes on The special introductory price in ad¬ as a charge customer. In this event we that such regular items were returnable, in the hands of Thurlow Lieurance. Men¬ familiar tunes and not so modernized as the staff. It is one of the most exhaus¬ vance of publication is 30 cents, postpaid. touch with a mail order music house we cannot credit such items and must School of the Pianoforte, Vol. Ill equipped to meet all demands; not just will charge jewelry to the account sub¬ tal pictures of scenes of every-day life to lose their directness of appeal. tive- works of the kind ever written. ject to payment in 30 days. return them to the patron at his or her and concise psychic experiences of the Our advance of publication price is 20 By Theodore Presser The special introductory, price in aci Preparatory School to Bach a few of them. The Presser house has expense. always been identified with music teach¬ Red man have been caught up and glori¬ cents, postpaid. The writing and compilation of the se¬ vance of publication is 25 cents, postpaid. By Franz T. Liftl • ing; it has not only anticipated the Music and Awards 3. As the transportation charges on all fied by his tonal beauties. ries of instruction books known as the • This is a most interesting little book for return parcels must be prepaid, our pa¬ Carnaval Mignon Broekhoven’s needs of progressive teachers, but through for Commencement Mr. I.ieurance’s newest offering is a School of the Pianoforte, has been to Mr. poly phonic study. It is now nearly its publications has facilitated and pro¬ trons will save themselves considerable cycle of songs based almost entirely on By Ed. Schutt Theodore Presser a real labor of love Harmony ready. It contains some of the very The question as to what music to use expense and possible annoyance by con¬ moted the profession of music teaching original themes, the occasional introduc¬ Music having passed through the clas¬ upon which for some years be has ex¬ This work presents the subject in a easiest pieces of Bach, chiefly selected for commencement programs is annually sulting their local postmaster or express in general; it has encouraged the “new” tion of an Indian melody serving to pre¬ sic period, when form was considered pended his best thoughts and efforts. The concise and logical manner. The figured from the little pieces which the great a perplexing problem to many. One of agents as to the cheapest way of sending serve the atmosphere of the wonderful wonderful success of the Beginners’ Book, bass is employed and the conventional master wrote for his own children. In teacher to make a beginning and has the best methods by which to obtain suit¬ superior to content and hence it was con¬ provided a wealth of attractive and prac¬ these returns to us. A package of sheet “Green Timber” country, situated in the sidered unnecessary to use definite names is chiefly due to the care and the knowl¬ rules and definitions are given. It is a addition it has selections from some of able material is to present in a letter the music weighing less than four pounds can tical teaching works that are in universal valley of the St. Croix River, the source for pieces, has now returned to the pre¬ edge expended in its preparation. The ood book for any student to take up who the early works of Mozart and from the qualifications or limitations of the stud¬ be sent at eight cents a pound from any use. A highly specialized and well or¬ of inspiration that prompted the penning classic style of giving everything a name same may be said of the Students’ Book, as acquired a good foundation and mas¬ older writers such as Kirnberger, Cou¬ ent body to sing the chorus numbers, point, and if it weighs more than four of this group of songs. Vol, II of the series. Next comes the tered the elementary stages. This book perin, Scarlatti, Corelli, Handel and ganized mail order system delivers the giving ages and sexes, and send the or a program. Schutt’s Carnaval Mignon. pounds, it would be advisable to follow The text from the author is musical, Players’ Book, Vol. Ill now well ad¬ has been well and favorably known foi others. In searching the works of the Presser publications promptly and eco¬ letter on to the Theodore Presser Com¬ the direction as suggested above. is definitely pictorial, illustrating musi¬ nomically; also includes liberal “return, poetic- and singable and the placement of cally the famous characters of the good vanced in preparation and full of good a number of years but we are now pub¬ old masters one lights from time to time pany with a request in it for a selection Just a word in closing, and that is to if unused” privileges. All the conven¬ proper vowels for correct tone produc¬ „ old-fashioned pantomime. This music is things for those students who have mas¬ lishing a new and revised edition. The upon some gem of melody which is at of material from which a choice can be send in early your order for next season’s iences and accommodations of this house tion is most admirable. The subtle rhyth¬ in the best style of the modern master, tered the two preceding volumes. In this author has had great success with it in the same time easy to