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July 1894) Theodore Presser Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1894 Volume 12, Number 07 (July 1894) Theodore Presser Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Presser, Theodore. "Volume 12, Number 07 (July 1894)." , (1894). https://digitalcommons.gardner-webb.edu/etude/384 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. —' ,i. ' V / - , • v ''': -. ' ■• -, v . ,r ■ \ —r-i- • ^ ' ■ . * -'••• ‘ ” )'•■ . 7 ■ - ' ' • . -M ■. ,■ , < FOR ANYTHIN6 IN SHEET MUSIC, MUSIC BOOKS, OR MUSICAl 148 THE iillil “TOP TO THE PUBLISHER OF cninc» MDSIOAL NOTES.. one which is nnder the control of the mind ; the good veyed in such a way as to inspire contempt or hatred for eye is one whic^is under the control of the soul.' The It. One may read a Chopin prelude in such a manner \ BY. E. E. AYRES. ear may be trained to attention. Ev^ry teacher of ex: as to make it absurd. All unintelligent p&yifcg dn'.is perienee knows that many'aman who Beeme to have a thesujceptibilitiesof-those who hear it. All playing that : ’ 'defective ear may developtgreatimHBicjTtaIent and P dooa'not interpret is a —. —.r a—• One of the most, sensible an*1, useful pQonographB of .wonderful ear for music, simply becaase tbe process of who I : ‘‘ *r r . ^ .recent years is a boob pubiiBhed. by 8. S. Gurjry,'of- •bringing the.ear under the1domination of the'aotil wnay. music. , . ,__, _ Harvard College,, entitled, 4 * The- Province of Ex7 be sapceBsful. Thie iwtjhe first struggle of the1loaelrer4if.,:;that eo many feel regarding this music: . : It is1 not ipter-^ r ' pression.” '-This .work shall* supply^ uV with sorqe •music, to teach hie pupil fiSw to listen. .The-attention.' pretation, it is only a bare pMBenlation of musical facts.. t£oughtp for these paragraphs. ‘ \Vbil6- the Jjook is of the jar to the movements of the soul iy what qbnstii Schlegel aptly teaches nn-that man can give nothing to' ■ vwritjteh especially.'fof s^kers,' nevehtfibless, it deals tutes musical talent. , '• . his fellow1 men but himself. : with many art principles that relate directly td questions ««v* * * * - ',*?'•.• -7 ..-T,’. • - *- of general art-interpretation and apply quite as forcibly to the ttrtfbf playing or rfiaging-as to that of speaking. Ev?if corrtcl technique dipenda^upon re-seeing, T. T’TiLJU ^ •* j*,.*. ''7 - - Efaw.ia it possible lo remedy the faults of.e^pression Indeed, this is almostUhe" only work on elocution which technique which is. based upofinaechanical processes this writer has thoroughly endorsed from beginning to alone is incomplete and unsatisfactory. The higbest iriterpretation. It se em Bun qu eBtiqpabjy trnedhak.^ a-.i.-r:_.* .,_i , t , . .. , /the very first step ahouldrbe the proper assimilation qC . end. It^ases all art on vjtal principles. Sopie of these technique is simply thatJ-which brings into action the. .. f ’ . c. ’"^.principles will be.enunciated inktheBe paragraphs. For 'personality.VassonnDw ItTfc isio the. revelationt„a:_ of..r the.1. ‘Vitalxi,_r power of rth„.„^ fa ?' u of mQ81c. , >. ,* The printed page affords ns the example, he quotes fWith" BuE?fe. saying thkt ...truth in Jthe aftist's soul.' The performer is not merely ' BaraMt «“d7. carefo app .cation, mental and 44 Style is the man himself l^.oTpaauy of our pianists endeavoring to exprhee the feeling of the compoeer, ho «‘db‘?^.^'^lat.onof thee^f^ts and think-tihat style, is ^itn^ly an^a^jsnct, that expression is- ■Is.oxpreesing hiniself as influenced by that feeling. The 7 ° ° AJiorrect interpretation oftthem. 8imply an aggregation of nuances', tjhatul is aomethipg _u emotion of Peethoveq cannot be interpreted in exactly • w® n9 0 ea. a. ^00. P ftyef (one who has iparvelous polish jand skill) and a good composition (by ^lidded to'the man hiituBelf, whereas, tb&jxue idea;of ex*' .the same way by-any two artists. E^ch man must seel, a master pf- the'a^t divine), and yet feel that the two kdo : preBsion is tKat it is the revelatipn of one's inner life. advantages 'which he himBelf feels, submitting himself not copie”fogether, that they are hot one? Thih Is a The player is Bimply an'interpreter;; hia relation td . upt'eservedly to the composer’s .touch. ‘/We sometimes VOL. XII. fatal defect.; There. \gj)'o bu oh'thing as/impersbnal art. ^ PHILADELPHIA, PA., JULY, 1894. music is not that of the comp^fle^-.