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

5-1-1914 Volume 32, Number 05 (May 1914) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 32, Number 05 (May 1914)." , (1914). https://digitalcommons.gardner-webb.edu/etude/602

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Magazine, Technical World, Met¬ Expert Advice BEGINNER’S BOOK CPi?rAfERING ™ ropolitan, American, Christian SILVER PICTURE FRAMES _ me?CHOOL 0F THE PIANOFORTE SCALES AND ARPEGGIOS Herald or McClure’s. No. 1311 1 Subscription. Of Sterling silver. Frame is circular with embossed u^Wee havebave enlisted an expert to TOUCH AND TECHNIC For $2.50 we will send The flower pattern; size, 2^ inches. Plush easel back. embossed tell you how to go about Iran s- By JAMES FRANCIS COOKE Price, ?1 25 Etude and either the Woman’s A™rr°7 presser p"“’75 “«■ In Four bJL” ^ WM' “AS0N No nil_-- , . .SILVER VANITY CASES S'and^ouSd tErt&Sf .^S°Sg""i^"“r-optr Home Companion or Everybody’s. lines, proceeding logically^ten'h^1”. Plannefa,°ng modern PART I—The Two-Finger F . ,Ce of Each, $1.00 No. 1314 5 Subscriptions. Vanity Cases are now extensively in use. Made of Fredenck Corder, Professor of Plain to the yofnge^Sen^ % For $1.85 we will send The attractive and full of interest An Jit f 18 fresh and a. 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One package each of 10 Naturally he takes a little , more THE INDISPENSABLE STUDIES $350)" ^ (regular price, named varieties of. sweet peas. t™e and puts down' his best practical pipe ORGAN instructor The Etude, Woman’s Home WrSttSs; fsrjsrts- SStsfin- COMPLETE SCHOOL of TECHNIC ROOT’S TECHNIC Companion and Modern Priscilla tuft centamea, morning glory,' cosmos^1 diamhusl have' to "pay”fol Wu>*‘ for $3.25. eschscholtzia, lobelia, larkspur, marigold, mignonette tW, 1 P y for Prtvate i.nstruc- Br.S,DOTF?HR,™EP,ANOro^. v^E singing The Etude, Woman’s Home nasturtium, petunia, phlox, poppy, portulaca, ver¬ 91 „ the MODERN HANIST Companion and Pictorial Review bena, zinnia. A Fine June Etude By MARIE PRENTNER 1 W ’ for $3.50. „ lnt Three k'7°,“eAch The Etude and either Travel, ,0S;F8nS3_T±rbSCripti0nS- Perennial Flower We have emphasized-.thisrarticle - ce Culm' ' $0.50 seeds. Twenty varieties; aconitum, alyssum, ane- ^ause it is on a subjec'f in which of experience bothasleather 7eara or Outing, or Current Opinion for mone, aquuegia, asperula, campanula, deiphinium, so very many are interested Bat W: &5P ■ 30n8i $3.75. ;• ?p-2 Exercise dlg,taIls’ gypfophila, lychnis, pentstemon; ‘he fine June issue in which ■ this Ws!d ThLhwogrk Zdy l|Wlfe i Wllllatos.’ valeriana, calliopsis5 S^.....111 appear willwin includeinclude'dokehstol aozensvof I— COMPREHENSlVE, EXHAUST1VLp;Cr.e., vY: ^ New Works at Cost of Postage gaillardia, hollyhock, poppy (Oriental), phlox. other articles byhv ml,.,other able’writers VII. Gu.&L??-,2® -. in some of which you may heaven VIII. Studie. in Florid Song^6 We will send any one of the No. 1315—4 Subscriptions following New Works at cost of more interested than in'the sub¬ STANDARD HISTORY ofMUSIC -of THE LESCHETIZIfV « postage only to subscribers send¬ CREX GRASS RUGS ject upon which Mr. Corder By JAMES FRANCIS COOKE Price $1 25 ing renewal during the month of Crex Rugs are particula writes. In addition to tliis'you Crex Rugs are particularly adapted to receive ,n The Etude jhe ctistom- May. Specify the volume wanted studios; and for summer use areTheonb -free upon application. We have “ ary aflinm of music similar to that t^thl addln,g 1S. ce?ts correct floor coverings for porches and c which hound and placed for sale wordT-so absorbing that adute a^ch everJ catalogues Our soeciajties afe" Pkn^'r maltm® real “Teaeners Aid’ b™.m?ErAL INSTRUCTOR °f th,nyea,r(S suhscnp- tages. Sent by express, collect on a counter would in itself sell SSSuat-JWe#* Designed to be the m . a- Pr'Ce’ $1-°0 . tion ($1.65 in all). If a club of go* a q u • n ^ . *.or many times the price of a and Col- work of its type and , d'reCt and helpfuJ magazines is ordered, add 15 cents N ‘ fin. ^ Subscriptions, 3x 6, plain ■ The Presser -System nf na-,r >» • to the price of the club. ”°’ 8 Subscriptions, 6x 9, plain single Etude. »bod JET btV:Zrk > E- ! Mrer r general catalogs. Dealing is thoroughly explain ■ Each music album contains a ^ Subscriptions, 8x1°, plain a lifetime. Practical e»S.„ ^ f'eXpenence of work. It contains al,„ a feature of th;s large number of new and attrac- No- 606-13 Subscriptions, 9x11, plain Extending the Etude Field tive compositions, clearly litho- WILLOW ARM CHAIR .Lrtvncw pondeace tuc suoject. by pr!vate cor-«s- **^111from pnotogiphotographs taken CUtS made graphed on fine quality paper and q.o ,, c , . _ withWiffi ea1iall n°thetb ’’"I!advantages y°U are ofiamilia The'' work. These illustrarh, espe,ciai,y f°r this strongly bound. No. 942 12 Subscriptions. Willow fur- Accounts Are Solicited Sm*n orders receive exactly the I W ^pupif mul i"1"11 has become an indoor necessity. ‘he pupil much more simpIe^seturT^ ^ Great Pianists on Piano friendsWendE bUtcan We do,fed muchthat 0lIrfor the trade of every teacher and school Is solicited ~ -- ™ny - In addition to-being attractive it is light P3r °f the trade of every teacher and school IsToiichedl*'*^1118 aUention. Ail or any Headquarters for Evervthin« needed * h Playing m weight, easy to move and particularly causes championed by The Etude Operatic Four Hand Album by introducing it to others or as THFnnnDP -- ^u^c*^P‘ctures and Post adaptable to any apartment. The roomv The Standard Vocalist. arm chair illustrated here is a very popu¬ some friends do. g0 directly to wepoose PKEssn co.aran^-^3, OUII A TNr,. KS’KecordTablets,etc. Popular Home Collection lar model in French natural willow. the prospective subscriber with a The Standard Organist Cushion not included Sent charges collect. subscription blank in hand and vumpietecomplete thetile transaction then and.and sPHLADELPHIA- penna. Send all orders to THE ETUDE, Theo. Presser Co., Publishers 1712 Cb. . . "c ^. onsners, 1712 Chestnut Street, Philadelphia 324 THE ETUDE

IVERS & POND We PIANOS €onom To Music Teachers: Piano SATISFIES More than other buyers THE ETUDE MAY, 1914 musicians and teachers recog¬ —Especially those who VOL. XXXII. No. 5. nize and require quality in a love beauty and know European travel is broadening precisely as Oriental travel, piano. With them it is the musical instrument which the charm of good SHALL I STUDY ABROAD? American travel, or any kind of travel is broadening. It is a fine counts. For it is their depend¬ music. thing to ramble through museums, peep at castles, visit ruins, and, most of all, to witness ‘the different customs of people who look ence in earning a livelihood Americans have a horror of being thought provincial. We on life in a wholly different manner. Yet it was Whistler who and inspiring their best Conover encourages want above all things to feel that the pulse of the great world of pointed out that a man might be a guard in an Art Gallery all his artistic achievements. Over practice. It does more art beats as vigorously in New York, Omaha or Los Angeles as it 400 leading Musical and life and know nothing of the value of the paintings that surrounded than that; it assures progress if does in London, Paris or Berlin. Nevertheless, nearly every liner Educational Institutions and him unless he made a special study of art. After all, the work is pointed for Liverpool, Hamburg and Havre carries its coterie of thousands of teachers have there be in the student but a the main thing, and if the student has the real spirit he will find music students, all confident that the only field in which a musical bought the I vers & Pond for that the better part, if not all, of his work may be done quite as well feeble trace of musical ability. career can be captured is in Europe. their own use. These intelli¬ at home and done more economically, more efficiently, more happily For there are discoverable For years The Etude has continually referred to many of the gent buyers have cheerfully and more successfully than in some foreign country. paid the price the Ivers beauties of tone and shades of disadvantages of study abroad without misrepresenting the advan¬ tages. At the same time we have striven to emphasize the wonder¬ ) & Pond necessarily costs, to tone that first interest and then the highest, « quality■ known to the art. Experience has ful development of musical educational opportunities in America HOW EMULATION HELPS. Lhat n,ot on,ly wil1 they thus have the satisfaction of fascinate. without jingo exaggerations. Accordingly, we are particularly nmg the best, but that ultimately it will prove the cheapest, Write today for our Art Catalog and pleased to note the recent campaign waged by Mr. John C. Freund, . nf „catal°gue picturing and describing our complete line details of our monthly or quarterly proprietor and editor of the excellent musical newspaper, Musical Emulation is an instinct. Psychologists trepanned that into ■ol grands, uprights and players will be mailed free, on request payment plan. Used pianos accepted America. It is