play. The litera¬ made. Not only chorus numbers but solo On Sale Music. Let us fill it for you at are constantly at the service of music mic intricacies are expressed clearly in definitely melodious and exquisitely har¬ book one not only gets many good things his own classes and the book itself is the ture of the pianoforte has been ransacked numbers for piano or voice can be se¬ our leisure and we can promise you re¬ teachers. That it is easy to get ac¬ a masterly manner. All these qualifica¬ monized. Technically these pieces will to play but new features and new and result of many years of teaching experi¬ in order to pick out all these and man;' cured in the same manner for examina¬ sults that will prove most helpful and sat¬ quainted and to start business relations tions have come into play to create afford splendid practice in modern pas¬ important departments of technic are ence. The book is well arranged for of them have been assembled in this little tion. Piano ensemble numbers are very isfactory. We will forward this material with the Presser Company may be demon¬ “G.cen limber Songs” in such perfection sage work. They may also be used as introduced. ready reference upon any of the subjects book. It lies largely in the second grade acceptable on a commencement program on or about any date you specify so that strated by a trial order. If you are teach¬ that the delight of the singer and accom¬ studies in style and interpretation. The special introductory price in ad¬ connected with the study of harmony. and does not advance beyond grade three. and a selection of these is also available. it will be in your care in ample time to ing or planning to teach this summer, panist finds instant expression to the The special introductory price in ad¬ vance of publication is only 25 cents, The special introductory price in ad¬ The special introductory price in ad¬ A full-page advertisement in this issue start the new season’s work with a fre'h postpaid. , vance of publication is 60 cents, postpaid. vance of publication is 35 cents, postpaid. write, us._ gives a selected list of various choruses, met exacting audience. vance of publication is 40 cents, postpaid. and complete stock of teaching material. Introductory price, 50 cents. THE ETUDE Page SOS MAY 1922 tiie etude MAY 1922 Page 359 Casse-Noisette Suite Statement Made in Compliance with Established (“Nutcracker”) for Piano Solo the Act of Congress of By Tschaikowsky, Op. 71 August 24,1912 Virgil Conservatory 31 Years Far Famed—Results Tell New York School of Music and Arts group of sounds and the result may I Teachers’ Course June 26th—Five weeks 3150.00 148-150 RIVERSIDE DRIVE Ralfe Leech Sterner, Director faswrs'tt ffsasSsr"' Open until August—Reopens September 25th, 1922 upon them the spirit of genius and the idessel Co., 1 Six Weeks Summer Courses for Teachers and Professionals ! Artistic, Reliable, Rapid Virgil Method ALSO BEGINNERS AND ADVANCED STUDENTS 5. ia r jtsxtizjl, **•< The Greatest of All Teaching Methods which differentiates it from that of all Geo. If, May 15th to September 1st Virgil “Tek” Full-sized Practice Instruments RATES $200, $250 and $300 (according to teacher for private lessons) which includes board and room, tuition, lectures, classes, concerts, teachers’ certificate, etc great pleasure Jo able )t«^ play ^ome sSSffiS'securities : \t• «| Two and Four Octave Portable Instruments CELEBRATED FACULTY INCLUDING V llfgll in Suit Case. Perfect touch. Graded weight Arthur Friedheim Ralfe Leech Sterner Frederick Riesberg Paul Stoeving Leila Yale \7* *1 Studies and pieces, grades I to VI Alexander Kremer Helen Carmichael Robertson Prof. George W. Andrews Harold Morris V llgll Unequalled for teaching and recitals Vter Frand Howard Warner Eugene Salvatore and many others. \»1 Child’s pedal satisfactory and durable. V lrgli Catalogs. Inquiries solicited MEHLIN PIANO USED VIRGIL CONSERVATORY 120 W. 72nd St., New York PAUL STOEVING Ma‘t"£“l”hieaiLolinand on the Principles of the Franco-Belgian School of Violin Playing Ithaca Conservatory of Music Superior faculty, including Herbert .__ and Sampax, Paul Stoeving and fifty other prominent teachers. Splendid equipment of ten buildings, including four dormi¬ tories, auditorium, gymnasium, sorority, and fraternity build¬ Author of “The Story of the Violin," “The Mastery of ings, etc. All courses approved by the New York State Affiliated Board of Regents. Six Affiliated Schools Announcement to Teachers - Schools Four Graduate Courses—Teachers, Dramatic. Lyeeumf and Personal Cul- r.~, *i' --- th private and class instruct! a H. Richards. Dean. I MATTIE D. WILLIS—Annual Summer Normal Classes SnM1 ). Methods of Conducting, Dunning System of Improved Music Study for Beginners ..mu jusuuimMus, i leseumuon of School Operas, Cantata ■guaand Lyceum Art. School,D,, Edward Amherst Ott. Dean. - This successful teaching system has enabled many -ograin building, company rehrareals'Yyceum'crittcism'ciSi NEW YORK CITY teachers to enlarge their incomes. Write for information. Military Band School, Patrick Conway. Dean. Daily band i playing knowle JUNE 26—AUG. 14 MATTIE D. WILLIS, 915 Carnegie Hall, New York, N. Y.
