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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
7-1-1896 Volume 14, Number 07 (July 1896) Theodore Presser
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WITH WHICH IS INCORPORATED 'MUSICAL WORLD
ik vouUme xiv. NUMBER 7.
For 8ummer Reading.
Musical Items ■■ i 4 4 C0LUB1 OF MUSIC. Letters to Pupils. J.S. VanCleve.,. Thoughts for the Thoughtful, III. Description of Last Island. E. B. Perry. 1§ and 2i B. Sfepeefe, (,'lara Schumann. Commendable List of Music. New Publications.. Outside Helps to Young Musicians. Mrs. Hermann MUSICAL AND OTHERWISE. NEW YORK CITY. Kolzschmar. The Letter of the Law. Harvey Lewis Wickham, L. Mus., L. C. M.. Being the Recollections of the Vacation Why Some Pupils Hate Music. E. M. Trevenen The Voice Department, headed by H. W. Greene, JDaicson.. Tours of a Musician in various Countries. supported by Dudley Buck in Interpretation, by John Golden Buies for Vocal Teachers. How to Hold Pupils. Robert Braine. BY LOUIS C. ELSON. C. Griggs, Frank H. Potter, and others, offers, without Music as a School Factor. Wm, Benbow. question, the best advantages for vocal study to be found in America. Illustrated. Bound in Cloth and Gilt. The Pianoforte Department, under the active direc¬ tion of Albert Ross Parsons, offers the broadest training Mr. Elson, who is widely known for his original re¬ both in Technique and in Interpretation. A part of this searches in musical history, has in this volume set down, work, comprised ib the Synthetic Department of Nor¬ in connected form, some of the observations and ex- mal Training, under Miss Kate 8. Chittenden, makes periences of a Dumber of European trips taken in the An Anecdote. pursuit of his investigations. . possible to prospective teachers the great advantages of Mr. Elson is one of the fortunate few in whom the the Synthetic Method of Piano Teaching, as originated musical and literary gifts are combined,—always genial by Mr. Parsons and established through Miss Chitten¬ and witty, with a keen relish for the humorous aspect of den’s editorship of the Synthetic publications. things, finding food for mirth even in the distant parts of out of the-way regions where a traveler is a rarity. „ Department of Theory and Composition, Harry Rowe Questions and Answers. But he is before hll else a musician, and his book is j 8helley, Principal. Edmund Neupert. filled with keen musician-like observations on every Department of Organ, R. Huntington Woodman, Publisher’s Notes. phase of the art. . _ Principal. Instruction in this department given by Mr. Testimonials. The work is not exclusively musical. It is Europe seen through the eyes of a musician. The following are Buck and Mr. Shelley also. some of the topics spoken of in the work The Department of Violin, under Clifford Schmidt, MUSIC
the eminent concert master of the Seidl Orchestra, in PRICE IN SHEET FORM. Sketch of the Leipsic Conservatory. Interview with Jadassohn. conjunction with the Pianoforte Department, secures to Vienna March. Schrnmmel. .SO.40 An Evening with Reinecke. the College the important advantage of the study of Valse Caprice. E. Neupert... Gavotte Humoresque. E. S A German “ Kneipe.” chamber music and general ensemble practice. Gipsy Song. L. Echehlmann. Gade and the Danish State Conservatory. A special feature is the Residence Department for Secret Wishes. 1 An Interview with Svendsep. Wait on the Lord. Goerdeler. Summer Music in the Far North. ladies, where a limited number of pupils from a dis¬ Two chapters on Bayreuth ; one on Vienna which tance are accommodated with board and every facility tells all about the Gypsy-Hungarian Music. for practice and study. % Zither Music in the Alps. An Interview with Massenet. DUDLEY BUCK, President. The Grand Onera at Paris. Music on the Grand Canal at Venice. A. R. PARSONS, ViCE-PREsiDEirr. A description of the musical advantages and dis¬ advantages of the different European capitals. H. R. SHELLEY, " ond Vice-President. H. W. GREENE, Principal Voice Dep’t. Subscription $1.50 per Year. For the month of July we will send this M. E. PALMER, Treasurer. fine edition for 75 cents cash, postpaid. The JOHN CORNELIUS GRIGGS, Secreta*t. former edition of this work sold for $3.50. PUBLISHED BY
REGULAR COURSE, $20<" PER YEAR. THEO, PRESSES, Published by THEO. PRESSER, 1708 Chestnut Street, Philadelphia, Pa. BEND FOE CATALOtiUE. 1708 OHESTNUT ST., PHILADELPHIA, PA. THE ETUDE. THE ETUDE 145 LATEST PUBLICATIONS. THEODORE DRESSER.. 1708 CHESTNUT ST., PHILADELPHIA, TLA. E AT THE L Chautauqua ♦♦♦ XV. Beginning August 3, and continuing five weeks, GRADE I-X. ORDER BY ORDER BY ♦♦♦School of Music ORDER BY PRICE NUMBER ONLY. PRICK PRICE NUMBER^ umomv ONLY.v*. a.j * . NUMBER ONLY. for the special accommodation of teachers and others who wish to learn the July ii to Aug. 21. 1812. Michiels, Gustave. Russian Dance. 1827. Van Gael, H. Op. 1. The Little 1802. Giese, Th. Op. 149, No. 6. Playing 30 Shepherd. Grade II. 30 Dr. H. R. PALflER, Dean 30 Grade III.. Virgil Method during vacation time. Soldier. Grade II. Here is a little geure picture, very simple in This is a bright and easy composition, in which a Russia has passed into the forefront of musical design ami ol' distinct meaning. After a short intro¬ melody that suggests the innocent pleasure of martial interests within the last ten years. VVe have come to duction of a plantive character in G-minor, a merry recognize a distinct Russian school, the prevailing Piano: WM. H. SHERWOOD parade is the principal subject matter. There are little time sets in (G-major) and the rustic reed is FULL CORPS OF TEACHERS. TEST RECITALS FREE. xuauv figures wnicb imitate the trumpet. traits of which are the profoundly melancholy senti¬ plainly imitated. The composition is quite easy ment prevailing much of the time, and a strong, ani¬ Violin: BERNHARD LISTEMANN A triplet on A, followed by a long note and a short and extremely pretty. arpeggio ascending the D-major chord, are prominent mated, almost fierce rhythmical life which is omni¬ Voice: J. H. HARRY WHEELER among these. It is in the key of D-major, the best ot present. In this little piece we have these character¬ 1828. Engelmann, H. Op. 120. ’Neath The entire Course will include 35 Lessons. Price $45.00. istics beautifully illustrated. It stands in the keys Organ : J. V. FLAGLER all keys for a march. Twinkling Stars. Nocturne. Grade of A-minor, C-major, and A-major. I here is much 15 Class Lessons in piano technic. 1803. Guilmant, A. Op. 48, No. 4. Petite syncopated rhythm in the A-minor melody and a III . 40 10 Lecture Lessons in. time keeping, sight reading, ear $ Courses in Harmony, Counterpoint, Marche. Grade II. 20 frisky, frolicsome air about the C-major melody, while This is a lovely composition in the true nocturne 10 Private Lessons in piano technic (each three quarters training, and theory of teaching. fjj etc. Teachers’ Classes. Opportuni¬ the consoling melody in A-major is extremely charm¬ form, the song being continuous, while the rolling This is a quaint and piquant little march in G- of an hour). st: ties to sing in Chorus of 500 voices. ing. It is not especially difficult. arpeggios of file aeeempaniment wind about over a All class lessons one hour long. major. It begins somewhat like the famous Welsh 4 Frequent Concerts by well-known good variety of interesting harmonies. Two features march, “The Men of Harlech.” There are many Hyde, D. W. Souvenir de Nether- of this harmony are conspicuous, both being touches -For further particulars address •g artists — Marie Decca, Sherwood, staccato chords, which impart a pretty effect of brisk¬ 1813. of the modern style. They are, first, the use of the ;ii Listemann, et al. ness, and will serve well to practice the bauds in wood. Grade IV. 50 augmented triad; second, the connection ot major rising promptly from the wrist. In the key of A-flat and its closely related keys we triads at the distance of a major third, such as G to MRS. .A. K. VIRGIL, Director, Chautauqua is a charming summer have here a simple and agreeable waltz, with a good -tjc resort; unique in its conception. E-flat, € to A-flat. Itwill afford also a good study ior Old variety of figures. VIRGIL PIANO SCHOOL, 26 AND 29 WEST 15TH STREET, NEW YORK CITY. 1804. Waddington, E. Op. 21. The pedaling. ;]; ** Not a dull day all summer.” Guard March. Gnule III. 50 Address W. A. Duncan, Sec., Syracuse, N. Y. 1814. Lee, Maurice. Gavotte du Palais 1829. Fondey, Ohas. F. Girard Gavotte. This is an easy little march, hovering bet ween the Royal. Grade III. 40 x*X*******tt.*fc%X*XX*X***$ keys of A-minor, C-major, and A-major. It is well Six Hands. Grade III. v PHILADELPHIA’S LEADING COLLEGE OF MUSIC, * v This is a bright and pleasing little gavotte of no calculated to please young students and is quite easy. This piece is most excellent for pupils’ concerts, ft especial difficulty, standing in the familiar keys of O is of the Sousa March style; very catchy and brilliant. 1805. Concone, J. Op. 31, No. 3. Con¬ and F. It will be of service in acquiring a notion of 20 the gavotte form, and in giving a study* of sprightly 1830. Kontski, Chevalier de. Persian templation. Grade IV. ornaments. In the key of B-flat-major we here have one of those March. Eight Hands, Two Pianos. enchantinglv dreamy compositions which are char¬ 1815. Reinhold, Hugo. Op. 27, No. 8. Grade IV. 20 acteristic of Concone. There is a flowing melody Idylle. Grade III... Brilliant and effective in the extreme. Nothing BROAD ST. CONSERVATORY OF MUSIC decorated with rippling arpeggios, and it is an excel¬ An idylle means a short poem dealing with country could he more suitable for exhibition purposes. The lent piece with which to practice the singing style, life and with its gentle scenes and pleasures. Young march itself is stately and full of the strongest mill- assisted by the pedal. love is usually the emotional substratum of sucli tary rhythm. 1331 SOUTH BROAD STREET. poems and such music, even when the imagery of the 1806. Concone, J. Op. 44, No. 11. May 1831. Guilmant, Alex. Lullaby. Grade II 20 20 shepherd with bis sheep, bis pipe, his sweetheart are Breezes. Grade III. not directly or definitely imitated. In this piece there This is a composition of the tiniest form, short and Under this pretty, fanciful title Concone has con¬ is first a graceful melody for the right hand, in B-flat, extremely easy. It is in the mild key of E-major REOPENS AUGUST 31st. structed a piece of genuiue piano music. It is, to all contrasted with a sad melody in G-minor for the left which Schumann loved so well. The melody is dainty. intents and purposes, a study for the right hand in hand. Complete and thorough in every department. All branches taught by a Faculty of Forty Artist. playing triplets of sixteenths in short downward 1832. Ganscbals, Carl. Op. 20. Evening Teachers, including G. E. Combs, Dr. Hugh A. Clarke, John F. Rhodes, Joseph C. Cousans John arpeggios, while the initial notes are retained as 1816. Eyer, Frank L. Op. lO. In Gypsy Calm. Grade III. 35 W. Pommer, Jr., Stanley Addicks, Adam Jakob, Jos. E. Kearney, Preston W. Orem, Mus Bac eighths, forming a melody. It has a bright, laughiug Land. Grade II. 40 * —re) , character and is sure to please. A light composition in E-flat and A-flat, consisting and others. ' ’ That wild, romantic gypsy life, which so caught the for the most part of short arpeggio chords broken ©SEiyjq, TTfrmip 1807. Concone, J. Op. 44, No. lO. Hymn fancy of Schubert, Schumann, and Liszt, has here downward, and suggesting by their sweet thirds and Terms, $5 to $40, including free instruction in Solfeggio, Harmony, Symphony, Orchestra and been exquisitely reflected in a little composition sixths the tinkle and warble of birds going to rest. to the Eternal. 30 standing in A-minor and A-major. The fitful, With a Large Faculty of Superior Instructors, and 25W)epupilsClaSSe8‘ WitL inCreased facilities the Conservatory affords accommodations for over This is a fine and noble composition in the key of abrupt, changes from sadness to gayety, from gloom 1833. Lack, Theodore. A Lesson at the a splendid building for its exclusive use, the Oberlin G. It has several features of interest. Among these to gladness, from anger to coquetry, which we find in will be found, first, a series of noble, church-like all gypsy music are here expressed. The firm chords Piano. Grade III. 30 VIRGIL PRACTICE CLAVIER METHOD A SPECIALTY. Conservatory offers unusual advantages for the Study of harmonies, rolled up in broad ground-swells of arpeg- which open the A-major section are especially beauti¬ Here we have a short and moderately easy humor¬ Music. 699 students last year. Total expense for one fio from the deep bass to a flood of sonorous breadth. ful. esque, a clever little musical joke. It. is a piece of year’s study (36 weeks) need not exceed {800. programme music drawn on a tiny scale. It consists GILBERT IFt. COMBS, This is repeatedly echoed in light, thin harmony an Send for Illustrated Catalogue. Terms begin 8ept. 19, Jan. 8, and April 4. octave higher.) Second, the same harmony treated 1817. Kavanagh, I. Op. 25. The Belle of of a series of quotations from well-known classic ^Director. with a counterpoint of octave eighths in the bass. Newport. Grade IV.. 75 masters of the piano literature. Pussek, Cramer, If you are intending to stndy Music in any of its Third, there is a little figure of three notes which Clementi, Beethoven, aud Mozart are cited. The branches, send for catalogue to per.vades the composition and gives an expression of The set of waltzes brought into the rank of an art. quotation from Beethoven is a transposed phrase from restless human feeling to the whole. form by the Strausses here finds a good illustration. the first Allegro of the Sonata Pathet ique. That from F. B. RICH, Director, There *is a fine introduction, containing several Mozart is a bitout of the Turkish March in the 1808. Concone, J. Op. 31, No. 14. Invo¬ orchestral effects, such as unisons and passages of famous Sonata in A, usually numbered twelve. Then OBKRLIN, OHIO. double voices. The keys chosen for the various comes a phrase labeled, “The professor falls asleep,” cation. Grade IV. 30 numbers are of a good variety, and there are many and after this a brisk and jolly motive entitled, “ The This is a beautiful composition of about medium charming fancies scattered throughout the work. pupil perceives this.” difficulty. It is in the key of D-flat, and we are to C HUGH A. CLARKE, Mus. Doc., infer from the title that a religious character is 1818. Beethoven. Opus 26. Andante 1834. Micheuz, Geo. Op. 200. Doves at intended. Pt is, however, if religious at all, to be and Variations in A-flat, from the Play. Grade IV. 40 8S3 South 38th Street, classed with those somewhat showy aud theatrical 1616 North Seventeenth Street, Philadelphia. pieces of church music which are often heard from Twelfth Sonata (in A-flat). Grade This is a light composition in slow waltz movement. PHILADELPHIA. paid quartettes. The composition is, in effect, a noc¬ VII. 60 It has three melodies, one in F, one in D-minor, and turne. It is sweet and flowing, the opening theme is one in B-flat. There is an ornament consisting of a decorated with long, harp-like arpeggios, and there is Beethoven was extremely partial to the art form, triplet of sixteenths on C in alt, followed by C in al- a beautiful dialogue of alternate phrases between the theme and variations. tissimo, which will give practice in the exchange of In this predilection Brahms resembles him more MUSIC IN ALL BRANCHES LESSONS BY MAIL{ bass and soprano. fingers. This piece is well calculated as a recreation closely than any other composer. Beethoven’s vari¬ for young students. 1809. Beethoven. Minuet from Opus 31, ations are always evolutions of the inner musical on spirit of the theme. They are never superficial, are 1835. Devrient, F. Op. 27. Sylvia. Grade Instrumental and Vocal, Technical and Theoretical. No. 3. Grade V. ou never made for effect. This opening movement of IV . 40 MISS LILY REGINA CHURCH, Here, within easy technical limits, Beethoven has the Twelfth Sonata is the best known of all his works STUDENTS ADMITTED AT ANY TIME, UNDER A FACULTY OF SUPERIOR INSTRUCTORS. made for 11s a piece of music surpassingly beautiful. in this form. Chopin, who cad not care much for As the title indicates, Sylvia (a country girl), we are GRADUATE COLLEGE OF MUSIC OF It presents him in liis gentle and tender mood. There Beethoven’s music in general, included this sonata in to picture the naive, rustic life, with its simple inter¬ CINCINNATI, OHIO. are three sentences. The first is a melody all aglow his teaching repertoire. The theme is a double com¬ ests and tranquil pleasures. VIRGIL CLAVIER METHOD A SPECIALTY. THE SUCCESS ATTENDING THE with pure and quiet sentiment. The Italian opera pound sentence of thirty-four measures of the most First we have a loug series of sunny thirds and composer. Bellini, has made Norma reproach Pollio, ravishing beauty. It is a touchstone of the per¬ pure intervals in the scales of G and of D-major, ADOPTION OP THE ABOVE METHOD IN PIANO DEPARTMENT LEAVES Teacher of Pianoforte and her unfaithful husband, in a melody of ravishing former’s skill in the singing style, and an infallible but there is an episode in the remote key of E-flat of pathos which so closely resembles Ibis as to suggest a test of his musical perceptions. The five variations a more glowing, impassioned mood, evidently suggest¬ NO DOUBT AS TO ITS SUPERIORITY OVER ALL OTHERS. Theory Of Music. Parkersburg, w. va. possibly intentional quotation. which follow present at times glancing arpeggios, ing a love seene. The second period gives with a chord of the minor again, passionate, sledge-hammer chords, now sobs in Students desiring Dramatic as well as Vocal Culture can be thoroughly and system¬ ninth (B-flat to C-flat) that outcry of pain so frequent minor mood, and again ripples of gay laughter. This 1836. Stiehl, H. Polonaise Brillante, atically taught by our own vocal instructor, Mr. Karl Riese. in Beethoven. The third period is maulv and decis¬ movement is of considerable difficulty, though rank¬ Grade IV. 40 MISS CLARA B. HARRISON, ive. It has been used by Saint-Saffns as the text for a ing in Beethoven’s middle style. The power to follow This is a composition far above the average in Catalogues mailed upon application to superb and ingenious set of variations for two pianos. and enjoy compositions of this type, the classic vari¬ merit. Its leading sentence lies in the key of G-major, 4 IVIA1V IYGLE, Director. TEACHER OF PIANO ations of a theme, is indispensable to the character of but its episodes pass into a variety of keys, and are 1810. Beethoven. Minuet from Opus 49, a rounded musician. riehly harmonized. (1ASU30D. System, of Tecla.ia.lc), No. 2. Grade IV. The composer has caught the spirit of thepolouaise 3511819-1823. Guiliani, Alfred. The Gayeties. and invented many sprightly rhythms. 1018 O Street, N. W., . . WASHINGTON, D. C. A pupil at the end of the first year, or by the mid¬ Grade I.each 20 dle of the second, can find nothing more'charming than this celebrated minuet. The opening period This is a set of five daintv little pieces well adapted 1837. Kolling, C. Grade IV. 60 33XDW-A.RXD BAXTER PERSY, to develop in a young child the sense of rhythm and of eight measures expresses gentle contentment. The This piece belongs to the class of parlor compositions accent. Dance 'forms in double and triple measure first digression in D-major, the dominant key, presents that requires some fluency of fingers. It is brilliant CONOERT PIANI8T AND LEOTURER are employed, and the polka and polka mazurka are a series of scales and tone figures playing tag with and attractive. The author's name is a guarantee of Carl Barckhoff, each other in irrepressible fun. The second digress¬ especially attractive. its musical worth. Lecture Recitals at Schools and Musical Societies a Specialty. ion in C-major in the sub-dominant, key is brilliant and energetic, exceedingly Haydnesque. Technically, 1824. Goerdeler, R. On to Victory. 1838. Kolling, Carl. Op. 323. Cinder¬ Address: Care Mason & Hamlin, 146 Boylston St., Boston. the student will find many good examples of phras¬ March. Grade III. 40 Mr. Perry makes an annual Western tour from October 1st to the ing, some interesting scales, and some good practice ella (Aschenbrodel). Grade III. 60 holidays, and a Sotrthern trip in January and February. Engage¬ This is a bright, animated composition, abounding This is one of the most interesting parlor com¬ for light chords with wrist staccato. ments in the Eastern 8tates during the spring months. s in sweet intervals, such as thirds and sixths, of a positions by this interesting composer. The piece 1811. Beethoven. Opus 2, No. 1. Adagio, prevailingly triplet, rhythm aud with some bits of contains three different parts, flowing naturally one from the First Sonata in F-minor. octave work. It will make a good piece of recrea¬ into the other, making a complete whole. It contains roan Established 1888. Incorporated 1891. tion. good teaching qualities, and a "great variety of ex¬ Grade VI. 35 pression can be used in it. The first portion is in the EIGHTH YEAR OF THE In this movement there is a resemblance in the 1825. Spindler, F. Op. 249, No. 3. Tri- form of a song without words, the second contains melody, in the accompaniment, and in the decorations umph March. Grade II. 20 some neat left-hand work, and the third is in the form PHILADELPHIA SCHOOL OF MUSIC, to the style of the beloved Mozart, prinee of pure Here is a very short and easy piece in which we of a polonaise, thus giving a variety of style. instructi ve musicians. It. is quiet and contemplative find the sparkle of Spindler’s vivacious style. No. 1511 Girard Ave., Philadelphia, Pa. in mood. The composer seems to be turning over 1839. Kolling, C. Op. 325. Hunting MENDELSSOHN, PA. in his mind and brooding upon the idea of some 1826. Sarakowski, G. Hungarian Dance. lovely personality. From the teaching standpoint March (Jagd-Marscb). Grade IV... 65 Principal—Kate H. Chandler. this composition will promote the clinging pressure Grade IV. 40 This piece is of a stately march character and is an Directors—John K. Fanahawe, John E. Jones, S. Ward Chandler legato whereby cantabile is produced, and, in strong This is a little dance in the Hungarian -style, extremely bright and entertaining composition; it James M. Hall, Alfred W. Duxbury, Channing Ellery, K. H. Chandler’ contrast to .this, the nimble action of fingers in marked by the fitful, impulsive character of that contains some good arpeggio work, and, being brill¬ delivering roulades and turns with rhythmical ex¬ national music. It is a good study for rhythm and iant throughout., would make an excellent piece for SEND FOR CATALOGUE. ercise of threes against fours. for wrist work. recitals. 146 THE ETTJDE.