a fine thing to witness a man of Mr. Freund’s our intellects long ago. Emulation is an instinct just as chewing, in part payment. ■ability and earnestness engaged in the agitation of a matter so S{nCfS’ Clasp.in‘?.with the hand or fear of the dark are instincts! safety and as satisfactorily closely related to our musical welfare. Whether we like it or not we all have it within us to emulate others >s in exchange. Attractive There is no doubt that any student who will study as faith¬ to seek to imitate those whom we admire. • In fact, a great part today. Ufa Fjible Eomnaruj, Wabash and Jackson Chicago fully and persistently with the representative teachers in any great of our lives depend upon whom we admire and seek to follow. IVERS & POND PIANO COMPANY music centre in America as the same student would study abroad The rogue emulates a more intrepid and cunning rogue. - His The world's greatest manufacturers of 141 BOVLSTON STREET :: BOSTON, MASS. Pianos and INNER-PLAYER Pianos will attain a similar proficiency. With the very high rates de¬ whole career may be miserably ordained to living the life of a manded for private instruction by most European teachers, there is hunted creature, merely because he keeps on emulating the wrong HfiBSBSaSB-EBeaeBE no economy in studying abroad. In fact, considering the cost of persons The successful man, that is, the man who gets the most ocean travel, the loss of time occasioned by learning a new lan¬ out of life for himself and for his fellow-man, is successful because guage and adjusting oneself to foreign conditions of life, as well he has it within him to emulate men of admirable accomplishments. as the increased cost of living abroad, musical education in Europe We can think of no better advice for the music student than GRATIS is now really quite expensive for Americans. Therefore, disre¬ that of seeking some splendid model to emulate—not to imitate garding this phase of the subject, there remains for consideration but to follow, as Mozart followed Haydn, as Wagner looked up to the prestige of foreign study, the dangers of residence under differ¬ Beethoven, as Mendelssohn admired Bach. Very few men and m ent social conditions, and the educational equality or inequality, as women of real greatness have risen without the powerful forma¬ ^Wmusic in assorted^gradeT and styksTfo^tw^a^d ^four'll !'''“t comPrisc Pla and organ music. All these collections are gotteL ou? in rh u'ands; a.ls? vlolln. vo. the case may be. Considering these topics in reverse order, we tive help which the emulation of some noble example always gives © Sh£‘SEi,h' jytfj&ratejas may start with the flat announcement that America now possesses It was the artistic taste, the technical proficiency, the broad human teachers, conservatories, opera organizations, orchestras which aspect of Dr. William Mason that set the model of hundreds of Europe might well envy. Certainly, the best of Europe is no bet¬ careers of young men and women in America. He in turn emu¬ ter than our best unless our eyes and ears deceive us. The lated many of the great artistic principles of Franz Liszt The numerous European and American teachers who, after having young American musician who aspires to a life of helpfulness in taught for years in America, go over to Europe and charge Ameri¬ music teaching could have no better pattern for his life work Dr cans a much higher rate, expose the situation better than diction¬ Mason was sane, industrious, smart, genial, tactful, creative, pains¬ aries of words. taking broad, charitable and “friendmaking.” For over fifty Regarding the dangers of European study, the subject of years he taught in New York City. His professional work brought immorality in Europe has been continually brought up. We him gratifying returns, not merely in money but in the satisfaction are told that operatic success for the prima donna is fre¬ of seeing his work produce fine results. Dr. Mason’s influence quently bought at an impossible price—that the pearls of Mar¬ upon musical education, particularly his wonderfully helpful sys¬ guerite usually lead to perdition. We have known of monstrous tematization of pianoforte methods, is a permanent achievement conditions existing in connection with the cases of ambitious for American musical pedagogy. If the music teacher seeks a model young women who have aspired for success right here in America. to emulate, what better embodiment of our national musical educa¬ With our own papers filled to nauseating measure with accounts tional ideas could she have than Dr. William Mason? of American vice conditions it seems a poor time to lampoon MUSICIANS LIBRARY Europe. Nevertheless, we feel that even the self-reliant American girl, accustomed to disdain the espionage of a chaperon, would do THE HOUR OF RE-BIRTH. well to provide herself with one who will constantly give her the benefit of her experience and guardianship every moment the young lady resides in any country where the young women have felt the Ho necessity for such protection during many centuries. Finally, we reach the matter of prestige. Recently, Mrs. H. H. A. Beach, whose compositions have attracted wide attention, &£££& j7w“* made a tour of different German musical centres. Everywhere she was most favorably received. . Mrs. Beach received her entire ouUsrUEhi z t;rr t' play ? Some of the foolish begin to look’forwar'd muMtiorine roung V; i* , training in America. What Mrs. Beach has accomplished any the season. To them this is the time of endill tf g °J MUSiC- b-10 p;ecea irsewul,,, b other American music student with ability and persistence may accomplish. real teacher, every real student, finds here a glorious’momen^T^ beginning not a period of lethargy, profitless loafing W f°r THEO. PRESS^o^PhTladelph°i"1 PA. 326 THE ETUDE THE ETUDE 327 0 lllllli! Memorizing Music Successfully An Interview with the Distinguished Pianist OSSIP GABRILOWITSCH

Secured Especially for The Etude by Edwin Hughes

I Editor’s Note.—Interviews with Mr. Gabrilowltsch have engagement, for example. The first method is by far always a consonant followed by a vowel, with the ex¬ appeared in previous issues of The Etude and have always the quicker, and also I think, the surer of the two. ception of sol, where there is a second consonant at matters has been augmented by many successful American the end. But even with the French solfeggio I doubt * s and by the fact that he married -a daughter of i VISUAL MEMORY. In the matter of memorizing at the piano finger mem¬ ory and visual memory play the most important part. Very much must always be left to the fingers, for in playing more rapid compositions, as for example, some of the Chopin Etudes, it is quite impossible for the mind to follow each individual note. Among the dif¬ let us imagine that one is hearing a new opera for ferent ways of memorizing, I should give to visual the first time. A phrase or a succession of chords memory the first place. One must be able to bring comes which is of striking beauty. The next day the printed page before the mind’s eye at any point Ex. 6. at the piano one t in the composition. I cannot emphasize the importance lift if one has only tr of visual memory enough in the learning of musical attempt is i compositions. I have never pushed the matter of But, if at the time of hearing the phrase one has tried memorizing to the extent of trying to say over to myself every single note in a composition, for, as I also, to picture to one’s self how tl have said, the mind cannot follow the fingers quickly look on the printed page, the effort I enough in rapid, passage work, so that this method music later is quite sure 1 would not be so practical as the others I have men- A good knowledge of I sary for intelligent memorizing. It is r many piano pupils are completely deficient in this re¬ It is well to observe that in the first r spect, even when they are so advanced as to be able iave two minor thirds; in the second meas to play quite difficult compositions. Nothing is more ind a minor; in the third, 1 » find the notes by ear common than to meet with piano students who stare a major; in the fifth, two r [link I could do so if at you blankly when you speak of a chord of the and in the sixth, a majornajor and a minor. in public performance sixth. I always advise piano students to pursue the REPUTABLE PUBLISHERS NEVER INDUCE id wonders per- study of harmony diligently. WOULD-BE COMPOSERS OR POETS TO PUB¬ follows (Ex. 7): It is i In such a pre¬ The study of the design of a composition is of great LISH THEIR WORKS AND THEN CHARGE exercise, if one will observe that the E C of the sec¬ importance in memorizing, particularly the design of THEM AN OUTRAGEOUS RATE FOR THE FIRST STUDIES IN DOUBLE NOTES. ond measure is like the C E of the second measure of phrases and periods. Two phrases may for example PRINTING. IF YOUR COMPOSITION IS NOT Ex. 6; that is, two white keys encLsing the two black be repeated, the second containing a variant in the GOOD ENOUGH TO WARRANT THE PUB¬ keys which have a white key between them • that the repetition; or there may be four