AMERICAN INSTITUTE OF APPLIED MUSIC Metropolitan College of Music Thirty-sixth year Kate S. Chittenden, Dean WHY are both the MUSICAL , Courses in New York FACULTY OF and FINANCIAL RESULTS a for Pianists Accompanists and Teachers SUMMER \ SPECIALISTS MARVELOUS REVELATION to Sight-Touch-Hearing System. Send for Booklet. SESSION \ both parents and pupils who use JTT Mr. Granbei berry will direct the University of Opens June 19th \ ajj jt Georgia SurSummer School ofMusic,Athens, Ga„ jg?£5fS.!5ta eas-MW Ul J une 26th, t August 5th. Students can arrange \ branches THE DUNNING SYSTEM OF IMPROVED to continue throughout MUSIC STUDY FOR BEGINNERS,Inc.? the entire Summer Special Courses forTeachers\ Lawrence Conservatory of Music Any Dunning Teacher will tell you. Institute .f Musical Art For Catalogue and Circulars address OF THE CITY OF NEW YORK J. LAWRENCE ERB (A department of Lawrence College) Frank Damrosch, Director Managing Director Offers complete courses in Piano, There arc specially prepared DUNNING 212 W. 59th St , New York City An endowed school of music conducted Violin, ’Cello, Organ, Voice, Theory, NORMAL TEACHERS in many cities solely in the interest of higher musical Composition, Appreciation, Expres¬ throughout the country. education and providing complete and sion, and Art, Superior Public School comprehensive courses. Crane Normal Institute of Music Music Course, Normal Courses for SPECIAL PREPARATORY CENTRES in different Training School for Supervisors of Music Names and addresses will appear in next parts of New York City and Brooklyn for chddren BOTH SEXES Fiano and Voice teachers. Voice culture, sight-singing, ear-training, harmony, A distinguished faculty of 20 artists. For catalogues address FOR CATALOG GIVING DETAILED INFORMATION ADDRESS Secretary, 120 CLAREMONT AVE., Cart J. Waterman, Dean Appleton, Wis. NEW YORK CITY 53 MAIN ST., y POTSDAM, NEW YORK Magazine,ClubbeClubbed at Attractive Prices unit-. Kven » few ducts have been added Halll.crq. \\ ho< I, 1 St. Annum.-New It you wiU take our ETUDE. Minneapolis School of Music, $3.25 Have you ever wished that you could find a Normal Teacher Valparaiso University You Sate Z5c who was teaching the same grades and meeting the same ETUDE. $3.25 problems that you are confronted with daily in the class-room? School of Music uiRtxr.nr. and correction of ETUDE.. Modern Priscilla. (Accredited) $2.25 If so you will be interested to know that SKArs.'ffi.n.vv.. McCalls . ETUDE. ALL BRANCHES OF MUSIC AND DRAMATIC ART VALPARAISO, INDIANA $3.50 Mrs. Blanche Dingley-Mathews LEARN TO COMPOSE MI SIC. Acorn’s- KTl DK.’ $2.25 " Christian Herald. You Sa.e 50c_ When You Change i:?;® v^i„s:;rionsi";^i,;::i:! .. You Save 75c $3.75 is giving her justly celebrated Piano Course for Teachers in $2.50 M.oi.-n, i1 • ■ ix• • i11;i ; Your Address 5Si:..HS”5 ..*** .••. You S.« JI « Boston Mass., from June 27th to July 15th. You Save $1.50 Private Teachers When vou change your address always ETUDE. . . . . $4.25 he sure to give both your old address and A carefully tested and inspiring $2.65 needs. Schedules of technic and $5.00 presented in daily class sessions. ETUDE. $2.75 You Sa.e $100 For further parti Peoples Homo Journal. You Save SOo MRS. DINGLEY-MATHEWS Room 15 Steinert Building THE ETUDE Page 360 MAY 1922 (COLUMBIA SUMMER SCHOOL OF'0 MASTER COURSES -June 26 to July 30 