* The*composer is in hear it said that there are two classes of ai^iata, that one NO. 7. a sense a creative ge*pfu8,'. while the player simply repro expresses the composer and the other.expressea himBelf. The time was-when men claimed*^that' Beethoven’s art "Til . daces and reveals.- The,composer is one-who straggles The latter is .the tnie artist, while,the former is only an was objective, that he simply merged all his personality l> 'j THE ETUDE. oS01"’?11 Ha'viog thbr- to gain^poBBesBidnpf his realm and to convey some idea . artisan. The latter gives us^soul, while the former only into the world about him, that he denied all personat of ifiat posseBsion, while the player is.one who endeavors conveys sense. * '« expression, thaf^ie had no selfish interest in any of his »• PHILADELPHIA, PA„ JULY, 1894. th“ “ re90rt Ca< "**•’ l^^o'r^d^u^c^ientlj^it^wffD^d^eem^harhe^' ' IH! American Symphony Orchestra, of New York Btudled it as one would stud, a poem, committing it to . to enter this domain pnd to make, manifest the new life art work. But this* theory of art will no longer hold, ^ LUJ, will give a series of subscription concerts next mu"10ry hue byline, and stanza by stanza. Pursuing which comes to hims&lf through his new principle. ' ‘ * good. Ev'ery.great composer expr^ses himself. In hia season. This is an organization of American born 8“c‘‘ i» system would relieve him of-constant repetitions Polished technique \»eminently desirable, b.ut’it is not 8^°°my mooda hig composition is gloomy, in bis weird *j A Monthly Publication for the Teacher* and Student* of players of orchestral instruments. wlti instrument in baud. In factybe would so impress necessarily artistic. * Wherpvpr' the polish hideB the ^ours he gives expression to'the weird, in the solemn • * Mu*icX t upon bis memory every note of a composition, its momenta of his life'he^writes'solemnly. He gives to the. Subscription Kates H.5 roasioN. dynamic marks, articulation, etc., that when be came to person it ceaBea to be art, Curry says,'“The trouble 0 per year (payable la Advance), There is a vask difference between study and delivery Single <Jopy,i4«. .. ..15 centB. gnve the work visible expression, it rem&ioed only tO' with bad delivery-mine-tenljs of the time is a failure to world his experience and nothing Tnore. IJow much * thr«RDr '* e'Eht7’ and AmbrCTi3e Thoir.itt. is eighty- apply the physical machinery Ee could' so well control, in the ordinary mind. Sor^i think that wjrile-the study DISCOBTrimUAWCE.—If you wish the Jonrtaal use the faculties of the mind, or a miBUBe. of them-‘during more glorious that experience may be than the experi- J to its demonstration, Af the proper moment every note ’ of a compositioq is merely a mental process, the jnter- stopped, an explicit notice mast be sent us by- thet.IlA acttAPf. ofr\C -speaking.”'** ' Education,isTJy^iino'fJ/vrv Jh’ too♦A.s much a- matter_ ..._ ence of common mortals one may jadge by entering into Fit.STzrv, by Verdi, was'recently given in London, appeared-in its place with fitting polish,, finish, and ex¬ 'pretation of it, or the delivery of it iB siiffply. physical. letter, otherwise,it will be continued. AH arrear- it was favorably received. these great art works with some degree'of appreciation; nges mnat be paid. pression, although thg artist may not previously have of instruction) of adding po a man, of merely giving facts* traced the intricacy of their combinations upon his Let us meet this error .squarely by saying that the * All modern reforms have tended to change this and to nevert.helesB, it.must not be supposed for a,m^ment that 4 instrument. RENEWAL.—No receipt is sent for renewals. On ^‘‘fundamental action in expression is meIital.,, The the life can be separated from the work. the wrapper of the next issue sent yon will be make education what it really should be, a drawing out study, not uncommon amongst true orator is not one whose study has been confined to printed the date to which yon'r subscription is paid p-— -,—xo presupposes a thorough mastery of of the powers hnd faculties of the soul. Education in -/Ihis preparation and who is simply engaging in & physical *np, Which serves as arepeiptforyoursnbscription. lymn has been found by excavators. • instrumental technique! and the power to read music in ‘ music must accept the'same conditions. A man must exercise while he speaks. The orator is oner who, having alipreapect8 aB otf^.would rea;l a book.
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