measures based on LISHER BRINGING IT OUT AT HIS OWN EX¬ F in Ex. 6 is the white key next below the'group of a certain figure in the • left hand, followed by two PENSE, SEND IT TO ANOTHER, AND THEN three black keys, and that the B in Ex. 7 is the white measures in which a slight change is made in the ANOTHER PUBLISHER. IF IT IS WORTH . figure, and then again two measures with a further ANYTHING AT ALL TO THE PUBLISHER HE key next above the group of three black keys; and ' ' in the third change. Such analytical work as this helps to impress SHOULD AT LEAST PAY YOU SOMETHING the composition on the mind and is of great importance FOR YOUR I measure of No. 6, you lower it s s in No. 7. and so on. It is the same exercis, in memorizing. Mental concentration plays of course a most impor¬ YOU V tant role in learning by heart, as does also the state SOMETHING OF LITTLE TANGIBLE VALUE, of one’s physical health and the fact of i EXCEPT AS A SOP TO YOUR OWN PRIDE. not one suffers from nervousness, general I insomnia. Age has also much to do with t of memorizing. The c always show much more readiness to stick by one than those acquired later on, when one forgets more easily. For this l o practice a composition in the thought of learning it by heart as large a repertory as possible during younger the afternoon to attempt to go For one who plays much in public, journeys c y from the instrument. Before train from one city to another offer a .. — -:e one must have somewhat of i grasp of the piece as a whole, must realize what it is all about, know its subdivisions, and so forth. Difficult passages must be gone over thoroughly until the fingers are perfectly familiar with them. Then one can study the piece from the notes, away from . self thor- r a walk y quite a eachers. How much t perfectly familiar with the composition without any piece played well with the mus contact with the instrument at all. t it by a pupil who has little tal Another means of memorizing is to take a composi¬ tion to pieces, after one has first played it through In order to keep a repertory of pieces all going at to get an idea of it as a whole, dividing it up into the same time the pianist should have a weekly‘prac¬ its phrases and periods and learning slowly step by tice schedule, working at certain compositions on cer¬ step. This means of learning by heart I would not tain days and “brushing up” those which need it. This recommend when it comes to a question of getting a is my plan during the summer months, but during the piece memorized in a short time, just before a concert -’“-son I find it impossible to work so systematically

white key. 328 THE ETUDE THE ETUDE 329 separated his salary separated also, for the very simple on account of my many engagements. At this time CHARLES MARIE WIDOR, reason that there was no money with winch to pay it. the important question is that of always being thor¬ Dean of French Organ Masters. Th' ‘ true it is said, of the other large Paris oughly prepared with what one has to play at the next churthes! Widor and his colleagues continue to play concert, and I find little extra time for work on reper¬ BY HARVEY B. GAUL. for the dignity and honor of the position. Speaking If there is any better job'than that tory. of Widor and organs, one must not omit the ancient of sitting on a stone wall or a fence, chestra, and the wind shrieks most It is the fifteenth of October and the courtyard of EARLY MEMORIZING. little organ in the tower room As an antique, it is out in the country, with nothing par¬ realistically in the violins and pic¬ the old conservatoire is crowded with returning schol¬ Of the nineteen concertos which I played last sea¬ irresistible. It is alleged to have been M^e An¬ ticular on your mind to think of, colos. ars, professors, librarians, and all the host of people son during my series of concerts illustrating the devel¬ toinette’s, and Mozart is supposed to haveplayed on nothing to do. but just to look into But the more tender moods were associated with the opening of school. Jean and Jeanot, t lost to the n n of e opment of the piano concerto I find that I keep those it. The case is covered with airy fairy Cupids in gilt the country and almost unconsciously Pierre and Pierrot, are shouting their “Bon jours!” moods himself. How infinitely tender most easily in mind which I learned early in life. If drink in its charm and beauty, let me and “Comment ce vas!” It is a Gallic gabble and bab¬ and gray. The keys are pearl. know, please. Now is the time when is that scene in Siegfried, where the I were to repeat the series now I should probably ble. The door swings open and a tall figure comes Widor’s playing is brilliant in coloring and phras¬ that old saying, that God made the young giant is lying under the tree, have to do very little work in the way of memorizing forward, there is a lull, then a whirlwind of “Cher ing It is deliberate, precise, and yet rubato. It im¬ country and man made the city, listening to the song of the little with most of them, except with those which I have maitre” and “Chcrs amis,” and you know it is Widor. presses one as the way Whistler must have painted. seems so very, very true. Now we birds. He has just killed a monster recently added to my repertory. This season, for For two score years he has been organist at St. The qualities are the same—intimacy, piquancy, great feel more than ever the narrowness dragon, and now asks tenderly for example, I played the Weber Concertstiick once again, Sulpice, and for full that forty years he has been train¬ slashing strokes, absolute sureness, and master chic. of the streets. Even a generous back news of his mother. This whole a piece which, strange to say, I had never studied ing organists. vou can hardly meet an organist in His method is tfie inheritance of Lemmens, and that yard, flowered and treed, becomes al¬ scene is so natural, so beautiful, and in my earlier years. I found that I had to do quite Paris—and Paris is France, Baedeker notwithstanding— is the French method in general. It is the absolute most a jail, and we hear what Jack so tender; but we do not wonder of a bit of re-memorizing before I felt perfectly sure who has not at some time studied with Widor. legato, the sliding over of the thumb to the next key, London says is “the call of the wild” its mood and the beautiful expression He was born in Lyon in 1845. He studied organ with that I could go through the piece without any slips. the necessity of a finger for every key, and the keeping and what Jean Jacques Rousseau of it when we read the following his father and succeeded him at St. Francois. Later, meant with his “retour a la nature.” of knees together, heels together and the equal use of part of a letter by Wagner to his old MEMORIZING ORCHESTRAL SCORES. he studied in Belgium with Lemmens, “the thunderer,” Back to All-Mother Nature for mother. “When after escaping from and with Fetis. He early achieved renown as a con¬ heel with toe. new strength of mind and body, new The custom of performing everything by heart I the noise of the city I get into a cert performer and a composer, and was appointed The English school admits that you have a heel and ideas, new inspiration and hope for have carried over also into my work as orchestral beautiful valley, and I stretch myself successor at St. Sulpice to the brilliant Lefebure-Wely. that you may have occasion to use it, but the French the future. But when you are out conductor, where I rarely ever use a score. In mv upon the grass, admire the slender school, as illustrated by Widor, Guilmant, and Dubois, there again, the next time, among its opinion the conductor who directs without his score has growth of the trees, listen to a dear compels you to use it both to play with and as a pivot. quiet glory and the beauty of it all, an immense advantage over one who uses his music, little bird until I feel quiet again, Though a brilliant player himself, Widor rarely in¬ when your eye, birdlike, soars over for the most important thing in successful orchestral then I feel as if through all this hills and trees to the limit of the conducting is that one should have his eye on the dulges in the virtuosi rapidity of some concert per¬ mass of trouble I should reach my horizon, or when close by it caresses men every moment of. the time. The conductor who formers. For instance, the Toccata from his Fifth hand to thee and say, ‘God bless you, fondly the China-like daintiness of has his eyes on the score most of the time has not Symphony is played by him at about one-half the “Beethoven Was a Keen Observer of Nature.” my dear old mother, and when He the wild rose s petals, and revels in half the control over his men that one has who knows tempo to which we are accustomed. Bach, through the calls for you, may you die quietly the thousand and one shades of his score well by heart. Toscanini, of the Metropoli¬ Widor metronome, becomes Bach the way Bach must and easilyI” green, one more soothing than the tan Opera House in New York, has even carried the The repose in Nature, the contrast have played, way back in the dark