JOSEF LHEVINNE 5MUSIC World-famous Pianist—Private Lessons, Repertory Classes, CLARE OSBORNE REED, Director Teachers’ Classes, Auditor Classes Summer Normal Course WILLIAM S^SADY One of America’s Foremost Masters of the Voice—Private AT CHICAGO Lessons, Repertory and Teachers’ Classes GEORGE H.GARTLAN Piano, Theory, Voice, Violin Director of Public School Music, New York City—Eminent Educator and Writer—will direct Post-Graduate Courses for Normal Training Supervisors—July 17 to August 5 JACQUES GORDON Distinguished Violinist — Concert Master of Chicago Public School Music Methods Symphony Orchestra Resident Faculty of 60 Eminent WILHELM MIDDELSCHULTE Musicians Recitals and Lectures Greatest of American Organists NORMAL TRAINING Summer Normal Session For teachers and those preparing to teach of six weeks, June 26th to August Sth, 1922 Full Course—Ten Weeks—May 15 to July 22—$115 to $145 Lecture Courses by eminent educators Short Course—Five Weeks—June 19 to July 22—$90 to $105 Recitals by members of the faculty and artist pupils
Full Course Short Course Special Course in Public School Music Designed for Post Graduates and also regular course 10 Private Piano lessons 5 Private Piano lessons 5 Class lessons, Interpretation 5 Class lessons, Interpretation 10 Class lessons, Technical Prin¬ 10 Class lessons, Technical Prin¬ Unsurpassed Faculty of ciples ciples 5 Class lessons, Keyboard Har¬ S Class lessons, Keyboard Har- Ninety-five Artist-Instructors mony Among those in residence for the summer session will be the following: 10 Private lessons, Keyboard 5 Private lessons, Keyboard Harmony Harmony PIANO—Heniot Levy, Silvio Scionti, Victor Garwood, 5 Class lessons, Teaching Ma¬ 5 Class lessons, Teaching Ma¬ Kurt Wanieck, Eari Blair terial terial VOICE—Karleton Hackett, Ragna Linne, E. Warren, 10 Private lessons, Child Train¬ 5 Private lessons, Child Train- K. Howe, Charles La Berge ing ORGAN—Wilhelm Middelschulte, Frank Van Dusen 10 Lectures, History of Music 10 Lectures, History of Music PUBLIC SCHOOL MUSIC-O. E. Robinson 10 Demonstration Classes, Child¬ 5 Demonstration Classes, Child¬ ren’s Work ren’s Work VIOLIN—Herbert Butler, Ramon Girvin, Hans Muenzer MUSICAL THEORY COMPOSITION-Arthur O. Andersen, John Palmer VIOLONCELLO—Robert Ambrosius PUBLIC SCHOOL MUSIC METHODS ORCHESTRAL INSTRUMENTS- Supervisors’ Course—Five Weeks Members Chicago Symphony Orchestra SCHOOL OF ACTING AND EXPRESSION - June 26 to July 29 Letitia Kempster Barnum, A. Louise Suess Complete Course—$50.00 And Many Others 5 hours a day—5 days a week—5 weeks Free Scholarships Methods Child Voice Chorus Conducting Awarded by Josef Lhevinne, William S. Brady, by competitive examination Community Singing Choral Conducting Rote Song Moderate Tuition Rates, Excellent Dormitory Accommodations Sight Reading History of Music Lectures and Recitals Ear Training Orchestra Conduct¬ Certificate for three Summer Prospectus mailed on request Harmony ing Summers’ work FOR DETAILED INFORMATION ADDRESS INTERPRETATION CLASS FOR PROFESSIONAL MUSICIANS Conducted by Walter Spry AMERICAN This Class is included in the Summer Normal Training Summer School Circular Mailed on Request—Address COLUMBIA SCHOOL OF MUSIC CONSERVATORY KIMBALL HALL, CHICAGO, ILL. Dept. 460 509 South Wabash Avenue Chicago JOHN J. HATTSTAEDT, President
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