PUBLISHED BY THE ETUDE 147 PIANISTS' HAND CYMNASIUM. G. MHIRMER, NEW YORK Founded in 1853 by Dr. Eben TourjAe. IP YOU PLAY THE ORGAN RICHARD H. DANA, President. in church or at home, you ought not fail to secure either CARL FAELTEN, Director. one of the new [f ianos! ORGAN BOOKS Eugene Gruenberg. PUBLISHED BY J. FISCHER & BRO., HE VIOLINIST’S MANUAL. Pianos! A I rogressiye Classification of Technical Material, Etudes, Solo I»ieccs, and the Most Important AND Chamber-Music Works, as well as a Short Synopsis Were awarded FOUR HEDALS AND DIPLO= Direct from the Factory of the Literature of the Viola; The Leading Conservatory of America. MAS, also chosen for 32 STATE AND FO v- 7 Bible House, New York. COMPLETE IN ALL ITS DEPARTMENTS. EIGN BUILDINGS AT THE WORLD’S FAIR. TO WHICH IS ADDED TEACHERS’ TECHNICON. Twenty Medals and Diplomas were taken by Following collections can be used for CABINET, as well as for PIPE at Factory Prices! SEND OR CALL FOR ILLUSTRATED PROSPECTUS AND CALENDAR. makers of the raw materials used by me in con¬ ORGAN:— structing the Crowns. HINTS FOR THE VIOLINIST. Price $22.50. Liberal IHmcoiiiiI to TcacherN. The Crown is the only Piano which contains the FRANK W. HALE, General Manager, Wonderful Orchestral Attachment and Prac= BATTMANN’S GEMS FOR THE ORGAN. Franklin Square, Boston, Mass. tice Clavier, the greatest invention of the age and IN TWO VOLUMES. by the use of which you can imitate perfectly the Think of getting a First-Class, High- Flexible Cloth, 75 Cents. PRE-EMINENTLY THE SCIENTIFIC METHOD Harp, Zither, Banjo, Mandolin, Guitar, Revised by G. BURTON. Clavicord, Dulcimer, Spinet, Harpsichord, VOL. 1 CONTAINING 34 EASY, SPIRITED MARCHES. For Rapidly Gaining Perfect Technical Music Box, Autoharp, Bag Pipe. Etc. VOL. 2 CONTAINING 69 EASY AND PLEASING VOLUNTARIES. Grade Piano for THE CROWN IS THE ONLY PIANO WORTH * ANECDOTES •> Ability tor $1000.00 MORE THAN IT COSTS. The author of these new compilations, Battmann, is undoubtedly I The Illustrated Souvenir Catalogue, telling the whole well known to all who have in any way been interested in Organ or OF story, sent free. Ask for it. Choir work. The style of composition, although by no means severe MODISH PIANO PLAYING. GEO. P. BENT, Manufacturer, and heavy, is of a very pleasing character. 245=253 Washington Boul., CHICAGO, U. S. A. Price of each volume, bound in cloth, $1.50. pspsHi The madequate rM.it, from UekuieaI nrhw at t*. „„ w„„ mmi GREAT MUSICIANS. known to piano players, and form the great barrier to a pn.prr ail- ORGANIST’S FRIEND AND COMPANION. 175 vancement in piano playing. $ ! BY A Collection of Preludes, Poxtludca. Oirertoriea, Etc., tat give, the JVew Sacred Songs Science has discovered and can explain the reasons of auch uneco- Compiled by J. FISCHEB. nomical results, and now snppllss at a moderate cost a letter and more In two volumes. Price of each, bound in cloth, $2.00. sasssssyssixi SSrvtr®5 W. FRANCIS GATES. We have no agents or middlemen to divide with. A direct process for developing and perfecting technical dexterity of the DR. II. A.. CLARKE. hands. KERN’S ORGAN GEMS. dealer’s profits, store rents, agents’ salaries, commis¬ A unique valuable, and interesting collection of three sions, and expenses amount to from $160 to $200 on Preferred by many eminent pianists in teaching and for their iwr- CONSISTING OF EIGHTY-FOUR ORIGINAL PRELUDES AND POSTLUDES hundred well authenticated anecdotes of great Compeer,, sonal use. Hundreds of teachers testify that It la Inv.hmM.- to tl. m “They Know Not What They Do.” Key E [D to F FOR PIPE OR REED ORGAN. each piano sold. Why not save this money and get a and Singer,; related in an entertaining style, and selves and their pqpile. Com posed hy C. A. KERN. sharp] A beautiful sacred song for Mezzo-Sop. first-class, high-grade Upright Grand Piano for the same embodying much valuable musical information 6 3 As this new method ha. marked a moat Important reform in h-cb- Price 30 cts We can most cordially commend this new collection to all lovers of good and genuine organ music. It contains many valuable composi¬ money that a dealer must pay for it? It will pay you to meal teaching, all piano player, should become acquainted with Its Karl Courvoisier. “Nearer, My Rod, to Thee.” Key A [D to G]. Sop. tions, remarkable for thoroughly church like motives and contrapuntal 300 ANECDOTES, prmclples by reading a lecture delivered by Mr. Brotl.erho .1, or Mezzo. An effective setting of lhese words. work, not difficult and splendidly effective. The melodic and harmonic write to us for particulars, as we Bell all our Pianos at tauqua, N. T„ upon “S.N.tTivx I’uko Touch;" and » rec.-.u ,.Nly Price 40 cts. construction of all the pieces is most excellent, and we can safely con¬ first factory cost. We make any terms—from “ all cash ” ABOUT J sider it the most deserving work of this kind ever published. upon Tax Drvxi.or.sKT or Manual DxxrraiTT," abo hi. I.,-., “Brightest and Best.” Key D [C-sharp to G sharp], THE TECHNICS OF VIOLIN-PLATING Price, bound in flexible cloth, $2.00. to the easiest installment plans. Write to 325 PERSONS, essay on Sciintivio Gi.Nxwtca roa Pixno-Plxtixo " (now In Pr,.„) rvop. Brilliant and moderately difficult. Price sent free, on application to EDITED AND TRANSLATED BY IN 40 cts. “ Jesns, My One Prevailing Plea.” Key E flat [B-flat FISCHER’S PRACTICAL ORGANIST. HZ. E. J- Howard foote, KREHBIEL. 850 REFERENCES to C]. A fine alto solo, quiet and devotional. A collection of Preludes, Interludes, Postludes, etc. Adapted to the ON ABOUT ’ Price 30 cts. wants of young organists, and intended for the service of the church ftellmer piano Go., Sole Agent for the Brotherhood Teohnioona and private use. Embracing selections from the works of the best as maii>eiv la\i' The accompaniments of all are equally adapted for I M - . . SEW YORK, writers. Compiled by Joseph Fischer. Flexible Cloth, 75 Cents. 305 PAGES. either the organ or piano. Vol. I, $1.50. Vol. II, $2 00. Vol. Ill, $2.00. HAZLETON, PENN A. Any or all of them sent for your inspection by the publisher, A new and revised edition of this standard wnrlr • , FISCHER’S ALBUM FOR YOUNG ORGANISTS. he termed “ l’indispensable du violiniste ” may ngbtly Liszt, 23; Malibran, 7; Meyerbeer lO- P Bul°W’14i THEODORE PRESSER, THE analysis of the purely technical in viniin ni • ** contains a masterly Containing 100 Preludes, Interludes, and Postludes. the topics: Attitude^ of the body- Position»iuute,y of Patti, 6; Schubert, 14; Schumann 9 ; iLbffTv IP PHILADELPHIA, PA. “Young organists, especially those who are piano players, turned at short notice into organists, are very apt to think that they can extem¬ tho arm and h»nd-Position8 and functions of tL th ^^S110118 of 7,TWtPer’ 19: Jenny Lind' 9; Chopin, 6 ’ ’ ^ Davis Spring Back Chair. and action of the angers—Intonation— How toholrt th‘U[Ilb~JSsltion6 porize a voluntary, when they really cannot, in churchly and true organ of the bow on the .tringe-PreeervSion of itaml!bo"-p™ition style. Mb. Fischer has done a good work in putting forth this book tone-Divisions of the stroke-Grad/ direction-Eqnality of estin°g m^K^^askrfl? I as a help to young players. The selections are from the best writers for FOR PIANO PLAYERS. Technics of the wrist for changing the bowonIthe0«h?>~BOWi5B~ technicalities and dry^’ It s Ivyand” 'it™* the organ, good, and many of them easy. There is also a set of modu¬ Appendix containing a valuable list of the best mUh a 1 °,So~anti an The Rising Sun Piano lations from (C) into all the keys. Price 75 cents. We cordially It is dedicated to. and warmlv rernmo,i„V!2 ,M >'T0d“ and Studies recommend the little volume.’’— The Organiets’ Journal, September, 1891 The perfection in spring back chairs. It preserves iste." Joseph Joachim. The author a minYfnf V’ *S? *lnS of violin- the health, prevents round shoulders, and cures weak instructor ot wide experience and the^teecl .f JoachnnJ is a successful backs. One can practice twice as long and accomplish chure bear the stamp of sound K^™b?died in bis bro hamssomely bound. FOR PIPE ORGAN. three times as mnch with perfect comfort. of the subject. Tho wood.cutsPillustratingSpos”«om™atthkr°Wiede:0 Angers, etc., are excellent. 8 positions of the hand and full CLOTH. CLEAR TYPE. FINE PAPER In twelve styles, ranging in price from $5.85 to $13.50. PRICE SI.BO. FISCHER’S ALBUM OF MARCHES. Send for complete descriptive catalogue, and send all FOR PIPE ORGAN. orders to Compiled and Edited by E. J. BIEDERMANN, Organist of Si, Mary'a I Church, New York. THEO. PRESSER, PUBLISHED BY Aside of the several standard marches which appear in the contents, 1708 Chestnut Street, Philadelphia, Pa. this collection contains a number of compositions which have heretofore’ THEO. PHESSER never appeared in any previous publication. The arrangements are the STUDENTS’ TECHNICON. best. Price, bound in flexible cloth, $2.00. Unsurpassed for comfort for those who sit at their 1708 CHESTNUT STREET, PHILADELPHIA. work for any length of time. dr. th, baker. PRICE $12. SIX FESTIVAL, PRELUDES. Second Edition, Revised and Enlarged. Composed by I.. I.IEBIO. 75 cents. Portraits of great Musician* Although termed “Festival Preludes,” they are by no means difficult I LUDWIG Sc CO. but very effective. ’ ' LIFE SIZE, 22x28 INCHES. 24 MELODIC STUDIES AseJber, J. The Queen’s March..,..50 60 I Cloth, vi + 23!) Pages. Price $1.00. Hatiste, E. Processional March.!. 25 Factory, 136th Street and Southern Boulevard, Biedermaiin, E. J. MarcheTriomphale. 60 | Pr J' oo wp.°8t!fle andATub«. 10 Cts. Extra. SELECTED FROM THE WORKS OF Marche Nuptiale.. Our Own Make. In Three Styles Only. The demand for this work havintr Oi-O„j . $5.00, with Frame, Antique Oak. NEW YORK CITY. Boil vi 11, £4. Three Tone Pictures .. 50 j tion, a second 1ms been prepared, fn which ®X^8ted the First Edi- J. CONCONE. Oallaerls, J. Marche Solennelle. • 50 6 Staves, 24 Pages, unavoidable in any first imnrint hoL h ™ few errors, apparently racked to go by Express it purchaser’! charge. Dubois, Th. Grand Chorus.. 50 15 cts. Idol terra an 11, U. Heroic March. 60 valuable addition ifas beLnZa^’uamely^n reCtifled’ and to ^ a Ihe following are now ready ;— 8 24 “ . 20 “ Boekelman’s Chromo-Analytical Edition Gounod, Ch. Marche Romaine ; arranged by E. F. Rimbault.. 36 | - Queen of Sheba, Grand March; arranged by B. Suhe. 76 8 “ 36 “ . 25 M English-ltalian Vocabulary for Composers. BEETHOVEN, MENDELSSOHN, M0ZABT Ketterer, E. Marche Solennelle. 60 | K ret sell mer, E. Coronation March from “ Die Folkunger 6-Stave Books are 9*4 : : 6 iuches. C. B. CADY. FUGUES WAGNEB, HANDEL, CHOPIN, LISZT arranged by E. J Biedermann. 60 I 8-Stave Books are 9]4 - 8 inches. prove excw.Mnlfy hedpfuf to^mus'idfns Si^c”’ “ndoub‘<’dfr Eiemraens, J. Marche Triomphale. 50 the expression-marks applied to their comm. hL acy or var'«ty in PRICE Leprevost, 4. Processional March; arranged by A. H.Brown 50 | Liberal Discount to the Profession. SCHUBEBT, AND HAYDN. ’ #1.85. J. S. BACH'S Well-Tempered Clavichord. Liebig, Ij. Six Festival Preludes.net 75 OTHEB8 TO POLLOW. Marks, J. C. Triumphal March. 60 These are unquestionably the best Music-Copying Books that are on aiasaSvS'iiSS' Mendelssohn, F. War March of the Priests. 60 the market at the present time. The paper has been made especially . elegant portraits have riven tho «.QnL , ... The following Fugues ha <» been published in colors and dif- KafT, J. Festival March. so tien wherever introduced The fnrmo^68*68^8^18^0' melodic pkUnostuCd°e^inThehve ^ °f this c fereut shaped notes:— Kmart, H. March in G. 60 for these books, and is the best quality ledger paper, standing erasures Heller studies, and somewhat*?. °Dihi 8tyle 1 Wagner, R. Bridal March. 50 Vol. I.—Nos. 1, 2, 3, 4, o, 6, 7,10,16, 21, 22. three or four times. The books are tastefully bound. was $4.60 each, withom frame ^ the8e — Tannhauser March. 80 Vol. II.—Nos. 1, 2, 7,11,12. elegant Studio, Music Boom or Parlor. f * most Blank Music Paper of the same quality as in above books can be had G. SCHIRMER NEW Ynr? rr elegant 8tndi0’Music Boom or p^°“e mo The price (netto) is 50 cts. each, except Vol. I, Nob. 3, 4,10; Vol. II, | in 12 and 14 Btaves, size 22 x 14. Price 60 cents per quire. liii. I Adiress THEO. PRESSER, PHILADELPHIA. No. 7, which are 65 cts. each. SEND FOR OUR CATALOGUES. THEODORE VRSSSSR. THEO. PRESSER, Publisher, ■pupa n PAAm • I Be sure you get those made by philadel PHILADELPHIA, PA. IriEO. PRESSER, Philadelphia. ;EE0. PRESSES, 17CS Chestnut St., Philadelphia, Pa. 148 THE ETUDE
ESTABLISHED 1885. THE PUBLISHER OF THE ETUDE CAN SUPPLY ANYTHING IN MUSIC. ARTHUR P.SCHMIDT Our Factory ii the Home of the Beven-Ootave Organ. c\ BOSTON, NEW YORK, SOLE REPRESENTATIVES IN OHICAQO FOR THE i 146 Boylston Street. 136 Fifth Avenue. OHICKERINQ PiANO, MUSIC PUBLISHER, PUBLISHERS AND IMPORTERS OF MUSIC, SOLE AGENT IN THE UNITED STATES FOR 220 WABASH AVE., CHICACO.
Henry Litolff, Brunswick, Germany; Edition Chanot | (I iolin Music), and the Vienna Conservatory SUMMER BULLETIN. Edition of the PIANOFORTE CLASSICS.
PIANO SOLO. ///: ^ \ i i CANTATAS. ORATORIOS, ETC.