ages before elec¬ other—then, please, do not forget matter so far as to conduct not only whole operas tricity had been trained to lighten the touch. between the restlessness and hustle of that besides the glory of the eye and life, is soothing medicine for the without referring to the notes but even to conduct all When Walt Whitman was told of the ability of a Music and Out of Doors the inhaling of the fragrance of the nerves. Victor Von Scheffel, one of rehearsals without a score. certain politician, his reply was, “Yes, but what of the In the study of scores I find again that visual mem¬ flowers,, the hay and the soil, other By HANS SCHNEIDER the most popular German poets, man?” When you know Widor, the man-note is domi¬ ory, the ability to recollect how the notes look on the senses may fully well profit by your voices the same sentiment, when he visit to the countryside. printed page, is of the very first importance. Without nant. He is a Chesterfield in polish and in manners. says, “When the human foolish tur¬ the aid of visual memory it would be quite impossible He is a man of broad interests—quite at home in art The masters of music, the art of the ear, drew some moil and trouble gets tod much for ot their greatest inspirations from Mother Nature. these pages do, written for that simple, symphonic for me to commit to memory works for orchestra. and letters. His book on orchestration, which takes orchestra of Beethoven’s time. me, then I go out into the woods, listen to the moss as the orchestra where Berlioz left off and brings it up Great and small composers alike have drunk freely it grows, to the lark as he rises in the clouds, singing Beethoven was a keen observer of Nature In one AN EXPANSIVE FACULTY. to date, is a French textbook. Besides his compositions from that ever-flowing fountain for our delight and the and, chirping, and whoever knows how to see correctly glory of the art. Byron expressed this in a more sub¬ of his sketchbooks we find the following sentence: will see much in Nature that is not written in books" The faculty of memory is not at all limited by the —the symphonies, opera, songs, and miscellany—he has tle way. when he said, “There is music in all things, if The larger the brook, the deeper the tone.” When amount one has memorized; on the contrary it is an edited many books. Not least among his books is the And he is right. For Nature is silent, and noises are man had ears.” And there is, especially for those that he was reproached for using the chord of C super¬ expansive faculty. The more one has memorized and charming volume of old French songs in which Boutet the exceptions, and only demonstrations of exceptional have that divine inner ear that can hear the great, mys¬ imposed upon F, to illustrate certain natural effects, he the more one utilizes his faculty for memory the more de Monvel, of blessed memory, collaborated. disturbances. But whenever these “noises” are to be terious tones that float through the Universe. All said gruffly, “That’s the way it sounds; that's the way made use of by the composer, they have to be first can one retain in his mental grasp. The idea that His ability and judgment are sought even in Ger¬ great composers knew that art of listening, and heard I heard it.” That Beethoven was right, instinctively, one loses part of the material memorized on account translated into musical language. And it is interesting many, and Widor often goes to Germany “by command” music in all things and more in Nature than anywhere of the addition of much new material is an incorrect has been later on proved by a party of scientists, who to compare how the composers of the classic and ro¬ “widor is a man of broad interests, to give recitals and concerts. He speaks German flu¬ else. All great musicians are lovers and worshippers investigated the many waterfalls in the Swiss Alps mantic periods “translate” it, and then compare their one. QUITE AT HOME IN ARTS OR LETTERS.” ently, but his English, "e’est une autre chose!” on her vast shrine. And so are all great men. It is and found that all were pitched in certain keys, but way with that of the modern composer, and we will The Conservatoire pupils and his private scholars the immensity, the unlimited vastness of it all the that most of them would respond to the chord of C, see that the modern composer comes out second best are fond of singing his praises. To the literati, Robert tremendous rhythm of the seasons, centuries’and and not .first. METHOD IN SIGHT-READING. If you are fortunate enough to be a friend or pupil with an F as pedal point. you will be asked to visit St. Sulpice and hear the Louis Stevenson is remembered as the Well Beloved. rnons, that stirs their mind, the Titanic force of the When Beethoven, Schubert, Weber, Schumann, and elements as they playfully but ruthlessly destroy in a BY EMILY LORENZ BALL. service from the organ gallery. Such an invitation is To the “sons of Jubal and all such as handle the harp” WAGNER AND NATURE. others were inspired by Nature, they generally ex¬ a privilege, as the service with Widor’s contributions and organ Charles Marie Widor is, in the words of second the work of men of hundreds of years—.Allegro pressed the sensation, the ethotions and feelings maestoso con molto forsa. For many years I have used the following method is fascinating. Stella Maris, “The Best Belovedest.” Was it accidentally that Wagner should have fallen aroused by natural phenomena rather than the physical in reading at sight with my pupils that has brought Sunday comes, and at half-past ten you find yourself upon the same combination, the same nature harmony demonstration itself. Much “music” in Nature comes quite remarkable systematic advancement. . entering St. Sulpice. The verger shows you to a cliff¬ THE MUSIC OF THE TEMPEST. (although in this case C, Eb, G and F), when the under the scientific classification of noise. It is the | like wall and to a precipitous stone stairway. The music for the introduction of the second act of Tristan After placing a duet before the pupil, and asking HOW GOUNOD SURPRISED BERLIOZ. result of conflicting (beating) or irregular vibrations, heavenward climb then begins, up, up, and ever up¬ . Meyefbeer, the great opera composer, found his best him to scan it carefully for inspiration during the raging storms. Haydn, in cross- and Isolde filled his mind and when he wished to the classic composer was well aware of this, and not ward, until, with a turn of the stairs, you stumble out Gounod, in his autobiography, recounts the following 1. Key create the mood of the mysterious approach of the Having been accustomed to the euphonious Use of dis¬ of the Stygian darkness into a crepuscular room, with incident which illustrates both the influence Berlioz had mg the Channel from France to England, sat on deck 2. Meter of the ship during a storm and drew from it inspira¬ night, with its bliss and danger for the two lovers? sonances, or the intricate mixing of irridescent or vibra¬ Widor in the center, encircled by friends. upon him and his own remarkable gift of musical 3. Highest and lowest notes "VS"er ,'va® the hlgh Priest of Nature worshipers tory colors, left the imitative part alope. He only indi¬ Among those who come to pay him homage are memory: tion for his symphonies. Beethoven used to roam 4. Like and unlike parts through the beautiful forests around Vienna, often among all the composers. He himself was a great cated with a few outlines the matter itself, so to form 5. Cadences and modulations beautiful women (Widor is a bachelor), German “Berlioz was one of the greatest emotional influences lover of outdoors. His love and loyalty and his in¬ a background to project upon the aroused emotion and friends, English organists, American pupils—some¬ of my youth. Older than myself by fifteen years, he coming home drenched, minus hat and coat which he I then count a couple of time-measures, at slow tempo, lost unbeknown to him, when he was workin- on his terest in the animal life of his household are a lovable gently guide the listener’s imagination into the des:red and play my part straight through, with strong accent¬ times Cavaille-Coll himself—they all come to pay trib¬ was a man of four-and-thirty when I, a lad of nine¬ direction. ute to the greatest French organist. teen, studied composition under Halevy at the Con¬ great symphonic problems, and'was trying to force the Wable* aThCharaCtCr that otherwise was anything but ing- whde the pupil plays ONLY WHAT'COMES ON gr£5t trutb humanity into musical formulae lovable. The numerous examples of the most ex¬ THE FIRST COUNTS! he assuming the responsi¬ High mass as you view it from the organ loft is a servatoire. I recollect the impression that his person quisite tone painting of Nature’s phenomena show his HOW OUT OF DOORS AFFECTED SCHUBERT. pageant. It is a panorama of color, and a blur of con¬ and his works (which he often rehearsed in the con¬ The good burghers of Vienna, so that they might not bility of counting out loud. If necessary, the piece is disturb him, stepped reverently aside when they met • keen penetration into the smallest details Like It is a case of restraint being one of the greatest repeated this way, before the attempt is made to play tour after the heart of the most advanced futurist. cert-room of the Conservatoire) produced on me. The attributes of genius that is here to work. No better him or detoured when they saw him sitting in the andthd?dVenothe ^ in his'music all the contents of the measures. While the choral music is poor, this must not be laid at moment Halevy had corrected my work I used to flv example can be found of this than the beautiful accom¬ Widor’s door. It must be attributed to the deplorable from the class-room, and lie low in some corner of shade of a tree, lost in his thoughts. A contemporary at that fimeCbre Wr°te' Who but he would This preliminary playing trains the eye to go from gives us an interesting picture of Beethoven at such paniments in Schubert’s songs, that deal with outdoors condition of French church music in general; it is the concert-hall, and there remain, intoxicated hy the h r f r Lh 6 dared t0 paint the adulating pic- measure to measure on time; and makes the pupil occasions. “He looked awfully wild, and we were • ml b°,tt0m of the Rhine, in the prelude of Garmon mcI°d,C .pIlrafe> a ,little ™». a characteristic gradually able to conquer the common habit of “stut¬ the result of crippled finance, ill trained boy voices, and weird, passionate, tumultuous strains, which seemed to harmony, is all there is, and as short as it is it is to the exclusive use of low pitched G'regorians. open new and brilliant worlds to me. often afraid of him, but he was, after all, a great E'fluXvA >y the USe °f n°thing else but a sub eontra tering” when reading at sight. I always insist that the 5,5^ f >ts overtones, spread out over the whole or- the point, and produces the desired effect The St. Sulpice organ is an interesting example of “One day, I remember,' I had been listening to a He always had his’ first counts be slightly accented, both by fingers and knees, and whenl* T hem was writing upon it he would sing The modern composer approaches Nature’s music by voice, till the pupil is thoroughly trained m repose¬ organ building. It is a five-manual instrument and rehearsal of his Romeo and Juliet Symphony, then un¬ with a phonograph and a moving picture camera—he something of a leviathan. To make room for all the and beat time with hand and foot.” We can imagine ful rhythmical feeling. I also make a clear distinc¬ published, which was shortly to be given to the public .he a,Js S lh'thTe”L“ £ wants you to not only hear it- yea-see it-smell it- pipes and chests, Cavaille-Coll was compelled to con¬ for the first time. I was so struck by the grandeur ^ an,hr °.f mental travail- the storm music tion between practicing and sight-readmg-tha former in the Pastoral Symphony was born. In spite of the ing him the Corot of musicians, for the delicacy of his teel it! And he mixes and mixes colors and chords struct it in seven stories. It seems a bit unwieldy. The ana breadth of the great finale of the Reconciliation nrimarily includes careful repetition of phrases till they increased efficiency of the modern orchestra, and the shades, and a Makart for wealth of colors. And if he and instrumental effects, and when he has got it all become practically capable of .-^mat.c p^dsion, console is detached and faces the chancel. The action dcs Montaigues et des Capulets that when I left the orchestral technique of the modern composer, there is ' does not arouse in us the sensation of the approaching stirred up, what has he got? Not more than the classic i ihp latter the orders are. DON 1 blUr, even is pneumatic and good, the stops are arranged in a hall my memory retained the whole of Friar Lawrence’s no page in all musical literature that impresses us so composer, as far as picturesqueness and acousNc accu- 5t£omitted i. the *»» semi-circle and are accessible. The organ contains splendid phrase, “Jurez tons par l’auguste symbole.” A LTtoV'i 7 °nly ?eethoven Could< theP introluc- some telling solo stops. It is blown by man power, and strongly with that hidden power and portrays to us so fion to Die Walkure, where the whole orchestra ham¬ Hhf effort Snd fai" fSS-a- far aS feeHng is concerned biace in the measures! few days afterwards I went to see Berlioz, and sitting well that oppressing feeling of anxiety that men and mers away unmercifully upon D. gives us a most real- His efforts are purely imitative; at best he gives us a With earnest desire and concentration these sug- it takes four men to tread the bellows. poor lh „ hi, menaI J " ™ ‘ down at the piano, I played the whole passage over to beasts feel when a thunder storm is approaching as Widor has only one service on Sunday, that is High him. He opened his eyes very wide, and looking hard thirnd ICtUre 3 frtn in tbe forest—trees are falling gef ns wdl win out in Mass. The afternoon service is usually taken by a thunder crashes, the lightning flashes through the of-! everything.0' "" Witte,” at™e’ he asbed’ Where the deuce did you hear that?” pupil. In passing, it may be said Widor receives noth¬ muskrof easier grade than that being studied by the , ^ '°n* of lour rehearsals,” I replied. He could ing for his services. When the State and Church hardly believe his ears. pupil. 1

THE ETUDE THE ETUDE 331 330 t the 7 7 7 7 metre, each line is lengthened to the In the 7, . • cadence, e. IMITATING NATURE IN MUSIC. BALANCE IN RHYTHMIC MOVEMENT. eighth count m the ca Only very few tonal demonstrations in Nature can No. 4. BY DANIEL BATCHELLOR. be reproduced literally and not lose their elemental property, as for instance, the wind, which goes up and In teaching time, the first essential is to get the down, in true musical chromatic scales, and is easy to pupils to feel the wave-like flow of the measures, imitate. One of the greatest examples and most char¬ will be remembered that there are acteristic compositions for this is the study by Alkan, forms of measured movement—the The Wind,■ -played - here several years ago- most beauti- and the three-pulse 'Swing. From tl.— fully by Harold Bauer. Wagner uses the chromatic other forms of which the most usual are the four- our sight a - way — . scale- for that purpose in his Flying Dutchman over- pujse anci six-pulse measures. But the pupil should e ture, and no one who was ever fortunate enough to lis- je(j t0 observe that, in addition to the measured now The 8*7 S 7Umovement is more interesting, because ten to the storm as it howls through the rigging will Qf the movement, the music is divided into groups ot ofTthe alternation of run-on and resting lines, e. fail to see the truth of Wagner’s pictures, and feel measures and that these groups have a distinct rela 10 ^ “Ten me, not t»i the uncanny weirdness of Alkan’s music. one to another. First of all, they must lie in true pro Life is out c that slumbers, F°Andeth°n0S af?not™hat they seen,:' hearing and singing apparatus :-s constructedt absolutely theh* music will haltHalt likeluce a lame person, oi a bird with ,* 7 a 7 6 metre has a rather peculiar way „ and produces and responds to a fundamental and a broken wing. ofSS th; alternate lines. Jerusalem, the Golden This balance of the lines, when applied to verse, is its overtones. Of these the most used are the third called metre, and it can best be studied in hymns or is a good example of this. and the fifth, although a few species in South America hvmn-tunes. The simple tune forms are divided into No. 5. have alsd the seventh of the fundamental in their four sections, which correspond to the four lines in the chords. Wagner, in the aforementioned scene in Sieg¬ verse. The simplest form of metre is that in which fried was inspired to use the call of several birds for each line has eight syllables. It is marked in the his bird motive, and made out of those a melodic mo¬ hymnals as 8, 8, 8, 8, and is commonly known as “long tive that beautifully blends in with the mood and the metre.” For a well-known example take this: The various “peculiar metres.” however irregular In the preceding article (see The Etude for March) that the flute-player would look very well as conduc¬ scenery. good music in America owes more than to any oile No. I. we spoke of the work of the great Lowell Mason, who tor, and he was promoted to the batofl. He wielded When we look over compositions .dealing with Na¬ the^sw tlmy conform to the else, and a man who was practically an American— certainly was a pioneer in the most 'important fields of it very well and made a good deal of American musi¬ ture, we are forced to acknowledge the following law: THEODORE THOMAS. No one man ever did as natural standard of eight beats. American music. His third son, Dr. William Mason, cal history. His name was Carl Zerrahn, and he was The smaller the talent, the smaller the man and the The same principle holds good in song forms. Take, much for our musical uplift as this earnest conductor. was also a pioneer among our native teachers and afterwards director of the Harvard Musical Orchestra, narrower his mind