FIRST GRADE. „ ,, , , , H. H. A. BEACH. 1 cNlIvnl Jubilate, far Mixed Voices. *o 60 ADAMS, MRS. CROSBY. Five Tone Sketcbei>..$0 60 c°mp°»d far the dedication of the Woman’s Building at the This set which has already attained a gratifying success will World s Columbian hxpoeition, Chicago, 1893, be found especially valuable in cultivating the musical sense of OrchesVra f“r Four 8ol° Voices, Chorus, Organ and the pupil. It originated with ns, and we brought it to perfection. SuJlK. ''f HSndeiand Haydn Society of Boston, Feb. 7,1892. " Don’t oonfuae it with the cheap imitations LUTKIN, P. C. Eight Instructive Piecea. ‘ ,u,
married her; he wrote about her and talked of her with COMMENDABLE LIST OF MU8I0.—GBADE I THE ETUDE. 153 '*p. - great enthusiasm, which awakened in her gratitude and TO X. love, such a love that proved capable of overcoming the - OUTSIDE HELPS TO YOUHQ MUSICIANS. well, by affording the latter means of getting at other knows that his attention is directed to a hitherto ne¬ .gf-.i greatest difficulties. There were many obstacles in the Gavotte (IV), Felix Dreyschock. teachers’ ideas, and thus many times throwing new light glected point. BV MRS. HERMANN KOTZSCHMAR. J/'f' way, for Friedrich Wieck from purely selfish motives G^wZd* On rn”Pt'0n^ 39, 18 (IV), ^ on, and giving fresh interest to, old compositions that Trills and embellishments are among the things tbe id) was yery strongly opposed to the marriage. Clara had TocatX, OiT 26 (VI).'A.'Dunont.. 00 have become tame and uninteresting to the teacher practice of which can frequently be postponed with ad¬ to appeal to a court of justice against her father, and Gavotte, Op. 37, No. 1 (III). A Dupont..’.. 'a0- “ To know anything one must know everything,” is a through constant repetition. Perhaps it will be par¬ vantage until the piece is half learned. ® she was fully justified in the course she followed, as Toccata de Concert, Op. 36 (IX), A. Dupont. Si on statement which is calculated to discourage the young doned if we cite an instance where The Etude gave us Another way of inculcating a respect for the notation, Wieck had deserted her mother in order to marry again. Chacone, Op. 62 (III), A. Durand . jqc student in any branch of knowledge—bnt as the years most timely aid. We had selected for a pupil a com¬ is never to permit an alteration of any kind without in¬ bring deeper experiences and wider outlooks, it becomes In September, 1840, Clara was married to Robert Schu- Valse ^Op *83 (TV) 60c. position of Schytte’s, and were desirous of having some dicating it in black and white. Should a change, for ex¬ a self evident fact that no study, no art, is by itself mann, and the marriage proved to be a decidedly happy Pomp’onnette (III),’ A. Durand ...... ®0°- idea of the author’s personality to give the student; ample, in the fingering be deemed advisable, do not allow separate and apart. We all realize that no life is lived i m ■ ■ n one• They were perfectly in harmony with each other; La Chasse (IV), J. L. Dussek. ®”c- when on opening our Etude, which came on the day the eye to rest upon the figure one if the second finger is Clara interpreted her gifted husband’s compositions and Les Adieux (IV), J L. Dussek. which does not, consciously or unconsciously, influence of the lesson, our surprise and pleasure may be imagined used in that place. Either play with the thumb, as .. he was stimulated to new creations by his life of love Ea Consolation, Op. 62 (V), J. L. Dussek. 6(w‘ some other life, so no one can be a faithful, earnest when almost the first thing that met our eye on glancing printed, or mark the alteration. The moral effect of seeker after the highest and best in one’s own chosen through the paper was a picture of Schyt(6, with a an(1 haPPineS3i it was thus his most beautiful songs Serzo mlTlIa J/’ D?°rak. SOc* playing one thing while reading another is to render line of study without gaining a great amount of outside short account of his life and works. By a singular co¬ were produced Clara was at the same time a thoroughly Valse Brillante. Op. 12(1 V), Ch. Delioux. subsequent work inaccurate. knowledge, which may not at first seem to bear directly Mme. Clara Schumann. good manager, and kept her husband free of all house- Dinette Waltz (II), J. B Duvernoy... oil0, incidence, the composition (“Evening”) which Mr. Teachers also do much harm in playing over pieces hold cares. Air Italien, Op 287. No. 1 (II), J. B DuVernov’.' S' on the subject in hand, but which later may be of incal¬ Liebling mentioned as the one he selected to play as a for their pupils with different fingering, tempi, and ex¬ culable benefit in advancing the one study nearest the novelty before the Music Teachers’ National Associa¬ It is universally known that after Schumann had been Eveifin'g’Bell's ^ Od. (1 11!? I? u' "F. ‘)°0, pression from what was recommended during the lesson. heart. tion was the very composition our pupil was playing. MME. OLABA SCHUMANN. made musical director at Diisseldorf, in 1850, his nervous The Midgets, Op. 29. (Ill), R Eilenberc' " erK ” (6c- It is in the nature of an Irish bull to tell a person to The young piano student is at first wholly absorbed in When we saw the pleasure with which the pupil gazed system gave way through overwork, and in 1854 this Polonaise, Op. 17, No. 1 (IV), Stephen A Emerv .10°' play a passage slowly and softly, and then sit down and mastering the mechanical details. The keyboard, nota¬ at the likeness of Schytt6, and heard her earnest thanks, rattle it oS prestissimo il pur forte possibile. *7 — 7- - m,^ p„. Zrr "Fi’-r 0p.; rA: tion rhythm, finger-action, tax to the utmost eye and brain. when we told her to take the paper and read it at her Of course, it may be necessary, in some cases, to give When these become somewhat familiar, the musical leisure, we said mentally, This pupil has received more the novice an idea of the ultimate effect of a piece he sense is aroused, and the young musician longs to express than double the value of her lesson by means of this the time of her death she was 77 v b Schumann-. At eyes were closed forever in death. She then went to Nocturne, E Flat, No. 1 (III) J„hn K.Vid. -C’ can as yet render only in a plodding fashion, but the ■ by means of the fingers all the beautiful, glowing thoughts article. situation must be explained, and the reason for the dis¬ active until almost tt, thf 77T d,andremained Berlm’ where her mother> formerly separated from Nocturne, B Flat, No. 5 (III) John Fie d . V' that fill mind and soul ; but with the best intentions, ZJjTu that time. In an item in June it was Friedrich Wieck, was now married to Barrel rZ Sw.ng Song (III). Ch. Fontaine.. . It We could mention similar instances with reference to crepancy pointed out. Even then, I think it usually fingers, wrists, arms do not always respond to the emo¬ stated that she was stricken with paralysis. here Clara cmr,mLZ klow marrlea t0 ^rgtel.from In the Mill (II) E Gillet . I?®0- the three “C” composers—Cranmer, Clementi, Czerny better to interpret a composition just as you wish to hear The immortal composer’s widow Clara , ,• , . e CT concert-tours again, and dur- Dance of the Little Girls (II), N. W. G . j).' !i?c’ tions of the heart. There is stiffness where there —only space forbids; but our experience is doubtless a it at the next lesson. occupied a very high position amono-th • -nn’ If !me sbe mtro by her sister who was to be an artist; graduated from MUBIO AS A SOCIAL PAOTOB. that he has bridled almost every force in na ure to help him give them audience, and thousands of lives have an art school. But she doesn’t paint now. Why? Well, when Emily got married she had to help mother BY WILLIAM BEN BOW. been sacrificed in the development of expressional 1 medium. By the alchemy of this insatiate craving for with the household duties, and naturally her painting NO2043 “The function of art in the development of man expression he has chosen even such an uncomely thing suffered. is social consolidation.” So said Henry Rutgers Mar¬ as the intestines of a sheep to sing some of his divinest So it is. We all start out in life with great ideas and Gavotte - Humoresque. shall in one of his recent series of lectures on {esthetics, songs. aspirations, but something comes along and we allow it under the auspices of Columbia College. Grosse in his In every atom lurks a song, to divert our thoughts, and before we know it we are Could we but disenthrall it. Die Anliinge d. Kunst,” although following an en¬ treading a different path from that we first intended to tirely diverse line of reasoning, says its function is the We fain acknowledge all this, but how does this affect follow. Edited and fingered by Maurifs Leefson. EDUARD* SCHUTT Op 17, Nol strengthening and extension of social cohesion. Guyau social cohesion ? Cohesion is an attraction by which Another reason why we never hear from these prom¬ might be cited to much the same effect, showing the particles unite. What attracts men of such dissimilar ising graduates is, that they rush into notoriety too soon trend of recent philosophy of art. temper and calibre into a social organism? Until re¬ and, musically speaking, kill themselves. One aspires Naturally, in regard to an art bo much built up with¬ cently theorists said it was self-interest, but now they to be a composer and jumps into print before his ideas out material and so other-worldly as music, nebulous speak of social feeling. Emotion is the basis of all life. are ripe. His friends dub him a composer, and he stops ideas are rife as to its usefulness. Many persons who It is (to use a word of the same origin and significance) his studies to write all sorts of crude compositions that avow they “just love music” unconsciously place the the motive power. Men are animated by a common some publisher offers to publish, not because of their object of their affection on the same shelf as their alter¬ emotional environment as much as by the common at¬ merit, but because they will sell. And so, often it is ative medicines it’s good for a change, and, if properly mospheric zone in which they breathe. Showing the that composer and publisher both make money out of sweetened, leaves a pleasant taste in one’s mouth. From attitude of the emotions toward the intellectual life, some trivial nonsense in music. To such we may say that a therapeutic standpoint this is tenable, as Prof. Tar- Carlyle says, “ Love is ever the beginning of knowledge, fifty years hence neither they nor their compositions chanofif’s experiments prove that music increases the as fire is of light.” will be known. elimination of carbonic acid, the consumption of oxy¬ Our musical art affects us in two ways. It makes us Osher persons are led to think they are players or gen, and the functional activity of the skin. But, unfor¬ more deeply and intimately acquainted with our own singers before they have studied nearly enough, and they tunately, too many people appropriate music with only individual feelings, thus intensifying the Ego; and it a sensuous receptivity. fail. To be sure, this is not always the case. Generally puts us in touch with that common feeling that makes speaking, those that fail are people with little minds. With a higher conception, the Greeks knew its value the whole world kin. It says to every man as an indi¬ The man with a great mind will not allow the glare of as a social agent, for Plutarch tells us the sweet singer vidual entity, “Know thyself—look within;” toman fame or the praise of his friends to lead him astray. Therpander was sent to the Island of Lesbos to calm by as part of the universal whole, “ Love the world, its Such things will only spur him on to greater efforts. But his voice a tumultuous uprising. Cicero and Napoleon Maker, and its creatures.” agree that music can change the feelings and conditions such persons are rare. There is also testimony of a negative character to of a state, and that legislators should give it, of all arts, A musician once said to me, “I used to have great help us appreciate the necessity of music. Taken as the the greatest encouragement. ideas; my head was full of them, but I don’t have them handmaiden of religion, contrast its influence in the Great art always comes with broad national feelings, anymore.” The last was said in such a sad tone. Ah, Puritan, modern Greek, and Jewish churches with other as in the ages of Pericles, Augustus, and Elizabeth. yes! We have all had great ideas. In our student days churches. On this point Rabbi Dr. Krauskopf in a re There is a pertinent coincidence in the fact that Ger¬ we had them. Then we should have set down and gone cent sermon said that the Jewish opposition to a more many is at once the most musical nation and the one on studying. But no, we began to practice our profession; liberal use of music in the synagogue is “a wrong to possessing the highest social efficiency. We who are society at large.” we got deeper and deeper into work ; we got married, not Germans might wish to dissent from this last asser¬ domestic cares came on and we had to make money to On all sides there is cumulative evidence that people tion, but Dr. Shaw, in his “ Municipal Government in live, and our great ideas were crowded into the back¬ are beginning to discover what music earnestly signifies. Continental Europe,” the standard work on the subject, It is shown by non-professional authorities that it is a ground because we found no time to indulge them, and says, “The Germans have unquestionably a higher matter of practical every day import. It is for the mass now, late in life, they are gone. We have done pretty capacity for organized social action than Anglo Saxon well, we have gained some fame, but what greater things or Celtic peoples.” of men and not for the leisurely few only. If art is used for selfish ends, it will bring disintegration, as at the we might have accomplished had we followed up those We have found that education of the intellect alone is first ideas 1 lower of Babel; if for the decoration of pride, it will perilous, and criminology is teaching us that the great bring perversion of ideal, as in the Leaning Tower of Young man, don’t be in too great haste to practice cause of anti-social tendencies is unhealthy and per¬ the profession of music. Go on with your studies just verted emotion. It is admitted that the central task of In this light look at the life of Bach. Although the as long as you can. Do not be too eager to express sociology is to develop and organize social feeling Now greatest performer of his time, we have no great vir your opinions and give your ideas to the world. It is it is in the power of the emotions that music comes as wonderful how, as the years flit by, our opinions change. a tutelary genius to arouse, stimulate, amplify, and by tuoso triumphs to record, and we know he made no for¬ tune, and princes and potentates did not rush forward to Write them down, yes, but don’t rush into print. some subtle suasion, “like the sweet South that breathes Leave them to be judged by yourself when you shall upon a bank of violets,” regulate the feelings that make offer him a position. On the contrary, he took the best have attained maturer years. possible such things as patriotism, philanthropy, and song the German people had, the chorale, and showered altruism. upon it such a wealth of art that we are all constrained By that time, though you may have lost some of your Our work-a-day life makes but small demands upon youthful enthusiasm, you will be more capable of sifting of modern mu"^ and ^in-head either our physical strength or our emotional depth, and e goo rom the bad. Don’t blossom too soon, there is within every man an immense reserve of possibili¬ on t get entangled in some love affair so that you will ties that are never wakened into activity. Under such -W- “sis s arr e una e to rest till you get married. Would you condition man is dwarfed and stunted ; and to prevent stuff” than it usually is. It may be all ve ! TjZ e a name in the musical world, wed yourself to rhapsodize of “ art for art’s sake,” to pose in Z atrophy and perversion of function he must exercise in your art, and let nothing lead you away from it, then in tocratic coterie, to be the gaping stock of the n T' a more bracing atmosphere ; and music offers such an er years you will not sigh and say, “ Had I done thus opportunity to the emotions. it may be well to be able to pClike “to and so it might have been,’’-and so on. Pachmann once said he did, o/like “ the d i f?dS’ 88 The environment about us has depths of which we y-°a make it’”is an old but truthful are but dimly conscious, and which we cannot sound pie said Paginini did-this is the credit sid^’ h debit side there is blazoned before everyth “Jus t safd “ T?S “I “ 6 en th°agh 70n faiL GeorSe Eliot because of human limitations. Even from our material than na 11 ter Per8everaDce is much grander surroundings we are startled almost daily by some fresh indelible interrogation, “As a musician what a " doing to fulfill your duty to society at large ? ” ^ a failnrJ°v 476 8 8lr*7‘ng good enough to be called discovery. But without probing the depths, there re¬ Down in ou can least make your life beautiful, main upon the surface of our globe vast regions that the and com S°mf l- ^ ““frequented and hidden nooks eye of man has never seen, although man has been A OHAT WITH STUDENTS. ful flown 8 hl8earth’ 8°me of nature’a ®o.t beauti- wandering over its face for probably ten thousand years. beanUfu o T ‘° be f°nnd- Think ^ ™ less by frink l eyer. I his is still truer of our higher environment. Both Yon ‘ P6rfeCt beCause no sees them ? Lotze and Schopenhauer maintain that music is pre emi children u%* 8een.^08e ^ttle hooks of pictures for nently qualified for giving life a counterpoise by way of Every year sees students graduate fro your life pTl 1D Water colors- Tbey are like to sinking it into the “divine” (Lotze) or the “real es¬ and colleges both in this countand butitremaiG°d'rough|y itched ont its outline, sence of things ” (Schopenhauer) which lies at the how few of them ever make a erLt d E pe’ and yet foundation of all that is individual. It takes us from Some one has said that the worldTful'ut W°r,d' choose to n D8Mltw 70U t0 gWe !t the coloring. If you the particular and limited to the universal and free young people especially who u 1 of PeoPle, gloomy and sombre BuT^f tiDt8’ ^ J°Qr Hfc wU1 be There is a suggestive analogy in the practice of music the promise is never fulfilled.? WhyTsR f r ‘‘h'”88 but beautiful colors vnn l 'l700 nSe a11 the br,*bt and itself. We know that the human voice alone, however home you know of and there von / V Gointo some look uPon:nr; yo;fcan find\ihen itwin e from which others can pattern. perfect, is inadequate to express all the depths and shades to play on. People used to say that* fEmily U8ed Copyright 1896 by Theo. Presser. 5 of emotion of which man is conscious. He has dis¬ great performer. Why didn’t she ? wT^ make a married and has a family to look after W®' ’ Eanly got covered such a wealth of things that must be uttered, Music is more than an amusement, to play the piano. On £ wa,/££ ^5 turned dowm*'1 ^ 80metblng to turn up, lest you be 2 3 1(H3e-15°Wer fin*ering with Ieft hand ad libitum. 204B-5 5 4 1S91965 a'Eduard Grieg. ^ , 4_f'3~P~>\5l 11 ...J- Sxr- -4 T Fi nr*1 m- ~d—d—mm -j—i-r—■ - m l / K——£—* —-0 - a 9 F I Hi ■ —•—Jm 1 -»-- Valse Capriee. L tixs-t—• xL m -*-IXF 1 p- - p . ■- - —m—3— 1 vy .. 3 jtn —a -f»— -F 1 tr r- .. .f"' r "C-i i Edited by Wilson G. Sntith. EDMUND NEUEEJtT, Op 4Jf93. \ > _ J. c • kV_lLg-,»_ J* 1F li fLA_A-A V v_i \ / r_F-_r T W W r ^ w t mr T r r r r ” Tempo di Valse. V__-jfc__J_ r it t —*—r-r r 1 ? i A i U-^1 i l_-—h 5 5 4 4 ■-'""”3 \ .rrS^ rr4=^ jtSt v m v ^ i \ l»^ V m -i \ / .... - - 9 2 —*—3 .p • m 1 f jTr i + j F r r! iir m ^ m j b _«_m ff] ' T9 a jtto 4 r m \ ® ^1 li r?7. t:: t r > L J 1 ». j5 ‘ ...... ) # ~71* - nrjn I • * aJ 1 *1--1 A A- -JTT A - m m l / —r #-f- » F f F r r F.mm F r r_F . * 1 /I L-^1 i n /j^ > =i—j — P /T^J | JTrri.4 | |p-it-1--i—i— -c-\- (F=iF3H -f— fr- --D l / i 2- #3- :.^j_ F_— 1 4): ; _ _ V ^ A —5 3— -i—r~ ■f-f J • ■-M---J - ' r -t : -F—-u* —e— . r ‘ ... . a C%iti.simili. _ */ 1 — —i? - S-- ■ | | IT] =S-J TT3 -1 (j|). 4J J S-F—F■7-r:±z F J-^- 4 V*. a . - > f "T' -f-^—Vd- ||» t r j |*f i" • r!.» Note. The character of thiswise, as its name implies,calls for a capricious and rubato style oftreatment.TheTriooanbe Copyright 1896 by Theo.Presser. 5 6 7 3 4 3 * , —i~\i -^3 1 9—- — w -Am- - rm a at 4 L» M M * M * ^ * ~ w ^ t > accel. ere _ seen _ do D.C. J 1 poco 1 all. ft. Hi --— zr -«.- -m- -- 7- p^- i -j *-tr- k 8 9 N? 1976 Secret Wishes. R HlLLER.Op.5i, N9 6. SECONDO. Allegro. £E a 2=t£ s *«> pi 3 f f f i w mJ . t 3 i f f $ s i m PP /-Jhf-TT—VE-A V wr V 7 JZTZ ifr^: 1 if *# f .s#tf N tt? J 3^, i i 3 2 3 -9^»- 1*—V- / -;••• jJ - ^=i “-4=a r /M= za •[* -ft*. f-&= M= 4^r— y- 3 ? l. 1 2 1 L 2 i 1 T*-h*- m: 9 9 c ■ jB3*-cflL:*—aV -/9k- *—H——V- :FH*rFT hnff^T] ^=3 _ ti = -£feEH- pg V# £ . 31 P-= -— 4 - ) zi 1 -’- -*f fT" . y/-^-Z--•--.. _i— -J2—7 H s ■- : ~9- -'-#■ a #1 I- 1-L i—W- 1 8 2 4 3 4 3 2 1 1 2 ^--*11* 3 2 Copyright 1896 by Theo. Presser. 2 1976.2 11 10iV?193G Vienna March. 