and horizon, the closer will he stick He came to New York from Hanover, in 1845, when for example: artists. Born in Boston, January 24th, 1829, his father the Handel and Haydn Society, and the great Peace to slavish imitation of Nature. The greater the genius, he was ten years' old, and hoy as he was, fie was soon No. 6. was his earliest teacher. In 1849 he went to Europe Jubilee. the better the musician, the deeper the thinker, the to study, and was the first of that long procession of in an orchestra. Then came the Mason-Thomas cham¬ | Since we have entered the orchestral' field let us ber concerts, spoken of above, But it was with his more will he penetrate through the realistic features American students which has made Germany its Mecca. carry the genealogy of this branch in America down orchestra that his chief deeds for America were done. and give us the mood, the sentiment that is hack of it Richter, Moscheles, Hauptmann, Dreyschock and finally Just as Seidl was weaker in orchestral scores than in —the reflection of Nature’s phenomena upon his own Liszt, all had a hand in his education. J. C. D. Parker operatic, so Thomas was less great on the operatic side mind and soul. (still living in Boston), and the superficial Richardson, So when you are out of doors again, the next time, than on the orchestral. The two. giants supplemented who subsequently sold about a million copies of his whether you listen to the swishing of the boughs in each other. Of the life of Theodore Thomas it is piano method, were about the only other American the woods, or to the humming of the insects and the unnecessary to speak here, its glories are too recent students of music in Germany at that time. In 1854 and will always he well-remembered. babbling of the brook in the field, or watch the long Ik Mason began his work in America, and it was im¬ waves as they roll by in the ocean, think of the great portant from the very start. With Theodore Thomas, rhythm that moves everything in ever-recurring Come ye be - fore Hitr and re - joice. THE BOSTON SYMPHONY. In the three-pulse movement the normal length of Carl Bergmann, J. Mosenthal and George Matzka, periods. Try to understand the harmony that is -. j — - - It is interesting to notice that these 8-pulse lines are the lines is twelve counts, which generally move faster Mason founded chamber concerts which were the be¬ One other great orchestral pioneer must here he fested everywhere, and amid the silence, under the naturally timed to the intervals of breathing. Hence than in the two- or four-pulse movement. Here is a ginning of that branch of classical music among us. mentioned. The builder of our greatest orchestra It stars, the mysterious darkness of the woods, and the tjje name 0f rhythm, from pea) (rheo) I breathe. well-known example: For thirteen years these concerts were continued and is not necessary in a short essay such as this to give inexorable magnitude of the ocean, you will find that _... other forms of metre the different lines have their standard was far above anything that had ob¬ the history of the Boston Symphony Orchestra. not always the same number of syllables. In the tained in this country before. Brahms and Schumann Founded by the liberality of an eminent Boston banker, 8, 6, 8, 6 form—generally called “common metre”—we were first introduced in the United States by Dr. Wm. Henry L. Higginson, it began its career, under Georg have two long and two short lines,, e. g.: Mason. Henschcl, October 22d, 1881. But it became important "The harp at nature’s advent strung only after Wilhelm Gericke had begun to reform it Has never ceased to plan; * * EARLY ORCHESTRAS. and to build for the future. . It. was Mr. Gericke who The sang the stars at morning sung ruthlessly discharged the veterans who were in its MAKING MUSICAL ATMOSPHERE. Hus never died away.” * * The thread of our narrative continues with the name ranks and who clung to it as a. sort of Old Men’s In reading this, there is a natural pause at the end of Carl Bergmann, mentioned above as coadjutor of Home. It was he who went to Vienna and Paris and BY FRANCIS LINCOLN. of the second and fourth lines. When we set the Mason. It was Carl Lenschow and Carl Bergmann The Camp-bells are com-ine, o - ho, o - ho! chose a number of young artists who were to grow words to music these short lines have to be lengthened (but chiefly the latter), who were the real pioneers in up with the orchestra and some of them are with it Did it ever occur to you that you could create a out to balance the long ones, thus: Where the movement is more deliberate, there is ap good orchestral music in the United States. They yet, after about a quarter-century of service. Had it musical atmosphere in your own neighborhood just as No. 2._ to he a halting place half-way through the line. See ai directed the Germania Orchestra, the first classical or¬ not been for the firmness and far-seeing policy of Mr easily as the chemist can create gases in the labora¬ instance of this in The Star-Spangled Banner. chestra which had anything like a permanent existence Gencke we would not possess as we do to-day, prob¬ tory? Try this compound and see if it is not a profit¬ J|J J J J|J J J J|J J J Jj in America. It came about largely through the revolu¬ ably the best orchestra of the world. able one: J_ _ || tion of 1848. Not that many of the musicians had been In one sense Antonin Dvofik was a pioneer in SS2 + F4 + Hi® + Z® -f R3 4- P5 + E7 + W» + Tt in rebellion, but the political unrest throughout all American musical affairs. From 1892 to 1895 he was Perhaps you do not see the significance of such a “Short metre”—6, 6, 8, 6—has three lines of six syl¬ Europe made it impossible for them to gain a living director of the National Conservatory of New York. formula, but applied to a musical club or miftic circle lables and one of eight syllables. The abruptness of in their native land, and they were forced to emigrate. John S. Dwight. Hunng his stay in this country he called' the attention I these short lilies, offset by the roll of the long line, in your community it may work wonders. Let us Several of these refugees formed an orchestra, giving of the entire world to the charm of our plantation makes this form of verse well fitted to express resolute Underlying all the endless variety of rhythmic move¬ translate it. concerts in several of the large cities, hut making their music and its fitness for classical treatment in string energy, e. g.: ment there is a steady balance of the lines (sections to more recent times. Foreigners were naturally more Nine parts of work. quartet and symphony. Yet his symphony, From the and periods) and a complete adjustment of all the headquarters chiefly in Boston. They very soon had active here than native Americans. Leopold Damrosch Eight parts of zeal. “Stand up and bless the Lord * * fifty members in their band, and gave Boston its first came from Breslau to New York and conducted the New World, was not the first American work of this Ye people of Bis choice, * * parts to the whole. A clear understanding of this type, as those who study George W. Chadwick’s second Seven parts of experience. Stand u,up and bless the Lord your God, fundamental principle will give poise and power in hearing of Beethoven’s ninth symphony. Philharmonic,'.the New York Symphony Society, the Six parts of human interest. h heart and soul and voice. * musical interpretation. We must here digress to say that New York had its New York Oratorio Society, the Arion Male Chorus, cover’ °r h'S String quartet in D rainor may dis- Five parts of persistence. Philharmonic Orchestra before this time, thanks to the and German opera. He did more than this, for he Notice here again that in the musical setting each of But we may now add to the list of pioneers in the Four parts of fun. enthusiasm of Uriah C. Hill, a violinist of moderate gave to America his two talented sons, Walter Dam- the short lines has to be lengthened out to the eight American musical advance .a name which has not al¬ Three parts of research. ability but of much energy and of high ideals, who counts, so that they may all be balanced, thus : STUDY HARMONY FROM PIANO PLAYING. rosch and Frank Damrosch, who are still very active ways been held in high honor, yet its owner probably Two parts of self-sacrifice. in the modern musical uplift among us. No. 3. also deserves record among the musical pioneers of sowed more musical seed than almost any other single Mix well and administer to any musical club, and the BY ELEANOR CAMERON. this country. But the Germania was of higher stand¬ worker. Patrick S. Gilmore was not a great musician; effect upon the happiness of the community should be ard than the early Philharmonic, almost every member WAGNER’S AMERICAN SUPPORTERS. he was not to be reckoned among the ranks of Ameri¬ magical. being a good soloist. As the work in interpretation progresses and the Anton Seidl must also be mentioned among'actual can composers of eminence; but he was a superb or¬ Perhaps you can not form a cluh. If not, apply the One little glimpse into the history of the Germania pupil becomes more advanced, the imaginative phase pioneers He was scarcely a pioneer in orchestral ganizer and he had all the enthusiasm of his Celtic same formula to your pupils’ recitals. Be true to your Orchestra may illustrate the musical status of the time. stl’dy may be replaced by the spiritual meaning, music, for there had been much excellent music of work. Love it in all its parts. Gradually you will note In Philadelphia they had been losing money continu¬ tontoane 'in?869in lacy anand0dg to721872. The second wast0° ka placemusical in fes¬ mainr^h e p casant and joyful moods with the this type before his advent in 1885, hut the earlier per¬ that a musical atmosphere becomes noticeable where ously, although they went into continually smaller halls tival beyond any that had ever taken place on earth major, the darker emotions of sorrow and despair with formances of Wagner must have been something very none ever existed before. It may not be the kind of to retrench expenses. Finally they came down to a for we may distrust the stories of Josephus of tre¬ feel T!°»' AS soon as possible, lead the student to mystifying to the musical auditor; there were°many an atmospheric fog that sometimes obscures Carnegie large room which was to cost them ten dollars. The mendous choruses in ancient Jerusalem. everv domin" *°f transitio" *at is alwavs present in dissonances which were not “made in Germany,” and Hall, the Trocadero, Queen’s Hall or the Gewandhaus, receipts were less than eight dollars, therefore the clretofsmH /e7emh chord- Another necessity is a there were make-shifts that would cause the devout but it will be just the kind of a musical atmosphere in landlord turned out the gas, and the Philadelphia sea¬ and an j-e types ^e different resolutions Wagnerian of to-day to shudder himself into an early GILMORE AND THE PEACE JUBILEE. which the best interests of your pupils and your com¬ son came to a sudden end in the darkness. This form riand'ng °f the s'ffmficance of each one. grave These things came to an end when Anton Seidl munity will flourish, In the Germania Orchestra there was a tall and •Thnm’ thfre are acoust'ca' reasons why a chorus of of the actual eoarm°n^ WOrk’ ^"Smg as it does out took the helm, or rather the baton. He was the real 20,000 and an orchestra of 2,000 cannotogive a good handsome flute-player, who blew into his sentimental pioneer of Wagnerian opera in America. ensemble to a critical auditor. A “BouquetVf Arties” tube faithfully until Carl Bergmann left the orchestra “Music is a higher* outpouring of the soul than either But Wagnerian orchestral music had another great forty strong, singing solos or even four-nart I ' With heart and soul and for a New York engagement. Then the men decided wisdom or philosophy ”-L. van Beethoven. .,hc invo1"' supporter in America, a man to whom the cause of the punctuation of the mass of sound with artillery ^ the introduction of a bass drum ten times the 332 THE ETUDE THE ETUDE 333 1 H to a set of female composers who America, has lea t thn-e of any European coun father of the American Conservatory system. Eben c„„„r. favorably Jhe head of lh««. F, but do not use muscular tension above that neces¬ Tourjee was not a deeply educated musician, although sary for position. he had taken lessons from several teachers, attaining try- BeaCh1f> had a pioneer in Stephen C. Fos- Practice the sixteenth note figure in light staccato even to Haupt’s classes in Berlin. He was, however, S:“*-licity Will be found very difficult taps, and later with the two quick taps, as previously a superb organizer and the man best fitted for his time. explained. Also for further independence make use of Had he come forward with a severe curriculum when t0nrah2tenobtybeen our° pu^posfin these two articles to various rhythms, e. g.: he founded the New England Conservatory of Music, in 1867, he would have gone straight towards failure A " "r bwf ht§eS endeavore*?11 rather'm or bankruptcy, exactly as the Boston Academy o its ™n°us S of those who really began some new Music had done before his time. But he tempered the point out so native art and to set forth briefly r rmir, etc,;jj, errrer. wind to the shorn lamb; he encouraged the humble student rather than repressed.him; he adapted himself f;i:':zrztiT r and his educational scheme to the circumstances which - Lt.cJi.t-* ”>rv rv rv surrounded him, and where a great musician would t"So"d»"8T«.n”: have failed Dr. Tourjee (the degree came from Wes¬ In the twenty-first measure of this same etude a tions upon fts bosom. leyan University) succeeded. similar passage for the right hand may be found. The present writer was intimately acquainted with • [Editor's Note.—Our readers will r^Hze^how^impossible Bach abounds with these problems. Dr. Tourjee, but almost despairs of giving the reader it would be for Mr. ®s“ ”ai history in an article of an idea of his personality. He was enormously enthu¬ f£a Td tie size of the foregoing. Dudley Buck, for INDEPENDENCE WHERE ONE HAND PLAYS IN ONE siastic and had the faculty of making others so. He mltaCe was celhaimy a pioneer in one phase of.our musical RHYTHM WHILE THE OTHER PLAYS IN sized up a man very quickly, found out what he could as were many of his contemporaries, but Mr. SS to this article and in the one which appeared in ANOTHER. do best, and set him to doing it. The author well re¬ the°March issue of Th* Etude represented calls how Dr. Tourjee pushed him into lectureship, This is very difficult in the event of two notes against against his will; landed him in a class room with a three, which combination is often encountered in number of students of Theory around him, before he INDEPENDENCE IN COMBINED PARALLEL AND command. So, in order to obtain automatic muscular Grieg and other modern composers. The first measure had anything but a vague idea of what Theory meant; CONTRARY MOTION. the wit of malibran. action on a sure foundation, a further conscious study in the Grieg Scherzo, Op. 54, is a fair example. made him editor of a musical journal before he had One of the misfortunes of the interpretive artist is When both hands are occupied, one of the parts is will not be amiss. So as to hold the mind the better written a single essay. Dr. Tourjee had a smile that that his art dies with him. The creative artist at least usually quite easy, and after the difficult part is mas¬ was worth thousands of dollars to him. in his career. in coordination with the muscles, it is best to change tered the easier part can soon be added, but there are He was rather small in stature, with bright and spark¬ leaves behind him something that will make him a sort the mental orders often,-but always run the fingers ling eyes that lit up grandly as he became interested of familiar spirit in thousands of homes through scores many cases where both hands have almost if not alto¬ over the same path. Therefore practice through the size, and a grand piano twice the ordinary size, are of generations. Thus it is we can remember even so gether equal difficulties, in which event let us try the entire exercise with light but decided movements, using not especially artistic effects. But the training of the insignificant a composer as Offenbach while we forget following practice. We will choose for our example in place of the even four sixteenth notes to each group, chorus of twenty thousand caused every town and ham¬ a divine singer like Malibran. Some interesting remin¬ a couple measures from the Bach Prelude in C minor this rhythm: r let in New England, and many in other parts of 'the iscences of her by Ernest Legouve were recently trans¬ (No. 2, Well Tempered Clavichord), in which inder country, to study music which was of an infinitely lated by Mr. C. L. Graves and made into an essay in¬ pendence in both parallel and contrary motion is re¬ higher grade than anything that they had attempted cluded in his Diversions of a Music Lover. quired as well as digital perfection. This is another difficulty where the mental process before. Handel, Haydn, Mozart, and other great mas¬ “In illustration of her contempt for, or rather love should be well drilled, when-, the problem will not be ters became the daily routine of hundreds of vocal of danger,” says Mr. Graves, “M. Legouve tells us that so very obstinate. societies and singing schools that had only worked at the first day she ever went out on horseback, he being Take for example this simple figure: vocal trash up to that time. The two Peace Jubilees her companion, she put her horse at a ditch and got Follow this with an arrangement of the notes of left behind them a legacy of good musical taste that over without mishap. And he tells an even more had never existed before. It is unjust to decry the each group in which a different set of fingers make extraordinary story of her plunging into the sea in the the rapid move, e. g.: ladder by which we have ascended; it is unfair to Bay of Naples, although she could not swim, in the criticize the artistic shortcomings of the monster fes¬ serene confidence that her friends would not let her tival and forget what a precious legacy it left behind. drown. Of her readiness in retort he gives the follow¬ JOHN S. DWIGHT. ing example: Tap it out with the second finger (R. H.) ii e, apply- “Lamartine had been complimenting her on her gift ing a small accent as indicated. In the preceding article we spoke of William H. Fry Then use successively the following rhythms, play- nd the beginnings of American musical criticism. It of languages—she spoke four with equal facility. ‘Yes,’ ing.through the two measures: Play again and tap the second eighth note with the i most amusing to lead the rhapsodies which passed she replied, ‘it’s very convenient. It enables me to L. H., once more keeping the sound of the figure in’ or criticism before about A. D. 18S0. But Fry was clothe my ideas in my own way. When I am at a loss mind, but this time. tap the second- eighth note an vershadowed by an eloquent writer, not a practical for a word in one language, I take it from another; 1 octave lower, e. g.: iusician, deeply in love with the classical masters borrow a sleeve from the English, a collar from th UU- L£& :Zr ohn S. Dwight shouted classicism through thick and German, a bodice from the Spanish.’