9-i- Wien bleibt Wien! I ffr? Edited by Chas. tF. Landon. JSCHRAMMEI, bzfct mm P U-1 L--1 mar cato\ v ££ % % M • «. P 1 f xA mi\ftj T p mar cato. - * (9-i- S4 2 • M—^ tf PI m marcato. m Copyright 1896 by Theo Presser. 5 1? 13 N?2042 To My Dear Wife. . Trio. V O___ TT_V r-rf-f- —- o - — -o - ■ / jr --B- EEl pi-p Wait on the Lord. t 1 -f -p-.♦ •* p •e t ( f f Psalm XXXVII, 54. 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J* - 1. j® iff ■■ i— -—- "I-ii'b-—W-- L P , 9 J p iff ■ m— ’ V " ' 9- ^p —— i r r i ~ -—r—f— —r— —- J_J 1 -9 ■ ~a -- 1 -J- 1 *——i- U^l U-"1 -■^1 i 1 l O u-0 l u _-" i -£— o S V z:-z--©- o- ■Tg=g (\l^ f p--1-4- -r^t-T-- f —1—f— i— t E=: — f - P t4=4= : —f- ^OUr i- aj.j r f 1 f f 1r U r ^-l^p—i =ff= JL-A » _Jffj :s.' , i—; = r & /—== r t -T-* S- -r t t t f— - - r \HL Mr . J r... " . * ■- ' •- ‘ m- m ■ . v. * j i __ 0 J — ^ . •f2- • R— -P ^2=F=-ffi= \ -?• L-—— T ^ —IT ft ft ft V . AO 4-f - -j-f-j % A -»-*--- \ ^ kl7 - -K— ff.ff —._tjt-tJ • =5^fE|EE^ tiff-^-- _—i 1936.5 Copyright 1896 by Theo.Presser.3 15 2042.3 A the etude 157 MUSIC AND MANHOOD. soft stones, so good wits, by hearing of soft music, are too low, and often too high, by his own measurement. rather dulled than sharpened, and made apt to all wan¬ Man knows himself only by comparing himself with 16 BY B. D. ALT.EN. tonness and sin.” other men ; it is life that touches his genuine worth.” Philip Stubbes lived in a time when London streets Be of good courage. For “there is nothing in this Gipsy Song. A club of gentlemen had assembled for a banquet, were dark at night and footpads were numerous. After world,” says Somadeva, “ which a man who exerts followed by toasts and the consequent speech-making. *»- all his declamation against music would he not have himself cannot attain.” Louis Schehlmann. The toast-master was a clergyman, who had combined preferred, on some such dark night, to be followed by a And Schiller says: “ Every man stamps his value on with theological study considerable attention to music. man who was whistling cheerily, rather than by one who himself. The price we challenge for ourselves is given Perhaps this suggested “ Music and Manhood” as the was silent? us. Man is made great or little by his own will.” Allegretto. (J-i2otoi««) 3 4 3 sentiment, to which the only professional musician pres¬ As bearing upon the compatibility of attention to 1 . ent was expected to respond. It may have been the music and devotion to what is commonly considered the Bach, in his extreme old age, in answer to the ques¬ ~r 1H LB mmm/ p7rr4 alliteration took the chairman’s fancy. But it suggests more serious business of manhood, we have a strong ar¬ tion how he came in possession of his great learning l fa's L J. Z .... ' a subject not often discussed—music as an influence in gument in the career of the reformer Luther, the sol¬ and the inexhaustible storehouse of ideas, replied: —— — z the building up of manly character. diers Frederic the Great and von Moltke, not to speak “ Through unremitting toil have I obtained the prepon¬ ) ^ When we mention music and manhood, too often it of the present Emperor of Germany, or of our own derance for which you have credited me. By constant produces an impression akin to the mention of millinery politician, Carl Schurz. Among poets might be men¬ analysis, by reflection, and much writing I have continu¬ and manhood, or dress-making and manhood. tioned Shakespeare, Milton, Goethe, Moore, Browning, ally improved—this, and this only, is the secret of my f ' 7~B •/ ' r-b--— > t tH 4 f «r; i It has not always been so. It is not as much so now and Lanier as pre-eminent in the union of poetical power success.” V J - V ^ ‘ *4-££3 as it was a generation ago. But, if we go back to ancient with extraordinary knowledge of music. To feel the correct tempo of a composition, to catch times, we find such honor paid music as a factor in In discussing our subject there are two considerations its character, to bring out hidden motives, to give proper manly education as has been scantily awarded it in that should be borne in mind ; one, relating to morals, accents, to work up a passionate crescendo to its climax, modern times. the other, to permanence of possession. is vouchsafed to but few chosen spirits in whom the But, with our forefathers, a great change took place First: Whilst poetry, painting, and sculpture, as in¬ heavenly spark of poetic feeling is implanted by kind 1 2. with the overthrow of the monarchy and the establish¬ dependent arts, are susceptible of debasing influences, nature. Blessed are they who are thus gifted 1 fj L_i -1— ment of the commonwealth. The influence of this music is always elevating. If it ever appears otherwise, Ernst Held. /-JF-fc?- -\~— -m"0 ' -ft ^ • M 0 • £9 m J - -A • * - - d & 7 • &-£— change has extended to our own times, and in part, at it is through association with such arts as have inherent 1 . -s ri -£/—i-Ls —dr. r r ft i 0i ‘i d • ZTY least, accounts for the undervaluation of the art as a capability of ministering to immorality. BE GRACIOUS. study for man. The high place of the Puritan in history Second : Music is the one art pertaining to our exis¬ f is freely acknowledged. Candor also requires the ad¬ tence here which has promise of immortality in the It is a curious fact, but nevertheless true, that many mission of his limitations in dealing with artistic and next life. As long as there is a call for loving, trusting, pupils work more for the satisfaction of the teacher than * •0- m £ I rf » 0 i m. f rs-—l-c— »—nr- — l- msthetic matters. We may be loyal to his memory, and obeying our Maker, so long will there be a call for for their own advancement. Now if that important i -• K_rb— -fit W- -f— -*- m- & B • .. 9 • . -0- --k-*- \ / ir—5, - p— . m \i • p - whilst, at the same time, we deplore his sacrifice of praising him with all the resources of our divine art. personage be disposed toward continual fault finding, \y—9— - -—- ■ —s . < those things which ministered to the amenities and inno¬ Ideal manhood culminates in such service, and what¬ the result will be disappointment and discouragement, cent pleasures of life. The destruction of organs, the ever ministers to this end cannot be overestimated. which may eventually lead to the loss of the pupil. banishment of choirs, the desecration of cathedrals, we Sympathy which must naturally exist between teacher now look upon as the result of misguided zeal. Beyond and pupil and without which progress is inconceivable, the singing of psalms, music was frowned upon. Soon MAXIMS FOE MUSIO STUDENTS. is one of the most important factors in teaching. It is there were few professional musicians. When, upon not necessary to treat every pupil with Chesteifieldian the Restoration, it was attempted to form choirs, com¬ Don't be too sure. Goethe tells us that we in reality grace, and especially should familiarity be avoided. On sm\M\ petent singers were lacking. The art suffered an over¬ only know when we doubt a little. “ With knowledge the other hand, grumpy, disagreeable manners are not ■0 4^ P throw, from which it did not rally. In place of the at¬ comes doubt.” conducive to a teacher’s popularity and may often be f f f f tention paid to it by people of quality in the olden time, “The foolish undertake a trifling act and soon the secret cause of his non-success. I was once told by we find Lord Chesterfield admonishing his son never to desist,” says Magha; “wise men engage in mighty a young lady that the way her teacher entered the room / —m-_J-h -J m jt___0 degrade himself by placing a fiddle under his chin. A works and persevere.” and greeted her decided the character of the lesson for -0.- -0- u £ : later illustration of changed sentiment regarding music the day. If his “Good-morning” was affable and -rm “Let us not over-strain our abilities or we shall do \ -0—--| -d--0 in — r>-- )t± i is the anecdote, given by Sir John Stainer, of the noble¬ pleasant everything went well; her fingers flew over the m-- nothing with grace.” Remember this wise saying of p * man who answered his son’s respectful request that he keys and the lesson terminated to the satisfaction of W La Fontaine’s and do not boggle at what is beyond your F 4 ► -• might be allowed to study the violin with the exclama¬ both pupil and teacher. If, on the contrary, the master’s present capacity. tion, “What, play the fiddle? Never; the next thing salute consisted in a cold nod, a scarcely perceptible Cultivate your talents to the utmost. “ Alas for him will be that you will want to marry a ballet-girl.” motion of the hand to begin, the result was quite the who is gone and hath done no good work 1 ” says a Per¬ So deeply did the gentle Quaker imbibe the prejudice reverse. Everything seemed to go wrong. The passages sian writer. “ The trumpet of march has sounded and against music, that, down to our own times, it has, by lost their brilliancy and clearness, the expression be¬ his load was not bound on.” the Orthodox, been placed in the category of sinful came hard and mechanical, and the lesson often ended amusements. A generation ago, in some quarters, it Coleridge remarks that “human experience, like with the determination of the pupil to leave the “ hor¬ was considered disreputable for a man to be a profes¬ the stern-lights of a ship at sea, illumines only the rid brute ” then and forever. sional musician. One such, who braved local opinion path which we have passed over.” Experience alone How charming is the description of the scene in Bet- and entered the profession, was told by his teacher, a can make one a musician. tina Walker’s “ Musical Experiences” in which she re¬ woman, “You may play the organ in church, but don’t Bear in mind what Saadi says: “ Affairs succeed by lates how Henselt gave vent to his satisfaction at hear¬ you ever become a music teacher. That employment patience, and he that is hasty falleth headlong.” ing her play one of his Etudes. The Russian bear had is only for women.” But don’t let success turn your head. “ Great and for the nonce forgotten his growl, and calling his wife, Not only was the profession considered an unworthy unexpected successes are often the cause of foolish rush¬ he bade her stay and listen to “the Miss.” And when one for a man’s choice, but by some it was regarded as ing into acts of extravagance.” Demosthenes reminds “the Miss” took her departure is it not touching to demoralizing. Nearly half a century ago, society at the us, and a Chinese proverb says, “Good fortune is a hear the old man murmur the words, “ Such moments East was painfully agitated by the arrest and condemna¬ benefit to the wise, but a curse to the foolish.” make life a pleasure.” tion of Professor Webster, of Harvard University, for The satisfaction of seeing one’s efforts crowned with Here’s a saying of Sophocles’ that the teacher would success 1 Indeed, there is none greater for a teacher, (\& j j r 'i PT -nr the murder of Doctor Parkman. Three years before do well to lay to heart as well as the pupil: “ To those i or ’ and it is in reality his only compensation for the disap¬ -J-S- that time, the writer had visited the Professor in his home, who err in judgment, not in will, anger is gentle.” Yet pointment and drudgery of a teacher’s life. But even and among the most vivid and pleasurable recollec¬ should the student remember that “ It is better to be admitting the hardships and annoyances, let us hope tions of that visit were the musical performances of the well deserving without praise, than to live by the air of rit.edim. that there are not many who agree with the gentleman ost and his niece upon the flute and piano. As I now undeserved commendation.” T#- recall the event, both performers showed exquisite taste whose epitaph read, 11—j f— i, “Be patient if thou wouldst thy ends accomplish,” —-£- — — m t ® interpretation of classical compositions. On “ Hell has no terrors for me \ ^ -p-£-C- -c—p—f »— -b1—0—c-£— says Bharavi; “ for like patience is there no appliance fi-up b speaking of this, at the time of Professor Webster’s For on earth I was a piano teacher/* effective of success, producing certainly abundant fruit tna , to an honest yeoman, he at once seized upon the of actions, never damped by failure, conquering all —A. Veit, in The Pianist. act 0 such devotion to music as most damaging to the case of the accused. impediments.” “Purpose without power is mere weakness and de¬ S 7k 'n EDITORIAL NOTES. that pupil’s teacher has scored many points in popular LETTERS TO TEACHERS. (fast passage playing) is better acquired from Mason’s an inborn dislike to any kind of technical work. She of work done. For instance, a pupil who has but little could play well in time, but now is satisfied with playing favor ; but if a pupil attempts to play a piece which is BY W. S. B MATHEWS. system ; aLd velocity in applied forms is better learned ‘Silvery Waves,’ hobbling over the ary egg os in a tad It is very common for those pupils who are in the but poorly learned, stumbles, shows a poor touch, and talent, yet works baid and does his best, the writer from properly selected pieces. Still, Czerny was a very hurry and completely destroying the rhythm and ex¬ that he has no idea of the inner meaning of his piece, would mark from 92 to 98, perhaps, while a talented “ Is it advisable to try to teach Mason’s ‘Touch and middle stages of advancement to play with a large clever writer, wonderfully pleasing. It reads like ro¬ pression by her clumsy touch ? amount of nerve tension, so that while passing from a then observing people will at once put that pupil’s and very musical pupil who was poor at practice and Technic ’ to a child of six who plays Mathews’ second mance now to find among the letters of L:szt one from “Iam twenty-two, and having been imperfectly taught grade of exercises? difficult passage of rapid notes to an easy one of slow teacher down for a bungler, as one who does not know careless in playing he would mark lower, perhaps at 83. Paris, written somewhere about 1830, to Czerny: “Dear in beginning am desirous ot learning a better way. Which “ Would you advise any certain kind of technic till she would be better for me: to go to some good conserva¬ notes, they will play the easy part two or three times as much as he professes. When a pupil has made a In either case the year or grade would show actual ad¬ Master : Please write me another Bonata, for I make a is older? tory. l.ke Oberlin, or to some good pnvatp tea< her m a too fast. This is caused by keeping up the same amount success, he shares his triumph with his teacher, and vancement, and the larger figures the quality of work. “ Please give me your opinion of the automatic piano better effect in your sonata than in anything else I play.” city? H. M. W.” of nerve tension and brain effort, instead of having the gives credit to his good instruction, but the pupil who ---- attachment; is it capable of any kind of expression? This was the young Liszt. I have included quite a num¬ “ Do you thmk a child of six years who learns rapidly, You are quite right upon the first point. mind upon the rhythmic pulsations sufficiently strong to fails puts all of the blame on his teacher, and the ^ WORD ABOUT TWO POPULAR COMPOSERS ought to be forced to practice?—J. E ” ber of Czerny studies in the Standard Grades, though Your girl of eighteen must first be brought to realize keep the passage in an even tempo. To play with a pupil's friends uphold that placing of the fault. 1 do not advise giving the child ibe bocks of “ Touch personally I use very few of them. Mme. Bloomfield that she needs something more. If you can accomplish metronome will help the pupil over such d.dimities, also F. Paolo Tosti. ***** and Technic ” at the very first; but I do advise teaching Zeissler uses the “Daily Studies ” a great deal. In my this, she will gradually come under the yoke; if you to play in four-hand music will be helpful. Now is the time to plan a course of personal reading F. Paolo Tosti, the celebrated composer, was born a child such as you mention the two-finger exercises, one opinion, everything that these do can be better done by cannot bring her to this point, the will never learn. * * and study for the summer. Summer is the time to work April 9, 1816 at Ortona sul Mare, in the Abruzzi. In * * * at a time, until she has all varieties ot touch, after which Mason’s exercises. Therefore, I should never speak Constitutional laziness and a disposition to drift are not up a course of lectures for your next year's music class. 1868 he entered the Rtyal College of St. P.etro * Ma- Those teachers who meet their pupils together as a they are to be played every day for at least five minutes. disrespectfully of Czerny, who was a very talented the foundation upon which good attainments can be class can spend a few minutes profitably by playing to Bjing released from teaching gives one time for prepar¬ jella at Naples, where he studied the violin under Pinto Then, in the second grade, the arpeggios, in some kind of teacher of the piano, and whose “ Art of Expression ” made. A teacher with more tact, perhaps a man with them some simple and unfamiliar melody, first having ing a series of recitals which shall illustrate phrasing, and composition under Conti, and also Mercadante. He easy form, such as quarter and eighth notes, and in sixes is one of the best authorities upon the proper nuance of authority, would accomplish this better. It is done them decide in what time it is written, and at the next and all that goes with fiae expression. “ How to Under¬ remained at Naples until 1869, when he returned to and nines, one chord at a time ; later, rotations of four the sonatas of Beethoven that we have. But he repre¬ every year, and done many times by all good teachers. playing have them notice the length of separate notes, stand Music,” Vol. I, by Mathews, the first part of the Ortona for the benefit of his health. Soon after his to seven chords—as the child gains in capacity. All sents an older school of playing than the one now cur¬ As for your own case, no one can advise you. The meantime getting its melody, and the third time take it book will be helpful for this. Also “Analysis of return, however, he was taken seriously ill. and it was these can be given extremely well by rote, and the pupil rent, and I would not consider it wise to take up too conservatory will do a great deal for you ; the private in mind so that they can sing it, and the fourth time let Music,” by Goodrich; “Musical Form,” by Cornell, are during his illness that he composed his “ Non m’ama will not need the book until a little later, and then mostly much time with him. teacher, if you get one of the very best, will cost more the class sing the melody to La, perhaps taking one or helpful. For music, these works will furnish the titles piii,” and “ Limento d'amore,” butit was with d fficulty for reference and Jo save the teacher’s time. “ 1. What should be taught in connection with Ma¬ and probably stimulate you more, and some things you two trials before all will succeed in singing it correctly. of pieces. Much aid can be gotten from “ Principles that the young composer found anyone willing to pub¬ thews’ first four grades and Mason’s * Touch and Tech¬ I would not say that a child ought to be forced to prac¬ will learn better. With a private teacher, you know, Wnen they can do all of this, have them write the melody of Expression in Pianoforte Playing,” by A F. Chris- lish them. It was to a concert at Rome which he or¬ nic ’ ? How much of the latter should be used in con¬ tice, but this would not hinder my finding ways of having nection with these grades? you are always at liberty to imagine yourself his most out as an ear test in time and tune. This practice will tiani. Such a course is invaluable to pupils and lovers ganized that he owed much of his subsequent success. her practice of her own accord ; and the option would “2 What progress should be expected of a child of desirable pupil; and this promotes acquiring. In the make them accurate listeners and help them to be more of music. It gives them the key for unlocking the inner The Queen of Italy fthen Princess Margherita of Savoy) not take quite so decided a form as used to be given ten during the first ten months’ instruction? conservatory you are part of a great whole, and it will self-critical in their own playing, and will help in the meanings of the best music, and making what before was present at the concert, and showed her appreciation “ 3 Is it not best to use some preparatory work before children, whether to learn the lesson “ with ” or “ with¬ depend much upon your own temperament which will do development of the inner feeling for rhythm. had been meaningless noise, clear and beautiful emo¬ of the composer’s talent by appointing him her leather taking up Mathews’ first grade?—L. 8. J.” * * out” a punishment. When children understand that a you most good. A pupil is a sort of picture to be * * * tional thought. Pupils who have enj ycd such a course of singing. His first visit io London was in 1875, when I think you will find in the introductions to the Grades mild punishment may be taken instead of doiDgsomething painted ; the conservatory paints them at so much a Almost every copy of The Etude contains articles of of illustrated lectures will play with an intelligent and he was well received in the highest society, ai d in 1880 answers to your questions, excepting that in one of them, very distasteful, they will often preiume on it. What foot; the private teacher paints each one according to especial value to music students. At the book stores a effective expression ; they can then see into a piece and he became a teacher of singing to the Royal Family. I believe the third, there is far too much directed, more Nature does for us is precisely this of giving ns the its own merits,—or ought to do so. handsome self gummed scrap book can be obtained, in bring out its hidden beauties, and can enjoy the higher Signor Tosti has written a great number of songs to than ihe pupil can get over in the time. I should say option to do it with or without the whipping. which such clippings can be placed permanently; it kind of music when they hear it. Italian, French, and E glish words, among which may be that a child of six ought to take some work like my I do not consider the Automatic P ano Attachment an THE POWER OF PERSISTENCE, would take but a few months to make a book of great specially mentioned “ For Ever and For Ever,” “ Good¬ “ Twenty Lessons to a Beginner,” or Mr Landon’sbook, instrument of expression, but I have always admired its value to the teacher's class. Such a book and a few There is a wonderful quickening power in an examin¬ bye,” “Ask Me no More,’’ “ Help Me to Pray,” “Tell covering similar ground. (I think Mr. Presser has one, accuracy. From times probably anterior to the days of Solomon other musical works should be kept in constant circula¬ ation. When the pupil understands that his woik must Them,” “ La Serenata,” “ Ninon,” “ Malia,” “ Rosa," though I have iever seen it.) You will give the child a “ Is it right to play with a good, firm touch when play¬ the sage comes dowu to us the admonition, “ Go to the tion among the teacher’s pupils, and at the lesson hour stand an examination and be graded with that of fellow better start. Then take the first grade and so on. In and “ My Memories. ” The newest production from his ing the piano? i hive heard of a professor of music ant, thou sluggard, consider her ways and be wise.” pupils, he at once begins to do better work. If he connection with the first grade, I think the two finger these books and articles should furnish subjects for con¬ prolific pen is an English song called “ Love’s Return,” who will not allow his pupils to play with a firm touch, The ant will undertake a task and devote all its energies knows that each part of his technics must come up to a varieties of touch should all be taught; and arpeggios versation. Tnis will show the teacher what his pupil is which is much admired, aud seems likely to become because he says it wears out the piano. I want to know to the purpose ot achieving success. It thinks Dot of learning through reading. certain grade before he can pass into a higher marking, it it hurts a piano to play firmly upon it; and do not all upon perhaps four or six changes of the diminished very popular. obstacles, nor wastes its time endeavoring to discover he b sgins to take an interest in their practice. It doubt¬ Ciro Pinsuti. the great artists play firmly? seventh in fours, with accents changed, and later in dif¬ “ Dups it wear out a piano when having it tuned tohave royal roads. Over hill and dale, through swamp and less seems d.fficult to give a practical examination in ferent kinds of measure, two notes to a beat. I doubt Through indolence or inattention, pupils blunder in Ciro Pinsuti was born at S nalunga, Siena, Italy, it tuned so ihe action w 11 be quite bard? A tuner told jungle, onward it goes from point to goal, nor rests un¬ piano music. But to those who have tried it, it is easy whether you can get further. In the second grade I some given passage, and because they do not stop to May 9,181:9, and learned music in the first instance from ms this would wear off the felt on the hammers?—A. M. til its purpose is achieved. So too there are young and practical. A good scheme is to give a grade of L ” should wish to have arpeggios as far as rotations of Beven study out the d.fficulty and conquer it by slow ai>d ac¬ his father. musicians who undertake their task in similar spirit, marks on the basis of 100. Take “ Touch and Tech¬ I once had the curiosity to weigh the touch of Dr. chords, in sixes and nines, direct motion (see “ T. and curate practice, they stumble ihe same way every time At ten he played in public, and at eleven was made striving manfully to overcome all obstacles, to reach the nic,” by Mason; the “ Two Finger Exercises,” " Down Mason himself when playing certain forms of his T.” for particulars). And in the second grade the scales that they play over the passage until the stumbling has an honorary member of the Accademica F.larmonica. goal of success, though the burden at times appears so and Up Arm,” “Straight Finger,” and “Melody exercises and found that in the most powerful touches ought to be begun in canon form, two octaves, about two become habitual. It a pupil practices in a stumbling, He came to London with Mr. Henry Drummond, M.P., gigantic as to weigh them to the ground. The ant and Touch,” in “Exercise 1;” “Wniplash or Flail,” and he employed a force equal to about ten pounds upon tones to a count, later four. In the third grade the re¬ halting way, which is often caused by playing too fast, in whose house he resided until 1845, studying the piano¬ the young musician who acts s milarly each illustrates “ Hand Touch,” “ S .ab and Crumb Touch,” in “ Ex-r- the key, and held them down about six pounds; on verse motions of the arpeggios will come in, scales two the Scumbling and baiting will become an actual part of forte and composition under Cipriani Potter, and the the principle of the power of persistence. That the cise2;” “Fist and S raw Touch,” in “Exercise 3 ” the contrary, in the lightest passages he used hardly more octaves in canon and four octaves plain, with sixes and the piece to him. Tne remedy is to go slower and work violin under H. Blagrove. He then returned to I aly, possession of such a quality is of inestimable value goes “ Velocity,” in “ Exercises 19 and 20.” In scales, take than a quarter of an ounce. I am not able myself to nines. I doubt how far the graded rhythms ought to out all difficult passages, by a painstaking playing, over where he entered the Conservatoire at Bologna and be¬ without saying, for by it all those achievements by which the D flit scale and require a smooth, clear, gliding, and make a touch with anything like this ex'reme force cf be used in these grades. In short, you have to lay foun¬ and over until it is no longer difficult to play correctly. came the pupil of Rossini. In 1847 he took his degree we benefit to day have come about. It matters not even run. Then require it with a bright legato, that is Dr. M ison. A heavy touch will wear out the felt, but dations, and you can go as fast as the child can go safely. We are not to blame if a biid lights on our head, but at Bologna and returned to E iglaod as a teacher of where we look, nor which department of the world’s we are responsible if we allow it to build a nest there each note to have a certain individuality, and finally at one can play all the fortissimo really necessary without All along you must give now and then a well-selected singing the following year. In 1856 he became a pro¬ stores in science, art, agriculture, or the manufacturing a very high speed, criticising for evenness and smooth¬ doing much harm. It turns upon the question of piece, which must always please the child. This is a ***** fessor at the Royal Academy of Music. His first opera, industries we investigate, nor whether we pursue the ness. The XV changes of the Diminished Arpeggion elasticity. A free elastic touch may be very heavy at the cardinal principle. Whatever you give that does not If everybody was a “born leader” there would be “ 11 Mercante di Venezia,” was produced at Bologna in same on or in the deep blue sea, on land or in the mines ought also to be given without breaking, playing each moment of impact, and yet be so elastic that it does not please the child, you must treat as a study, something to nobody to lead. But there are altogether too many who 1873, and “ Mattia Corvino ” at the Scala at Milan in below our feet, we find accomplished purpose displayed four octaves, up and back, going to the next change harm the piano at all; and another less heavy touch may be learned as duty. are content to be mere followers. In the profession of 1877. In 1878 King Humbert created him a Kuight of in practical realities, the history of the development of without breaking. Then give an exercise for the wrist be so hard and brutal as to wear out the felt very A child of ten in the first ten months ought to go music teaching, many a teacher has a suggestion of a the Italian Crown. In addition to his operas the woiks which, in any one instance we may select, is a living or hand touch on notes six degrees apart, four move¬ rapidly. In general, you cannot habitually employ fortis¬ through the first two grades of the Standard Grades. I thought, wbich he allows to be stifled at its birth, be¬ of this eminent composer include more than 230 songs, sermon on the power of persistence. ments of the hand at a count., as in Vol. Ill of “Tnm>t, simo in playing without wearing the hammers much think this can be done quite well. Many teachers, how¬ cause the teacher has not self-reliance sufficient to ven¬ English and Italian, nearly a hundred duets, trios, part- Power of persistence would Beem to need for its per¬ and Technic,” by Mason. Next try the pupil at sigh! more rapidly than when a lighter touch is used. But in ever, will only do half of this. ture an idea which he cannot back up by the indisputa¬ songs, eic , and a large number of pianoforte pieces. fection to be allied with practical reason. Young musi¬ reading on some easy piece for him, but one that he has an entire Beethoven sonata or in a Liszt rhapsody, last¬ “What should pupils always practice first in‘Touch ble authority of some well-known musician. Instead of AmoDgut the most successful of his songs are “ Queen cians with ample enthusiasm, abundant determination, never seen. Easy, because an apparent difficulty would ing ten minutes in playiDg, I doubt whether a great and Technic ’ to give them a proper foundation id pi*.no showing a pupil how to do a thing the best way, he says of the Eirth,” “ Sleep on, Dear Love,” and “ The Last and endowed with great natural ability are often waste¬ seem overwhelming to his over anxious mind. Then try artist would play fortissimo more than one minute, if so playing, the scale or the two-finger exercise ?—Z. D. S.” nothing, gives the pupil no help, from fear of saying Watch.” ful of their time, of their energy. It makes a man something which he cannot back up with a well-attested him for expression and grade of playing as to finish per much, of the whole. To play fortissimo habitually is I always say the two-finger exercise, because it exer¬ Ciro Pinsuti died at Sinalunga, March 10, 1888. strong to battle against difficulties; but it does not fol¬ haps on a memorized piece. This can be all done in from like using red pepper all the time. The practice clavier cises the fingers in a varie'y of ways, exercises all of authority. Such a shrinking and cautious teacher low that a man Bhould buffet with one form of difficulty dwarfs the powers of thought, crushes out all original¬ twenty to th.ny minutes, and your pupil can be graded can be regulated to do anything you think you need in them alike, and conduces to making a good and a varied —Whatever seems to be easy is hard. A child cannot only to become strong. If he UBe his powers of reason ity, and becomes, or remains, nothing but a weak imita¬ intelligently, especially if you have been his regular the way of firmness and save the piano. In general tone. After these I recommend the arpeggios, with the write a line smoothly without tedious and toilsome effort. more and those ot brawn less he will accomplish more tion. Such a teacher never grows to the full stature of teacher. While this is a simple and not over-severe most players are very deficient in lightness—more so than younger pupils, and later the scales. I do not think A painter s skill wiih the brush, that appeals to dem&Ld in the long run than if he never paused to consider how a ripened manhood. No teacher can become anything test it serves the purpose of making a pupil do good in power. that very young pupils can well do more than two ele¬ no endeavor, always represents untiring work. The he might get around an obstacle, with less expenditure but commonplace until he has the moral courage to act work, for he knows that his annual standing is to be While it may not wear out the piano to regulate the ments of ‘ ‘ Touch and Technic ’ ’ at the same time, owing poet s flowing verse has cost more labor than any one of physical force and less wear and tear on the nerves. up to his personal convictions, and dares to venture made up from the results of the examination. When action so that it will take a heavy touch to move it, it to the time it takes. without genius would be willmg to devote to it. F.ngers A few moments’ serious thought will often accomplish upon things which appear true to him, even though he the teacher has a series of grades, the pupil becomes will certainly take away all the pleasure in playing upon “ 1. Is it right for a soprano to sing the tenor part at that rati le over the piano keys as if they instinctively more in overcoming a d ffieult passage than two or more has no authority at hand to quote. anxious to reach the higher grades, and this leads him it, and undoubtedly wear the joints of the action faster the apparent pitch as written in the treble clef? I hold hours’ unreasoning practice. To accomplish one’s pur¬ * * on^into taking music lessons longer than he otherwise gave the right touch ia the right place have been trained that when there is no tenor available an alto should take * * * th*n a proper regulation. Wnen you want gymnastics, to accuracy and deftness through merciless severity of the part and sing it an octave lower than it is apparently pose in the easiest way is, to my mind, essential, and if A good reputation is hard to win, but a lost reputation fly to the clavier. Sive the piano for music. It is better. written. Am I rght? The other way seems to me to In grading those who have studied but a year or two discipline. No graceful movement of hand or foot is one may reach the other side of a mountain by going is almost impossible to regain. When the musical pub¬ Are Czerny’s ‘Velocity Studies ’ entirely out of da'e? produce harmonic faul's. give a hundred for work well done, but in grade or year ever a result of mere na-uralness; it comes only and “2 I have not been able in several instances to get No. around instead of climbing over it, I think he is as truly lic of your com nunity hear a pupil perform with marked so. wha'other velocity s'udies are u‘ed by the best one, two, three, as the case may be. Then an inexperi always from wisely directed and prolonged and repeated 15 of Mathews’ ‘ Introduction to Pnrasing’ worked up exemplifying the application of the power of persistence musical intelligence, play a piece so as to make it a eachera. Why would no' Czerny’s, if pr.nted in modern enced pupil might stand as 97 in grade or year two artistic endeavors. If we would do anything essily in type, answer the purpose?—L A.” properly as it stands in the book Can you give me any as he who attempts to surmount everything in his paih thing of life, in a way to make it speak to the heart, sugvesiions for accomplishing ibis? while a belter player might stand only 95 in grade or any sphere of thought or action, physical, in.ellectual, Czerny’s studies are not now used by the best teachers, in more direct fashion. To sum up, practice with your they know that that pupil has had a good teacher. And “ 3. What would you advise for a girl of eighteen, a year four. The grade or year shows to what £* £ or spiritual, we must be willing to work hard for such excepting a few of them by teachers who prize them quick reader, ambitious and talented, but with poor brains as well as with your fingers.—A. A. C., in The ease.—S. S. T. com life-long association with them. Velocity itself technical foundation and no idea of phrasing ? She has Dominant. 160 THE ETXJHE 161 these critics say, “ to be obliged to end as one has AN ANECDOTE. THOUGHTS—SUGGESTIONS—ADVICE. How to Correct Faults. begun I What a lack of variety there must be in a and there is no disguising the fact that dealers in them proven so successful and interesting, to teacher and pu¬ BY MADAME A. PUPIN. PRACTICAL POINTS BY EMINENT TEACHERS. tripartite form which always concludes with its opening are doing business at a profit, even while in nearly all pil alike, that I offer it as a suggestion to others, who Adolphe Crkmieux gave a sumptuous breakfast party theme I” To such critics one can recommend a study There are many piano students in despair over certain other lines there is almost stagnation. ’ ’ The same jour¬ may desire a pleasing change in their work. It has in honor of Meyerbeer, to which entertainment he in¬ Keeping Time. of Mendelssohn’s “ Songs without Words,” where almost faults which they have, and which they believe to be in¬ nal also quotes a despondent music teacher, who says: always been my habit to inculcate a love of musical his¬ vited the leading musical critics and composers of that every number is in the same form yet no two numbers eradicable, and therefore they make no effort to correct A year ago this spring I had 50 pupils; I now have tory and events in the younger students by frequent day, assembled in the French capital. Amongst Cr6- SMITH N. PENFIELD. are quite alike in shape. There is infinite variety in them ; or perhaps they have not the patience to overcome 30 only, and some of them talk of giving up. Those questions relative to the old Masters. mieux’s guests was Rossini, who occupied a place of A recent article in The Etude lays great stress on such a unity 1 “How utterly absurd it was,” one might bad habits and try to form new ones. who left me yielded to the craze for wheeling.” All applicants for membership to the regular class honor next to the wife of his host, but refused, one after Accent, and advises some exaggeration of accentuation. retort upon these flippant fault finders, “for the Deity To attack the enemy in front is to push him back step It is possible that some who read this article have felt are requested to provide themselves with one small tab¬ another, all the dainties offered to him in succession. Now it strikes me that exaggeration is a dangerous to make all human faees alike ! Always having the by step, with tremendous effort, till he yields, which he the competition of the “ silent steed,” to drop into the let, a larger one for essays, and a blank music book. Madame Crdmieux noticed his unwavering abstinence thing, especially in the hands of a young and inexpe¬ mouth below the nose and the eyes on either side must may never do if he has more strength than you; but to patois of journalism, and are wondering what they are In the first is written the date of each lesson, followed with equal suprise and regret, and presently asked him rienced pupil. A little of it, under the direction of a lead to the most dreadful monotony I” The effect of a direct the attack to the rear, where he is entirely unpre¬ going to do about it. The dealers in musical instru¬ by a list of scale work, which is memorized each week, whether he was unwell, as he appeared to have suddenly judicious teacher, is, or may be, useful, for the sense of fixed form on certain varieties of music is about as pared and unsuspecting, is often to annihilate him in a ments have already tried to meet the issue by keeping and then the name of some old Master or noted lost an appetite which, as she had understood, was rhythm is to music what the pulse is to the life. monotonous as the regular build of the human counte¬ short time. the wheel for sale; in other words, they have floated musician is added. The pupil is expected to read the usually no less vigorous than lively. “ That is true, my A critical ear will perceive an accent in a smoothly nance. So the efforts directed against certain faults end in with the tide. To quote again: “ When the attention life of this particular person and write a paper upon it dear madame,” replied Rossini, “ but I rarely eat break¬ played, rapid running passage, as a skillful doctor will * * discouragement, while, if the student would take up for bestowed on the wheel began to make an impression couched in their own language, being careful to dwell fast, nor can I depart from that rule to-day, although, hear the heart-beat of a patient which is inaudible to * * * a time the opposite fault, he would soon find himself at upon trade, the better class of piano houses would not upon the principal points in his life, the school he rep¬ should anything go wrong with to-morrow night’s repre¬ others. But let this heart-beat be overdone, and the Ought a Teacher Give Musicals With His Pupils? the happy medium. for a moment consider any combination of the two arti¬ resents, and the style of music he writes. In the blank sentation, Meyerbeer will believe to the day of his death doctor instantly pronounces it a sign of disease. A c. w. GRIMM. A great conductor once said the most common fault cles under one roof. A few dealers, however, did make music book, the pupil writes in pencil, each scale in that my refusal to partake of this feast brought him bad student must always feel the accent, and when the music with instrumental players was hurrying ; he said it was the experiment and, as has since developed, with good order as they are learned, with all forms and arrange¬ luck. The position I now occupy at your table reminds requires make an actual accent, not otherwise. It is Easy going teachers, who never exert themselves, rare to find any one with even time, and he further results.” But the music teacher cannot dispose of the ments of them that the teacher chooses to furnish. me of an odd experience that befell me some years ago easy to acquire the habit of over-accenting. How shall and live a monotonous, hum drum music life, are against remarked that this was a fault that could never be matter in such fashion ; he must wait until the tide turns These, in due season, are copied in ink into a larger in a provincial town of Italy. A performance of the we strike the proper medium ? giving pupils’ sociables, musicals, or recitals, because Barber ’ was being given in my special honor in the remedied. with as much patience as he can. book, which forms a reliable reference of the work re¬ The old-fashioned rule of counting aloud for piano they consider them “useless, intendeS merely as an ad¬ local theatre. While the overture was in full swing, I But this has been proven false by the many students And in this aspect of the case there are several points cently gone over. pupils, or hand beating of time for singers, has not yet vertisement for the teacher, and only apt to create con¬ noticed a huge trumpet in the orchestra, manifestly who were afll.cted with this bad habit and who tried the to be kept in mind. In the first place, the American In order to use the every-day material at hand, we been improved upon. Why not count to one’s self, as ceit in the pupil’s mind.” An energetic, wide-awake blown with remarkable force and continuity by a mem¬ plan of lagging the tempo ; instead of anticipating the public grows enthusiastic very rapidly and has little hold, every two weeks, the “ Conversation Class.” At little children claim to be doing? Because this is no teacher sees the good in them, and has them frequently, ber of the band; but not a sound in the least akin to rhythmic notes they would wait for them, or hang back moderation in whatever pursuit is uppermost at a given this time, according to previous arrangement with each counting at all. for the following reasons: A pupil who is to play in a the tones invariably produced by that instrument could a little. time ; it also has a sober second thought that is likely to pupil, a programme is formed. Piano selections which The advantages of counting or beating is in the actual musical makes extra efforts to learn a piece perfectly I hear. At the close of the performance I interviewed Hurried time sounds perfectly right to the player; it be quite different from the first thought. Take the are being studied at that moment, if well under way, hearing of the counts or feeling of the beats. This, per¬ and within a certain time, when otherwise he would the conductor, and asked him to explain the purpose of is only after he has accustomed himself to delay the Venezuelan case, for instance, and note how a cry for war are rendered, with kind but forcible criticism from the sistently followed up, will in time establish a pulsation have carelessly lagged on ; he has been aroused from the noisless trumpet, which, I confessed, was an unusual rhythmic notes a little that his ear gets a sense of strict was started and taken up in an instant and re-echoed teacher, for the benefit of the class. Then, by appoint¬ which is mentally perceived, a sort of pendulum swing¬ his lethargy. The musical has become a spur to prac¬ orchestral addition. He answered : ‘ Maestro, in this time. from Eastport to San Francisco ; yet, after a few days, ment, some two or three papers are read by the pupils ing in the head. If a teacher could always sit by and tice better than usual, which is certainly a gain. The town there is not a living soul who can play the trumpet; There is a suggestion in this taking up an opposite more moderate views came to the front. It will be on those Masters last written about. Immediately fol¬ do the counting, that would suffice, but this is imprac¬ teacher himself tries to make the most out of his pupils, therefore I specially engaged an artist to hold one up to fault from that which one desires to get rid of, which may the same with the craze for wheeling ; the increase in the lowing, anecdotes relative to the musician in question ticable. tries even more for these occasions than he would have his lips, binding him by an oath not to blow into it, for prove of advantage in some portion of one’s practice. number of riders this year has been from two hundred to or bits of valuable information gathered from authentic Why not use a metronome? For ordinary use it is done at other times. And why should he hide his can¬ it looks well to have a trumpet in an operatic orchestra.’ three hundred per cent., at an ordinary estimate, entirely sources are given. At each meeting seme pupil is ap¬ too cast iron and rigid. Until the piece is pretty well dle under the bushel? No merchant, no artisan, no I am like that man with the trumpet. I may not eat, beyond any normal growth. The reaction is bound to pointed to lead in the “ Conversation,” which ends the learned and the note-playing comparatively easy, the artist, and I think no music teacher is expected to do but I look well at your breakfast-table.” come, and that before long. A great many people with programme. counting must be a little elastic. When the time is that. Show what you can do with the pupils intrusted The Question of Middle C. whom the writer has talked think that the passion for For a text-book we use the “ Home and Foreign steady and the accentuation what the music requires, to your care. Parents will be well pleased if you suc¬ BERN. BOEEELMAN. bicycling has already reached its height and that it will News” contained in our valuable Etude and Musical then the counting or beating may be left to the opera¬ ceed in kindling ambition in their children, and, still Some time ago I was invited to attend an entertain¬ go down by next season, pocoapoco diminuendo, until it World. The leader, turning to any member of his WHAT IS CLASSIC MUSIC? tion of the mind. more, be delighted to have them learn to play before ment, given in a city of well-known musical taste, by a reaches a normal altitude. choice, asks, “ What do you know of Joseph Hoffman ?” There is a vast difference in students as to natural others. male chorus society of which the director was my per¬ * * In the second place, the enormous demand for wheels or any other pertinent question gathered from the latest Of all the music composed perhaps one number in a sense of rhythm. With many it is a matter of instinct. * * * sonal friend. On this occasion the vocal numbers were has induced an enormous supply; in fact, the market is news. The member addressed is expected to answer hundred lives more than a generation. Of these long- Others must ever be patient and persistent in time¬ interspersed with instrumental music, furnished partly said to be overstocked and every one is looking for a in full, telling explicitly all the news of the person lived compositions, only those that are considered best counting. Yet to all, even natural timists, some out- Technic—Practice on Pieces. by members of the club, partly by a blind pianist, who fall in prices. If the wheel drops to twenty-five or fifty mentioned. Naturally enough, each feels compelled to by all musicians are stamped with the word classic. loud counting is an assistance and an advantage. HENRY G. HANCHETT. was that evening the guest of the Society. The playing dollars (and it is a common opinion that the lower price be thoroughly posted, or be thought a dullard by his Those which have only a local celebrity, or that have ***** There is a certain fascination about an interesting of the latter won deserved applause, although I sus¬ gives a fair margin of profit on a first class wheel), then fellow-students. any defect or infelicity of form or harmony (and there piece of music that tends to prevent its thorough practice. pected that he himself was disappointed with his own the purchase of a wheel and a bicycle suit will no longer Sometimes the class takes “ outings,” doing all their are such which have a good deal of vitality) are not Transposition at Piano. The pupil is aware of what he ought to hear, knows that performance. He alluded to the subject in a subsequent spoil the sale of a piano. There is no doubt that many work under the shadow of some wide-spreading tree in admitted to the distinction of being classic. A com¬ THOMAS TAPPER. a mistake is a mistake, and that the passage should conversation, and it came out that he was much distressed an economical papa has placed before his offspring the the fragrant woods ; or an “ evening at home ” is giveD, position to be classic, as that word is now under¬ The first essential in transposition is to know what is sound in a way that he thinks he has in mind, and he because he had several times struck the key next to the alternative of a piano or a wheel; and there is as little introducing some novel idea of entertainment sugges¬ stood by musicians, must first be a model of excellence to be done, and to endeavor to foresee into what trouble wants to hear the complete musical development of the correct note in the bass. doubt that almost any young person of the day would tive of some line of musical study. in form and harmony; second, it must possess that one may fall. To reduce the chances of blunder, one idea. This desire leads him on in spite of mistakes and As his annoyance did not convey the impression that choose the wheel in preference to the musical instru¬ We have also in process of arrangement a musical mysterious vitality which makes it outlive its companions. should think carefully of the piano-peculiarities of both imperfections. A great deal of music is in the mind of he was aware of the cause, I ventured to suggest that ment. scrap book, to which each pupil contributes whatever he And, third, it must be accepted by the common consen¬ old and new key; locate the tonic, dominant, and lead¬ the performer, who, knowing what he wishes to say, such a mistake could have been avoided. But, it may be said,the exercise on the wheel absorbs can find of interest to musicians ; personal items of sus of musical opinion as belonging to the first rank. ing-tone in each ; note the accidentals in the first key fancies that his hearers understand him, although he is “How so?” he asked in astonishment. “If you a good deal of time that might be devoted to study or prac¬ modern musicians are in order in this book, and authentic Classic music is not a question of simplicity or diffi¬ and what they will become in the new key. This bit of not clearly expressing himself. To avoid damaging measure your keyboard with both arms outstretched,” tice ; and this is true. It is one of the regrettable things in items of information of the less modern writers are es¬ culty. There are beautiful and living forms at every forethought will be found helpful, because it makes one practice in such ways it is worth while to get rid of the I replied, “you will find that the middle note (before connection with the matter. There is little doubt that the pecially valuable. grade, from what are now regarded as the simple melo¬ more or less positive of what is to be done. musical interest that a piece has until its technical parts which you ought to sit) on a seven octave piano is not inordinate use of the wheel will lead to many undesirable There is no question but that the town teacher needs dies of Mozart’s, Haydn’s, and even Beethoven’s com¬ As elementary practice in Transposition (the above are mastered. For this purpose it is a good plan to the one marked C (middle C), but E flat. Our piano mental and physical conditions. To quote once more: to provide some method of so interesting the pupil that positions, all the way to the highest works of these and rules being ever in mind) one should begin with single- mark off sections for practice, using the letters of the methods still adhere erroneously to the old statement, “ I am afraid the next generation will show signs of at no time the study of music becomes monotonous. o ’.her great masters. A short definition of classic music voiced melodies. Transpose plenty of them. One alphabet to indicate the beginning of each section, mak¬ which was true when the highest and the lowest note physical degeneration resulting from too much wheeling; Intelligent teaching is quite as essential as intelligent might be “that music which for more than a generation learns a new habit by doing it a great deal; not by ing the sections quite small (from two to eight measures were both F. At the present, if the piano possess seven and fancy a generation of young people with no taste for learning, and it is only when there is an undefiDable has been considered by all musicians as the best.”— thinking about it and remaining inactive. A child’s Geo. F. Root. according to difficulty), of course, practicing each hand and a third octaves the middle note is not E flat but E.” music, or letters, or dancing, for that is where the yet insoluble bond of sympathy between teacher and pu¬ song book with exercises in one, two, and three parts is separately at specified metronome rates, and—this is the The value of my suggestion was promptly acknowl¬ bicycle fever is leading. What will the home be without pil that Buccess crowns the effjrts of either. the very best book to begin with ; then simple four¬ edged. important particular—making the close of the piece or music and the cultivation of the arts to which we owe so It has been said of the late Hans von Biilow that he voiced chorals that modulate but little ; afterward short movement the first section for practice. Let the pupil much of refinement?" could read a pianoforte work entirely away from the compositions written in a rhythm that is not so uniform earn the last eight measures of a piece first, hands Granting all that, however, hearty and enjoyable ex¬ piano, and afterward play it without the music and also as the choral. Some of the easy piano works of Gurlitt separately and then together, and by memory, then the the bicjyole graze and music. ercise can never be a bad thing; and when the craze has —Confucius said a hundred years before Plato, without any practice whatever. A few days ago I saw are very good. Afterward progress is easy. prece ing four or eight measures, then these two sections subsided to the proportions of a normal enjoyment of a “ Would’Bt thou know if a people be well governed, if its a well-known pianist read at sight a work by a modern ***** together, then a third section (“ C ”) just before “B” BY HAMILTON C. MACDOUGALL. proper sport, which it is bound to do, our young people manners be good or bad, examine the music which it French composer, and after that single reading it was and of a similar length, then section “ D,” which will will be found all the better fitted to study music and will practices ”- played from memory. All this was done in the midst Musical Form. What effect will this craze for the bicycle have on the immediately precede “ C ” in the print; then from “D” come to it with all the more zest. The rapid advance of musical art in the life of our of conversation by two or three who stood near the sale of musical instruments and merchandise and on LOUIS C ELSON. roug C, B,” and “A,” to the end; and in this If there be a cloud, it has a silver lining. people is shown in its cultivation to-day along with performer. A simple consideration of both these illus¬ music teaching ? It was Madame de Stael who once said, “Architecture way wor back to the beginning of the piece; it is evident science and literature in our institutions and throughout trations shows that the hands were in all essential ways Some of our musical friends are getting despondent is frozen Music,” and one may invert the proposition e piece will not be quite so interesting musically and our land ; and this is in response to a popular demand. the obedient servants of the mind ; that technic means A SUGGESTION. and it will be equally true, “ Music is a species of can, herefore, be more thoroughly studied technically; a ready. From one of the Western musical papers, 7 he Musical cul’ure has not only progressed along with the knowing what to demand of the hands, and how best to Presto, the following is clipped :— Architecture.” There is far too little study made of a so t at y the time the first eight measures of the kindred arts, but in advance of them ; for many of the make them do it. It means training first for mind, then BY PEARL MACHENRY. th,s architecture, and in recent days, largely because of piece are learned the whole will be known. Moreover, The phenomenal growth of the bicycle business and great masters who are being most appreciated to day for hand. A great deal of faulty technic lies in the the influence of Wagner, many affect to despise form as as the latter part of a piece is apt to be harder than the t e universal spread of-- the craze amongB ___all classes of In many years of incessant teaching, I have found my have been dust for more than a century, while their heads of our players —Thos. Tapper. applied to musical composition. “How rigid it seems ” arst part, the hardest part will be likely to get the most peop e has so far affected trade that it can no longer be last effort to interest my younger pupils productive of genius and magnetism are reaching oar hearts through practice. gar ed with complacency. * * * The enormous more good than anything attempted in the past. This a multitude of avenues, where mind, and not matter, are growt of the bicycle business is everywhere apparent is in the form of a “Conversation Class,” and has in the ascendancy: 162 THE ETUDE. THE etude. 163 Mr. Schuett demonstrates not only characteristic indi¬ four-hand music on selection, from which you can select such as you X UDLIOHLUi Q XIU.L.DO. HAd Dnnim„„ ,. . , , need for special cases and pupils. _ 8ummer reading we have several books in our TESTIMONIALS. viduality in all his compositions, but also the most A. H. B.—Your desire for further light on the accent exercises of _ _ , , „ . cafaiogue especially suitable: “ Chats with Music Stu- _ painstaking and musicianly treatment in the development the Mason method is hard to meet, for the clearness of statement in Louis C. Elson s work, European Reminiscences ” dents,” Thos. Tapper, $1.50; “ Musical Mosaics,” by W. Your publications take very well indeed here. This of his motive. the books of Mason’s “Technic ” is remarkable. We would advise musical an o erwiae wi be ready to deliver this F. Gates, $1.50; “Anecdotes of Great Musicians,” W. F. morning I had occasion to introduce them to the organ- that you begin reading again, and leave no part till you understand The composition, “ Gavotte Humoresque,” which we month. The special offer we will continue during the Gates, $1.60, and “ Reminiscences of a Musician’s Vaca- *8t at George’s Cathedral in Cape Town ; he was very publish in this issue, deserves the closest study. It rep¬ it, and have done the exercises yourself at the keyboard. At the keyboard, with the books before you, working over everything till month; 75 cents will now purchase the book delivered tion Abroad ” bv Mr T r Fi0„n_ v u ■ • . muob pleased with “Mathews’ Studies,” and decided resents the composer in his best vein. The tempo as you thoroughly understand it is the only way to do it alone. How¬ to your door. We gave a short description of the book the present rime Ld win be AmS. ^ given by the composer, 112 M. M. to every half note, is ever, a good teacher is better. The new work, “ Preparatory Touch in last issue. For summer reading nothing better can subscribed in advance. There is yet time to get a copy at Gape Town, South Africa. the extreme, and only finished artists can bring it up to aud Technic,” by C. E. Shimer, you ought to read. Ready in July. be chosen. It is written in Mr. Elson’s sprightly and in- advance price, 75 cents. This work sold up till the The book, “Celebrated Pianists,” is being read by that time consistent clearness which is a very important teresting style. It teems with wit and information from present time by subscription only for $3 50. You will my pupils greatly to their profit, feature in this piece. The average player will count by beginning to end. The serious and comic are blended readily realize what an exceptional offer this is—the Mrs. W- W- Beck> quarter notes, and 180 M M. would be about whatis ex¬ EDMUND NEUPERT. often on the same page or in the same interview. Every work is one that no library should be without. What a blessing you are to this day and generation pected. There are two pages more to the piece. They avenue of musical interest in every European city has * * {or aI1 you are d°IDg for music, musicians, and students, are omitted to save space, but are given in Da Capo ex¬ Edmund Neupert, whose graceful valse “Caprice” been explored, not a living great musical light but what -or , . * * * J. S. Dinivoodie. cept a few measures at the close by the way of closing has been visited. We feel sure that all who do not order u f ? 'SSUed a neW eatal°gue description of our The Etude is the best medium for valuable news to appears in this issue of The Etude, was born at Christi¬ chords. It can be had complete in sheet form. It is, the book will regret it. It is worth $3 50 and cannot be m PabhcationB. If you have not a copy we bo'h t®ach?r and pupil, while each number contains a ania, Norway, in 1842, perhaps, one of the best pieces for average players we , , r , ,. ... , , . „ shall be pleased to send you one. fine collection of music carefully fiDgered, etc. His early studies were with his father till 1866, when had for 75 cents after this month, when the offer will y pH1L p# Keil. ever printed in the journal, and will form quite an ac¬ he went to Berlin and finished his education under Kul¬ be withdrawn and the regular market price will have to . * * * * * “ Musical Mosaics,” by W. F. Gates, has been a highly quisition to any player’s repertoire. W. Malmene. lak and Kiel; after which he spent some years as Pro¬ be paid. I he best idea of the work can be formed ihe June issue of this paper has been most favorably valued part of my library for the past two years. I fessor of Piano in the Conservatories of Moscow and when it is said that it is a sort of musical “Innocents receiyed by all of onr subscribers. We have not the consider it a unique and valuable collection ot musical Copenhagen. Abroad” of Mark Twain. All who have good open space to print all the kind words we have received. We thoughts and ideas. Emma C. Greenwood. It was to him Grieg dedicated his beautiful A-minor accounts with us can have the book charged. are ready to deliver to any of our workers for premiums “ Anecdotes of Great Musicians ” came safely to EDWABD SOHUETT. Questions anfl &nswei|s. concerto, and Neupert subsequently won many artistic * » all the different special premiums that have been men- band- 1 find U an exceedingly interesting and amusing triumphs through its masterly performance. ... tioned from time to time but are not on our regular list. °° * MrS- W- K’ SulTB- It was in the year 1856 that Edward Schuett saw the The three months summer subscriptions to The Remember that besides the valuable musical Dremiums 1 can recommend “ Anecdotes of Great Musicians ” [Our subscribers are invited to send in questions for this depart¬ In 1882 Neupert came to this country, settling in light of day at St. Petersburg. Although he evidenced ment Please write them on one side of the paper only, and not Etude for 25 cents have been taken by quite a number, we offer, our cash deductions are most liberal We *° *“ mu8ica> Pe°Ple- E- M. Alton. with other things on the same sheet In Every Case the New York, easily taking his place among the best of talent for music at an early age and desired to adopt it Writer’s full Address must be Given, or the questions will It is to those that need a stimulant to practice dur- sunnlv circulars and fi-on • , „ Iheodore Presser, of 1708 Chestnut Street, Philadel- our resident artists. as his profession, he met with opposition on the part of receive no attention. In no case will the writer’s name be printed ing the warm weather that this offer is especially EL o f^workinvn n I 7 a C°pl68 ^ l phia, is perhaps the only music dealer in that city who to the questions in The Etude. Questions that have no general Here he continued to reside until his death, which ...... , 1 aesirous ot working up a list. A number of teachers does not deal in cheap music. He carries a larger stock his father. It took a great deal of coaxing before interest will not receive attention.] occurred a few years since. directed. A teacher leaves a promising pupil with no have signified their intention of doing some summer ot imported music than any other man in the city. His parental sternness gave in, and allowed the boy to fol¬ W. E. S.—1. For a history of the violin we would recommend guide nor incentive during three or four months of the work in this line. We will mention a few of our most 8tore is 145 x 25 feet’ with balc0Bies running the entire Neupert’s compositions, mostly for the piano, are low the dictates of his inclination to study music. The “ Pipe and Strings,” by W. F. Gates, page 64, etc. year. When the serious study is taken up again in the popular premiums ■— length, and lighted throughout by electricity. He em- richly imbued with a characteristic Norwegian flavor, and father had, however, the gratification of seeing his son 2. The composer, Bohm was born in Berlin, in 1844, on September fall the interest has nearly died out, the fingers have run u u n j D , ploys over twenty people, who are kept busy opening and 11th, and is still living in that city. without exception denote a poetic imagination and __, j . . . H'gh Grade Bicycle. 60 subscribers answering mail orders from all parts of the country. carry off the first prize at the Imperial Conservatory to weeds, so to speak, and a great many have become so Ladies’ Gold-filled Watch. 16 “ Mr. Presser deserves great credit, for only twelve years I. E. T.—When playing our choruses, arranged for male voices, the highly musical temperament. of Music. Edward Schuett now went to Leipsic, where indifferent that music will have been dropped entirely. Franklin Fountain Pen. 3 “ ago he and his manager started the business, which has parts on the treble staff, that is, the first and second tenor, should be It was my pleasure to meet him once in Boston, when he studied counterpoint, fugue, and composition under played an octave lower than written, because the male voice sounds It is to keep alive the musical interest during the trying Davis’Spring Back Piano Chair. 10 “ developed into one of great importance. He also does he appeared before the N. M, T. A. in a recital, in Jadassohn and Richter; here his first large composition, an octave lower than the female. Custom has sanctioned the use of time of summer that the three months’ subscription is Music Cabinet8. 9 to 24 “ his own printing and engraving. a serenade for stringed instruments, consisting of four the G clef in this way, for male voices, in place of the unfamiliar C which he gave a masterful interpretation of the appas- offered. Send for our complete premium list if you are inter- The Etude eclipses any publication of its kind in the clef, which represents the actual pitch of the sounds. movements, was brought out at the Gewandhaus and sionata sonata of Beethoven, as also a group of his own * * # # ested. country that I have seen. I would not be without it. E. B.—At this time there are no distinct schools of French, Ger¬ received great praise from the critics of that critical city. poetic creations. ***** W. Ekg- Walker. man, or Italian singing. It is a matter of individuals, rather than of In 1879 he went to Vienna to continue his piano studies His personality was most agreeable, and his generos¬ I his is the last month for the special offer for “Prepa- For fear that I should miss a number of The Etude nationality, and we are not aware that any one nation can claim that ratory Touch and Technic,” by C. E. Shimer. The book ’T 18 Wltb reSret that we find it necessary to mention which I prize more than I can express, I enclose price under Professor Leschetizky ; he was welcomed in the from its ranks come the greatest teachers. ity toward his fellow-musicians was a noble characteris¬ will be delivered about July 15th, after which all special one Point to our patrons. It is with regard to returning of subscription for another year, most cordial manner and, the musical atmosphere appear¬ As to quality of tone, that is certainly primarily a matter of nation¬ tic of the man. ality. The French voice, as a result, is nasal; the German, guttural; offers will be refused ; till then, 25 cents will bny the w*tb tbe “ On Sale ” music those goods that have been ^4rs ® D. Stiver. ing to him more congenial than that of other cities, he I can never forget the kind manner in which he re¬ the Italian is par excellence the singing language; it is smooth and book. During the summer is a good time to examine especially ordered. This practice is most unjust, and there „ We were so P^ease^ with Grade 3 of “ Landon’s decided to remain, making it his second home. Most ceived me, and the generous appreciation he expressed flowing, but those qualities may be gained by any one under the and study a new work. All those who have been using has been of late so much of it that we must make men- examine Grades ?*and ^laymg tbat We woald like to significant is the name of his villa, “ Mon Repos,” at guidance of a good teacher. It is preferable, always, to study under to me of some of my compositions that had come to his Meran, indicating peace and rest dwelling there. a teacher of one’s own nationality. notice. Mason’s “ Touch and Technic ” ought, at least, to have tion il- In our zeal to have our dealings satisfactory, ‘ Sisters of St Francis We know of no one who gives lessons through the mail but Mr. a copy of this work. It will be of untold assistance in and to fa *e teacher as much as possible, we have I heartily congratulate you on being the 'bHsher‘ of While Vienna is his permanent home, yet occasion Such sterling qualities, both as man and musician, are ™ John Howard, 318 E. Fifty-ninth street, New York. We do not wish teaching the system of Dr. Mason. If you have not been made exception after exception where there was the so excellent a work as the “Students’ Harmony,” ally he has been heard in more distant cities of the to suggest him as an authority. a lasting monument to his memory, and are worthy our teaching this system, why not procure this volume of C. 8hghtest reason, or where there was any likelihood of which I received lately. It combines thoroughness with Austrian Empire in conjunction with Madame Nor- Vocal lessons by mail must, of necessity, have comparatively little most earnest emulation. E. Shimer’s, who is a prominent pupil of Dr. Mason, and UB having call for the goods within a reasonable time, comprehensiveness, while the numerous examples, illus- mann-Neruda and Leopold Auer. As piano virtuoso he value. The teacher can write what the pupil is to do, but not being His compositions, which are numerous, include valses, * at hand cannot see and hear if his instructions are carried out be prepared to introduce the system in the Fall. Re- that is, goods that we keep on hand ; but as in any stock “ost^a^ appeared in St. Petersburg, Warsaw, Leipzig, Cologne, ballades, polonaises, barcarolles, and some 125 concert properly. If they are not, his efforts are in vain. member, this is the last month of the special offer of 25 of mu81° 1118 impossible to keep everything, and we have ;8 the best work I have met with. Wishing you e’very Vienna, Pesth, Prague, Paris, etc., on which occa¬ The best work of that sort is done by those magazines that devote etudes. He also published a piano method and over cents postpaid. to order from the publisher and pay for immediately success with it, lam W. F. Robertson. sions his concerto for the piano gained him consider¬ more or less space to the subject, as the Vocalist and Werner’s Voice. 700 technical exercises. able fame. As a warm admirer of Wagner and his C. P. R.—1. After having finished dementi’s “ Gradus ad Parnas- His death was a direct loss to the profession of his ***** a «reat deal of especially ordered music, when this is I have received the “Studies in Musical Rhythm ” works, he was chosen in 1880 Musical Director of the sum,” the etudes of Moscheles, Op. 70, Books I and II, and Kullak adopted country, where he made many friends by his The “Pronouncing Dictionary ” of Dr H A Clarke returned 1118 an absolute loss to us. We trust that this by E. L. Justis, which fills a long-felt want. ’ Op. 48, Book II, might be studied advantageously. Vienna Wagner Society, which position he held for six pronounced talent and genial personality. is completed and the entire work is in the hands of the W‘U be a11 that ‘8 neceB8ary to remedy the evil- Wm Benbow. 2. The “ Well-tempered Clavichord,” by Bach, is not graded. No. printer. It will be rapidly completed. Onr aim is to ***** J. havTe received the game of the “ Great Composers,” years. In 1887 he received an invitation from Madame 10, Part I, No. 2, Part I, Vol. II, No. 16, Vol. I, are about the best to Wilson G. Smith. Cosima Wagner to go to Baireuth as “ Musikleiter ” and begin with. The Bcekelman’s Chromo-analytical edition of these make it the most complete dictionary published. It has IF in need of any special selections of music for ex- party ^ " ^'.^A^Meikle.081 Counselor to the committee directing the Festspiele ; he fugues is the best for self-instruction. 3. Liszt’s “Rapsodie, No. 13,” “No. 6,” and perhaps the easier r:o:k'ro7l7rn7:Ctirary P088e88e8-. ^f8’’ hibiti0n PurP°ses or 8ummer teaching, we stand ready The “ Studies in Musical Rhythm ” I find of great refused this offer, as his time was too much taken up with edition of “ No. 2,” would answer your purpose. THE IDEAL. original from A to Z ; every definition has to supply any or all needs from one of the largest and value in teaching; it gives new light on the subject, the bringing out of his own compositions, which became 4 Lambert’s Conservatory of Music and the National Conservatory een revised, phonetic pronunciations are given to best selected stocks in the country; selected by compe- Clara F. Lyle. more and more in demand. Since then he has rarely are well-known institutions. Dr. William Mason, Albert Parsons The ideal teacher should possess a thorough musi¬ a oreign terms. Proper names receive attention, tent musicians who are capable of suggesting and per- The game of the “ Great Composers ” created great been heard in the concert-room, and chiefly only when Ferd. Tuten, Xaver Scharwenka, and many others are well known very ce e )rated musician’s and composer’s name is pro- haps making a better selection for your purposes than enthusiasm in our Ladies’ Musicale. as private teachers in New York city. jj cal education and wide general knowledge ; he must be the first production of one of his works took place. ever ready to receive new, useful ideas, and versatile in nouneed, oesides giving his birth and death and speci- you would yourself. This really brings the advantages Clara F. Lyle. In 1892 his opera, “Signor Formica,” in three acts, M. J.—Vol. I of Mathews’ “ Graded Studies” does not furnish suf¬ ficient material for the beginner; therefore, a book of easy music is adapting his methods to the needs of each pupil; he a en eqnivalent8 of English terms are given in of a large music store to your door. u The First Year for Piano or Organ,” by Thayer, was brought outatthe Imperial Court Theater under the t e Appendix : Thus “ retard ” has many foreign terms * * has been received. I think for children especially it necessary. Landon’s “ Pianoforte Method ” has the needed material must have a personality more or less magnetic; he personal direction of Mr. Jahn ; the work was received and it is so fully annotated and arranged as to give the needed help, which mean about the same thing, the same with words * * * 7°nld .be ™0Bt bedp£ul Kth? g™dation is so gradual, over all weak places and points of difficulty. The studies by Ma¬ should be regular, letting nothing interfere with the with many favorable comments. “7“’” The,, .111 b« a„ .b,ide,d “New Method lb, “ .ill „.k. . JiSt'SeTeSL"' thews, published by Church Co., do not in any sense supply the faithful, punctual discharge of all his duties ; he should Last season he had the gratification of having his great place filled so admirably by the “ Graded Studies ” of Mathews, pub¬ eaition which will contain only the more prominent 8Peclal feature of the refined and artistic use of the ticing from the start. Lillie Henderson. lt Suite for Piano and Violin ” brought out in Vienna ; know when to blame and when to praise ; he should be lished by Presser, at The Etude office. The Presser edition are terms. Both are included in the special offer of 60 Pedals. Foot technic is carefully cultivated in a set of Some time ago I received the “ Students’ Harmony ” kind, patient, watchful, helpful, strict and firm, fired it met with an enthusiastic reception, and immediately those selected from all of the available studies, selected for their in¬ cents, which is still in force. Let us have your order 8Pecial exercises and pieces adapted to this purpose, by Mansfield, and am very much pleased with it. It is with enthusiasm and a devoted love for his work,—not became a standard number on the programmes in fifteen dispensable value. Those published by Church Co. are an after¬ for the work before it is too late Much pains is taken to impress a correct and true idea r'gb>ly called the “ Students' Harmony; ” no other thought, selected after the best material had been culled out for the only for music, but for teaching. He will then surely of the great musical cities in Europe, and was also . ‘ of the function of the pedals upon the pupil. This is 1°^ w of“ak?8 ‘.biDg8 8° clear, Presser edition, and they are, therefore, less musical, more technical, played in Boston and Chicago. awaken an answering ardor in his pupils, and secure ***** , .iL . , particularly at the beginning. The binding, etc., is all and less extensive in quantity. Teach the scales at about the end T . done with a set of original and special exercises, show- that can be desired. Clarence Rawson. from them diligent, careful study, which will develop to During the past season Mr. Schuett scored a great suc¬ of the first term, or as soon as the pupil has gained some freedom of !s a little early to talk about next year’s business, ing the pupil exactly what the pedals are for, and what ..." technic. Teach the scale of D-flat first, and let it be played two or the utmost all the capacity they possess; for if each cess with his piano concerto, Op. 47, which was pro. teach 6 r°UW s'mp*y 8ay our facilities for supplying the they are not for, as well. It is evident that much of the much pleased with it. 4 6 Mrs. ^yquk"7” more octaves, for the prime point to be gained is, that the fingers scholar feels that his teacher has an interest in him as duced at the fourth Philharmonic Concert in Vienna, and eac er s needs are not equaled by any house in the poor pedaling that we hear is due to a false and r. u i “ • u • • , ,, shall go in alternate order, the thumb after the third and then after ■ which will soon appear in print by N. Simrock, Berlin, an individual, and really cares personally whether he the fourth finger,or these fingers follow the thumb in this alternated country ; efficiency, promptness, fair dealing, low rates, ignorant idea of what the pedals are really for. Early the piano teacher. The exhaustive^laboratlo^of the succeeds or fails, it will arouse him to put forth his best who has been Mr. Schuett’s exclusive publisher for the order when playing in the reverse direction, and this requires two or a ew of onr advantages. Get onr terms and cata- impressions need to be right and to be made emphatic, original plan, the scales in canon form, the treatise and more octaves.—C. W. L. efforts. Does this paragon exist? Let us hope so; or, past three years, and who will also, in the early fall, ogue efore deciding on yonr dealer. The quickest that they may be the foundation for future attainment, particular directions with regard to touch, are features K. F. H.—The writer does not believe in “ Table Finger Exer¬ if not, let us each strive to develop into such a teacher, issue several other works from the pen of this versatile hT-1 fin ^ bou8e 'D tbe country; every order that comes and this essential feature, the artistic use of the pedal, is tra|ninJen er 1 e wor admirable for foundational writer, viz.: Op. 48, “Scenes Pantomimiques; ” Op. cises.” Nor does he find it at all necessary to use strengthening ex¬ that the picture may become less and less an ideal ercises of any kind other than the Two Finger and Accent Exercises n 18 e as far as possible on the same day. We have most thoroughly and carefully taught. The work will T, . .R' urtis. 49, “Trois Morceaux ; ” Op. 50, “ Deux Miniatures.” vision, and more and more a living, working reality. of the Mason “ Techpic,” Get your music dealer to send you a lot of now a force of thirty clerks, and all engaged in the be ready for early fall teaching. Advance orders filled “ Touch and Techmc^—no^nothin?^ystem of Mason’s Nellie Strong. 66 mu81c department. at the special price of 25 cents each. ’ ’ Jessie M. Whittaker. THE ETIJHE 165 the e t tt t> e 164= ENLARGED AND REVISED. STUDIES IN I have received the » Studies in Rhythm, by■ E. L. Lessons in Musical History, The Gyastik, 4 4 Justis, which I have begun to use and whmh will help BT MUSICAL RHYTHM. me much with the juveniles and all those who are de JOHN COMFORT FILLMORE. OF A COMPLETE HAND GYMNASIUM ficient in rhythmical sense. A- jnL1 By EDGAR X,. JUSTIS. I am delighted with your filling of my order, and Bhall AND EXERCISER, Price $1.50, postpaid. PIANOFORTE COMPOSITIONS. FRIGE 50 CENTS. certainly send to you in the future when I need anything To Develop the Hand, Wrist, and Forearm in your line. Thanking you for your prompt attention, PRICE $1.00 EACH. of Pianists, Organists, find Violinists. I am Lauba M‘ Y08T- A comprehensive outline of musical history from the FOR ANYONE STUDYING MUSIC. A glance at the table of contents of these two Albumt I wish to say that my dealings with your houBe have beginning of the Christian era to the present time; e p FOR THE PIANOFORTE. will show their superiority over most collections of piano been perfectly satisfactory and 1 thank you very, muc PRICE $3.00. daily designed for the use of schools and literary inst music. They are full sheet-music size, well printed od Most every pupil is deficient in time, and the reason for your kind attention. Miss Lkna K. Allen. good paper, durably bound, and attractively gotten up tutions. is, that no direct practice is ever given. In this work The “ word of recommendation I am pleased to By HAMILTON 0. MAODOUGALL. The music is such as you hear at concerts and musicales J. STRONC, Inventor and Patentee. Address Publisher, nothing but time value of notes is considered. The ex- write ” concerning your edition of “ Beethoven be ec- Contents—Concert Aibnm, Vol. I. Classic. tions” is that I think it the best thing you have put e cises can be played on one key at the piano or tapped Theodore Presser, Chopin, Op. 9, No. 2, Nocturne. out, the Mason “ Technic” and Mathews’ V.udes Tschaikowsky, P The Skylark. out with lead pencil or hand on the table. The exer¬ The Gyastik is a small machine to develop the hands excepted. It will speak for itself to the progressive 1708 Chestnut Street, In Two Books, each $1.25. In Progressive Order. MoBzkowski, M., Op. 15, No. 1, Serenade. cises are not to be played once or twice, but daily until of musicians by scientific method. and receptive teacher ; the others let such editions alone. Hummel, J. N., Op. 52, Rondo In C. Philadilphia, Pa. Mitcheson, Mary F., Petite Berceuse. perfect command over every combination of rest and Weighing only six ounces, can be carried in the hand- W. Francis Gates. Kavanagh, I., Op. 2, Polonaise Antique. Von Wilm, N., Op. 14, No. 2, Canzonetta. notes is attained. The work can be given with the very satchel or in the pocket. List of exercises goes with I am much pleased with “Selections from Beet¬ Houseley, Henry, Dance Antique, Bye-Gone Days. Bendel, Fr., Op. 92, Nocturne. first lesson in music. There is no work covering exactly each machine. hoven,” and shall make an efforUouse it n> my Mass. Owing to the large demand for these two vol¬ De Kontskl, A., Op. 370, Menuet, Louis XV this ground. Writing books acquaint the student with It is so small and inexpensive that every musician can Chopin, F., Op. 40, No. 1, PolonaiBe. umes in the past, we have just issued new editions Schumann, R., Op. 23, Nocturne in F. • the theory, but this book is real practice in rhythm. have one, every child, and all older musicians, as it is Please accept my thanks for your promptness in fill¬ of both greatly enlarged, which have been thor¬ Rubinstein, Anton, Op. 3, No. 1, Melody in F. adapted to each, to strengthen the weaker parts, to 6,000 SOLD.- Heller, St., Op 45, No. 20, Village Fete. ing my orders and sending music to jne.^ ^ oughly revised and graded. We can now heartily Schumann, R., Op. 124. Slumber Song. Published by THEO. PRESSER, PHILADA., PA. keep flexible oldest fingers and hands. Indeed, no =30= Delioux, Ch., Op. 14, Marche Hongroise. recommend them as the two best collections of Bach, J. 8., Lou re in G. musician can afford to be without The Gyastik. “ Anecdotes of Great Musicians” exhibits great care easy, melodious, refined music published. Rubinstein, A., Marche a la Turque. The proper use of it rapidly develops the weaker and discrimination on the part of Mr. W. F. Gates, and Beethoven, Op. 14, No. 2, Andante Celebre. SELECTED STUDIES. Every piece in these two volumes has been se¬ Moszkowski, M., Op. 23, No. 2, Germany. portion of the hands, rendering the fingers and wrists also great breadth of research. It is certainly a rich MELllOOS AND EASY STUDIES Chopin, F., Op. 28, No. 15, Prelude. FOR supple and strong, ready for the highest degree of dex¬ contribution to musical literature for the use of teach¬ BY STEPHEN HELLER. lected, annotated, fingered, and edited by the com¬ Mendelssohn, Op. 62, No. 6, Spring Song. ers and students, in that it brings into compact form Schubert, F.. Op. 78, Menuetto in B Minor. terity upon the keyboard. Send foi' Circular. piler who, being a practical teacher himself, knows Rubinstein, A., Op. 10, Kammennol-Ostrow. PIANO AND REDD ORGAN many rare incidents which throw light upon the inner precisely what is needed to make this primary study Schumann, R., Op. 12, No 2, Soaring. heart life of our great composers, as well as adding zest Selected from Opus 45, 46, and 47. to the study of many ofiheir works. Musical people more of a pleasure than a study, and robs that word Contents—Concert Aibnm, Vol. II. Popular. BY CHAS. W. LANDON. THEO. PRESSES, 1708 Chestnut Street, Phila. everywhere will welcome this work. I bespeak for it an Doppler, J. H., Op. 131, I Think of Thee. of all its terrors to young pupils. Moelling, Tbeo., Elfin Dance. unusual success. S. H. Blakeslee. PRICE SI.OO. PRICE S1.50. If you find difficulty in interesting your young Nowoczek, P., On the Hills. Muller, W. A., Op. 112 No. 2, Polonaise I received the “Student’s Harmony,” by Mansfield, pupils, the publisher recommends you to give this Foerster, Ad., Op. 63, Peace of Evening Perhaps the most popular set of Easy Studies ever iisued and am very much pleased with the work. Goerdeler, R., Angels’ Voices. work a trial. Gelbel, A., Bohemian Melody. EASY METHOD J Eltha N. Browne. Revised by Albert Ross Parsons, Calvin B. Cady, Arthur Foote, Edward Baxter Perry, John S. Van We wish to make mention of the fact that the Biehl, A., Op. Ill, Chiming Bells. We have received from Theodore Presser ‘‘Four Meyer, L., Alice, Valse de Salon. MUSICAL GAME. G. and grading of these two volumes has received especial Dorn, E., Break of Morn. Fugues from Bach’s Well tempered Clavichord of ihe Cleve, Wilson Smith, Charles W. Landon. Macfarren, W., Golden 81nmbers. FOR THE PIANOFORTE attention on these new editions. The following list Goerdeler, R., Italian Peaaants’ Dance. now famous Boekelman edition. Mr. Bernatdus R e- These fitudes are carefully fingered and phrased, kelman some years ago began the publication of Bach s of the contents of these volumes tells for itself the Waddington, E., Op. 19, No. 2, In the Grove BY metronome marks given, use of pedal made clear and Hofer, W. L- Op. 12 Tarantelle Burlesque. THE GREAT COMPOSERS Fugues with a revision far beyond any they have yet choice selection of composers represented Le Hache, W., The Sailor Boy’s Dream. received, and also a colored notation that gave to the concise, and each one is described, named, and anno¬ Goldbeck, R., Op. 12, L’Amazone Mazurka. A_. ROMMEL. pupil at a glance all the component parts, such as the Goldner, W„ Op. 36, Air, Moldave Mazurka. PRICE 50 CENTS. tated, the remarks containing valuable hintB and sugges¬ Ganz, WOp. 11, Words of Love. subject, counter subject, answer, repercussinos, stretto CONTENTS OF VOLUME I. tions as to touch, style, and methods of study. This is De Kontskl, A., Op. 369, Persian March. passages, etc. Naturally such an edition did not make Wieniawskl, H., Kuyawiak, Polish Dance. the finest edition of these valuable fitndes ever published. Macdoueall H. C.Preparatory Studies. The Most Important and Interesting Musical price 91.00. rapid progress, for each number entailed an incredible Wilm, N. von.Op. 81, No. 1 To begin w.th. amount of work. The four fugues mentioned above are Beinecke, 0.Forget-Me-Not. Came Ever Issued. No. 16 of the first volume of the “ Well temper! d Address Publisher, Spindler, Fr.Autumn. Beinecke, ..Evernug Twilight. Eight-Measure Piano Studies Clavichord.” No. 2 of the same volume, and Nos. Z This Beginners’ Instruction Book is a thor- Lauciani, P...Serenade. WILSON G. SMITH. Op. 60. Every card has an excellent likenesB of a composer and 12 of Vol. 2. As charts for the analysis of fugal THEODORE PRESSER, Gurlitt, C.Sunshiny Morning. mghly practical work. Every exercise has been form these works are invaluable, and Mr. Boekelman Reinecke, C.Barcarolle. In Two Books. Price 81.00 each (Sheet Music). contained upon it. In addition to being a most interest¬ Altmann, C..Hunting Song. tested for years in actual practice. It contains deserves the thanks of every musician for their careful 1708 Chestnut Street, • Philadelphia, Pa, Gurlitt, C.Spring s Greeting. ing game, it being like the well-known games of litera¬ everything a progressive teacher might desire. production. Daily Advertiser. Volkmann, B.Folk Song. Op 27, No. 5. THE LATEST AHt BEST WOBE FROM THIS 0E13IHAL COMPOSES THIRTY Lanciani, P.Chansonette. ture, “Authors," it is instructive, familiarizing the There is nothing antiquated, nothing difficult, Beinecke, C.Under the Linden Tree. players with the faces of the different composers, the Gurlitt C.Festive Dance. Op. 140, No. 7. These studies are intended for daily practice and foi nothing dull. Tschaikowsky, P.Italian Song. Op. 39, No. 18. the special development and equalizing of the third, dates of birth and death, and last, but not least, four of Kohler, L.Christmas Bells. fourth, and fifth fingers of each hand. They will mate¬ Tschaikowsky, P.In the Church. the greatest works of each. The game is a large one. Foerster, Alb.Nocturne. rially modify the monotony of practice, and add musical seventeen tricks and sixty-eight cards in all, so that it SPECIAL NOTICES. Schumann, Robt.The Joyous Peasant. interest to an otherwise perfunctory task. Supplemen¬ Beinecke, C.Prom 1001 Nights. can he divided in two or even more separate and dis¬ The Technicon. Bommel, J.Hand-in-Hand March. tary to the author’8 Scale Studies, Op. 65, about the Macdoug’ali, H. C.Christmas Pastorale. fourth grade of difficulty. tinct games; in this way a large number can play at the Notices for this oolumn inserted at 3 cents a word for one Insertion, THE MUSIC LIFE, Rummel, J...Romance. A MECHANICAL APPLIANCE payable in advance. Copy must be received by the 20th of the Low, J.Cheerfulness. THEODORE PRESSER, Publisher, same time. AND previous month to insure publication in the next number. Rathbun, F. G..Romance. Kirchner, Fr.Little Choristers. Published by THEO. PRESSER, PHILADA., PA. FOR THE Heller, St.Cradle Song. Op. 47, No. 19. HOW TO SUCCEED IN IT. Bach, J. Seb.Two Chorals. Development of Piano Technic. For sale-a technicon, good as new; Method for the Piano. cheap. Address, Box 617, Ada, Ouio. CONTENTS OF VOLUME II. BY First Studies in Reading, BY THOMAS TAPPER. Tschaikowsky, P.Op 39, No. 17.German Song. Price, Teacher’s Size, - $22.50. TTIRL. MELANIE VON WIENZKOWSKA, PRIN- Wilm, N. von.Op. 81, No. 2.Hilarity. OHAS. W. LANDON. Rhythm, and Expression Jj cipal and authorized Preparer of Piano Students Schytte, L.Op. 69, No. 12.....Good Night. Price, Student’s Size, - $12.00 Wilm, N. von.Op. 81, No. 13.Cradle Song. FOR THE for Theodor Leschetizky, of Vienna, will receive pupils Kullak, T.Op. 81, No. 3.Grandmother Tells a PRICE $1.50. in New York on and atter September 1, 1896 Pupils PRICE $1.50. Shuddering Tale. prepared for study under the Master or educated inde¬ Lichner, H.Op. 24.Scherzo. This work is especially designed to meet the Schytte, L.Op. 69, No. 11.Fairy Tale. Liberal deduction to the profession. pendently. Applications before August 1st should be Heller, St.Op. 47, No. 4.Sunday Morning. want of the popular student -with mediocre ability. Send for circular giving full information. addressed XVIII. Gurtelstrasse 148, Wahring, Vienna, Kavanagh, I.Andante. -6-PIANOFORTE*- It contains all the ideas of recent pianoforte play¬ Austria. After August 1st, address Steinway Hall, New This work is a companion volume to Lange, G.Op. 238, No. 2.Polonaise in F. Address Kullak, T.Op. 62, No. 12.Evening Bell. ing. The author is a well-known practical teacher, York. “ Chats with Music Students ” by the Bohm, C.Op. 169.Little Love Song. and author of a similar work for the Reed Organ, by MARIE LOVELL BROWN. Schytte, L.Op. 69, No. 6.In the Mill. THEODORE PRESSER, same author. Numerous phases of art Wilm, N. von.Op. 12, No. 3.Village Musicians. which is now generally used for instruction on that During the past few years Mexican and art life are talked about in a thor¬ Beliczay, J. von.Op. 26, No. 5.Barcarolle. instrument. It will be well for every teacher to 1708 CHESTNUT STREET, PHILADELPHIA. music has steadily gro wn in favor in the United Tschaikowsky, P.Op. 39, No. 21.Sweet Reverie. examine this new work. PRICE $1.00. Gurlitt, C.Op. 62, No. 11.Waltz. States. Its weird, dreamy, and pathetic nature, so char¬ oughly practical way. It points out the Heller, St.Op. 138, No. 9.....Curious Story. acteristic of the tropics, touches the hearts of all in Tschaikowsky, P.Op 39, No. 22.The Skylark. instruction book for young children and beginners NEAT AND SUBSTANTIAL sympathy with that style of music. way of success to teachers and students in Handel, G. F. .Sarabande. Among the pieces which deserve particular notice are, art life. Mr. Tapper’s informal and Heller, St.Op. 81, No. 15.Slumber Song. Hallet&Davis’ Pianos, ruing the pianoforte. This important work gives ^MUSIC * FOLIOS.!" "Noches de Luna Waltz,” “Uvalde March,” “ Re- j attention to thoroughness in foundation work, cuerdos de Mexico Potpourri,” “ Cantar Llorando thoroughly pertinent manner of writing These volumes, from the publisher’s standpoint, OUR OWN MAKE. BOSTOIT, MASS. note reading, correct fingering, equal facility m Danza," “ Campanas de Matrimonio Polka,” and has a real value in it, that will make this are all that good printing, clear type, and the beet Price $1.00. $9.00 per dozen, by Express. “ Dima de Saragosa Wallz.” companion volume indispensable to every More than 200 Pianos Sold to Schools These are recent publications, entirely original and of paper can make them. This folio 1b without spring back or ornamental work. It li a iimple strictly Mexican. “Noches de Luna” is particularly musician. Liberal discount to the profession. 'olio in cloth, with three strings to tie the open ends. striking, while “Uvalde March” bids fair to outrival and Colleges in 1891. Address THEO. PRESSER, Phila., Pa. the famous “ Zacatecas March.” The others have THEODORE PRESSER, the©, presser, THEO. PRESSER, 1708 Chestnut St., Philada. special merits which lovt rs of sweet melodies will fully CORRESPONDENCE SOLICITED. appreciate. 1708 CHESTNUT ST., PHILADELPHIA PHILADELPHIA, PA. STATION A. 168 T HE ETUDE. __ CHOICE PUBLICATIONS OF INTEREST. For Sale by THEO. PRESSER, 1708 CHESTNUT ST., PHILADELPHIA. --' ORNAMENTS IN MUSIC. CHILDHOOD’S HOURS. The Embellishments of Music. BY 24 Characteristic Pieces for the Pianoforte, A. STUDY OF THE ENTIRE RANGE OF MUSICAL IT- E.A.Y. By A. LOESCHHORN. ORNAMENTS, FROM THE TIME OF Op. 96. Price 81.25. OP. 100. JOHN SEBASTIAN BACH. 1. Sunday Morning. 1. In Church. A Recognized Authority, and Invaluable to all 2. The Little Postillion. 2. In Merry Mood. A Band-Book for Pianoforte Play ere, Sinyors, and aU 3. Excursion of Young Athletes. 3. Once Upon a Time There Was Musicians. who would Play anil Sing CORRECTLY. a King. 4. The Knight of the Rocking 4. Gliding. Horse. 5. Entreaty. 6. The Dancing Bear. Paper, ... 75 Cents, Net. 6. The Cuckoo. 6. Papageno. By LOUIS ARTHUR RUSSELL. 7. The Hunt. 7. The Country Fair. Cloth, Gilt, . . SI.25, Net. 8. Cradle Song. 8. Evening Rest. 9. A Little Dance. 9. The Motherand the Sick Child. ILLUSTRATED FROM THB CLASSICS. 10. The Little Soldier. 10. The Little Acrobat. 11. Catch Me If You Can. 11. A Child’s Dream. 12. Good Night. 12. The Gnomes. PRICE - $1.00. VOCAL TECHNIQUE. A Selection of the Favorite Pianoforte Coino..itions. This much-needed manual for music student* and teachers has been written after a most serious investigation of the subject from a histor¬ By STEPHEN HELLER. ical and practical standpoint. The book is conveniently divided into Directions for the Production, Control, and chapters, which treat of each of the Graces separately, and classify them Price 81.25. in a logical progression, from ihe simplest forms of the Appoggiatura to the most elaborate Arabesque of ornamental tones as found in Chopin. Development of the Singing Voice, with Exer¬ 1. LaChause. Etude, Op. 29. I 4. Chant d’Amour. Op. 72, No. 2. 2. LaTruite. Caprice, Op. 33. 1 5. On Wings of Song. Op. 67. The book will fill a great want, either as a reference manual or as a text-book for students. No Important historical item and no item of cises in all Keys for all Voices. 3. Cradle Song. Op. 73, No. 3. | 6. Lehure Hour. Op. 80, No. 2. practical worth has been omitted, yet the book is kept within reasonable limits, and through its concise classification and copious illustrations BY all questions likely to come before the student or musician will find a •JOHN F. BOTUME. Selection of Favorite Compositions for the Pianoforte, comprehensive solution. By SIDNEY SMITH. SI.50, NET. Price 81.25. 1. Adieu. 1 4. Danse Napolitaine. HOME RULES FOR MUSIC STUDENT^ 2. Le Jet d’Eau. 5. La Serenata (Braga). 3. Bergerette. I 6- The Fairy Queen. Practical Advice, Hints, and Suggestions for the Young. CLASSICAL FAVORITES. A Selection of tlie Favt irite Songs of Schnoert, B'2' HERMANN MOHR. By STEPHE N HELLER. PRICE 5 CENTS EACH. A Collection of Thirty Pieces for Pianoforte, of Me¬ Price 81.50. dium Difficulty, by the Best Composers. 1. Cradle Song. 9. All My Peace is Gone. THEODORE PRESSER, 2. The Young Girl and Death. 10. The Postman’s Horn. 3. The Young Mother. 11. The Erl-King. 1708 Chestnut Street, Philadelphia, Pa. 12. Sweet Image Thou. Boards, .... SI.25. 4. The Queen of Night. 5. Evening Breezes Gently Steal¬ 13. I’d Carve It on the Bark. Paper.SI.OO. ing. 14. In Silent Woe I Wander. NEW EDITION. 6. Ave Maria. 15. Within a Streamlet. 7. ’Mid the Gay Ripples. 16. Thou Whom I Vow’d to Love. 8. Scents Refreshing. MILES & THOMPSON, Selection of Favorite 3ianoforte Compositions, YOUTHFUL DAYS By ROBERT SCHUMANN. BOSTON, MASS. (Kinder lebeii), Price $1.25. 1. Novellete in F. Op. 21, No. 1. 8. Bird as Prophet. Op. 82, TWENTY-FOUR ORIGINAL PIECES, 2. Des Abends. Op. 12, No. 1. No. 7. 3. Warum? Op. 12, No. 3. 9. Jagdlied. Op. 82, No. 8. THEO. PRESSER, Philadelphia, Pa.’ 4. Grillen. Op. 12, No. 4. 10. Nachtsttlck in F. Op. 23, Op. 62 and 81. 5. Traumeswirren. Op. 12, No. 7. No. 4. 6. Romance in F-sharp. Op. 28, 11. Schlummerlied. Op. 124, No. COMPLETE IX ONE VOLUME. No 2. 16. 7. Blumenstiick. Op. 19. BY THEO. KULLAK. Selection of Favorite Con ositions for the Pianoforte, By ANTON RUBINSTEIN. PRICE $1.00. MENDELSSOHN. Price $1.25. 1. Valse-Caprice. 6. Romance in E-flat. „ Published abroad from new plates on finest paper, 2. Melody in F. 7. Scherzo in A. $ o 3. Romance in F. 8. Preghiera in B-flat. ® 3 size of Edition Peters. Former price $2.60. Critically Revised by Calvin B. Cady, 4. Barcarolle in F-Minor. 9. Impromptu in G. )-g.® 5. Barcarolle in G. 10. Nocturne in F. g p, DISCOUNT TO PROFESSION. 11. Appassionato inB- 5 oq With Portrait and Biographical Sketch by Minor. J * r 12. Turkish March from Beet¬ Theodore Presser. hoven. THE MINOR CHORD. BY J. M. CHAPPELL. PRICE 75 CENTS. PEICE SO CB1TTS, POSTPAID. OF A new musical novel, well written, and very interest¬ ing. Madame Nordica, Jean de Beszke, and Sir This edition is beautifully printed on good SONGS AND BALLADS. Arthur Sullivan figure as principal characters. paper. It is annotated, and newly phrased and fingered. The critical notes will be found es¬ The selections for above book have been pecially practical and valuable. There are made with great care, and some of the most 31ARCH ALBV31 nineteen of the songs, printed on 56 pages. admired of the compositions of such famous FOR The selections were by the advice and co-opera¬ authors as Tosti, Chaminade, Trotere, Denza, PIPE OZRGkAHsT. tion of many leading musicians of this country. etc., are found in its pages. Any one desiring Address the Publisher, a book of the very latest and best Songs and By CHAS. H. MORSE. Ballads for medium voice should secure a copy 3Pr3.ce , $2.00. THEODORE PRESSER, of this at once. Marches for Weddings, Concert Performances, and Funerals, all well 1708 Chestnut Street, - Philadelphia, Pa. PRICE $1.00. arranged, with registration marked throughout. THE QUICKEST MAIL-ORDER HOUSE IN THE COUNTRY