—’Which makes in bin. He attacked everything that was not easily meas- all a charming harlequin’s dress.’—’A harlequin's dress, rable by the classical yard-stick. He attacked Louis if you like, but the harlequin never wears a mask.’ On A. Gottschalk (also a pioneer in American pianc another occasion when someone was praising a poet The reason a fairly good player cannot read off at nusic); he attacked the Peace Jubilees root anc whose poverty of ideas was only surpassed by his mag¬ sight a complicated passage like this is that too many ,ranch. But, alas, once, by mistake, he bitterly at- nificent style, ‘Don’t talk to me of his talent,’ said Mal¬ physical and mental acts are thrust upon him at the — « acked his idol, John Sebastian Bach. ibran, ‘he produces a vapor bath with a drop of same instant. Let the mind have a fair chance and Now add one more note and this, problem i: It happened thus:—S. B. Whitney, the famous or¬ water.’ ” these mental and physical acts will soon be dispatched way to be solved, e. g.: ganist, gave a choir festival wherein he included the and with this accent, in what he was speaking about. He was always suave with ease. Simply revert to that old adage, “one thing ;reat Chorale Oh Sacred Head Now Wounded, by and gentle. A decided baldness gave a rather patriar¬ at a time.” 3ach. The melody of this chorale is not by Bach, but chal look to him, in the conservatory days. He was iy Hassler, as it was originally a love-song. Mr. a personal friend to each and every pupil. That “per¬ Take, for instance, the first measure. It is composed Whitney thought it best to credit the work to its orig- sonality” ofwork in a large conservatory has vanished of four groups of sixteenth notes, four notes in each nal source. The result was that a scathing criticism forever; no one but Dr. Tourjee could accomplish it. group. Play once the first group each hand alone (I if the “poor harmonies, the awkward leading of the . What difficulties lay in the path of a wide curriculum say play once, for now the prime difficulty lies in the passage is ready to use in conjunction with what roices,” etc., etc., appeared a few days after, from the can scarcely be imagined. At one of the meetings with making motions with both hands working together, ien of the Bach worshipper, who was much astounded precedes and follows it. Students will find scores of the pupils Dr. Tourjee thought that he might venture If the student will play and listen carefully to this lo find that he had inadvertently attacked the great so nearly all the practice, although slowly, should in¬ passages which can be treated similarly to these ex¬ to try for a conservatory orchestra. He suggested that volve both hands). Play the first group with both amples in his music. -example he will very soon gain a command over it John Sebastian Bach. every student who played an instrument should come But the influence of John S. Dwight was generally hands together; repeat it four times with perfect fin¬ To aid still further in the solving of this problem the next evening and bring his instrument along. They wholesome and good. In America at that time (from gering. Take the second group and play it once with he might count one, two, three, and tap a key at one came! There were nineteen flutes, three violins and a INDEPENDENCE WHERE ONE TONE IS SUSTAINED 1850 on), a little ultra-conservatism could only work and again between two and three. Reverse the process mandolin! The orchestra was postponed. The same hands separate and then four times with both hands WHILE THE OTHER FINGERS ARE EMPLOYED. good, and generally in conclave with Dwight were two conservatory has now an orchestra that plays all the together. Proceed in the same manner through the If a second person can be enlisted, let one oersnn great musicians, Otto Dresel and Hugo Leonhard. But Beethoven symphonies. third and fourth groups of the measure. Now go On eitnUSMtUr< f°r °Ur next effort to the Ch°Pin Etude, count aloud one, two, three, while the other count! Dwight in his day, unjustly overshadowed other earn¬ Op. 10, No. 6, the second measure in the bass. back to the first group and play it hands together est writers. Karl Merz, for example, is a name known TvtW°'-.,Td T- VerS°- With these simple but EBEN TOURJEE’S GREAT WORK. effective aids well in mind try Example 7 If jt st:ii to but few, yet in his day he was an admirable critic three times; take the second group the same way, also and analyst. If any reader looks up his book, Music Dr. Tourjee may be regarded as a link binding the the third and fourth. Return again to the first group, gives trouble take the second count of Example 7 at1(i and Culture, he will find a noble display of a well- old to the new. He was at first an outcome of the and, since the mental and physical difficulties have SVJrS* followin"“h ** °< fen*. balanced and highly-trained musical mind. New England praise meeting and singing school, but been more gradually approached and overcome, you when the Peace Jubilees took place he was a power Educators in musical literature have become so will this time repeat each group only twice. And once numerous that one can recite an entire list of promi¬ behind the throne. He was organizing everywhere and INDEPENDENCE WHERE CERTAIN TONES ARE getting the different societies ready to merge into the more return to the first, group, but this time play The factor of relaxation here enters into the prob¬ nent ones such as Mathews, Daniel Gregory Mason, straight through. Take the second measure up in PLAYED FORTE WHILE OTHERS ARE Liebling, Huneker, Krehbiel, Hale, Finck, Henderson, great chorus. lem. . Anybody who has been brought up with regard to exactly the same manner and after that is perfected PLAYED SOFTLY. Dickinson, and a score of others. The present writer cannot refrain from adding that keeping in repose such muscles as are not used in play both measures without interruption. This is not very difficult when the melody is in all of his present work in music was suggested, fos¬ a certain act will find here but little difficulty. The tered and upheld by Dr. Tourjee. The mental side of this passage is now quite ready, hand with accompaniment ift the other AMERICAN CONSERVATORY BEGINNINGS. fifth finger is to sustain the F, while the remaining Other pioneers in different musical fields might be but it is doubtful with many whether the physical side melody and accompaniment both come in th Wh/>), “ ‘Then an herald cried aloud, To you it is com¬ what I eat and drink? Can I hear any more the voice never making any break whatsoever in the melody, manded, O people, nations and languages, that at what which should be forte. Play once more with (m/1 of singing men and singing women? Wherefore, then, time ye hear ,the cornet, flute, harp, sackbut, psaltery, melody and light, detached tones (/>) in the accom¬ should thy servant be yet a burden unto my lord, the dulcimer, and all kinds of musick, ye fall down and paniment. king?’ (2 Sam. xix, 35.) Taking into consideration worship the golden image that Nebuchadnezzar, the the°circumstances under which this was said, there can This preparation should be ample to establish the king, hath set up.’ (Dan. iii, 4, 5.) technical side of the problem, while the finer dis¬ scarcely be a doubt but that Barzillai here alludes to “The kings appear to have maintained at their courts the royal band; nor is it surprising that David, with criminations are the result of more mature musical musical bands, whose office it was to perform secular his fondness for music, should have enjoyed the mu¬ growth. music at certain times of the day, or on fixed occa¬ The manner of practice set forth in the foregoing sions, Of King Darius, the Mede, we are told that, sical performances in his palace of a different character exerices not only offers the best of material for inde¬ when he had cast Daniel into the den of lions,, he from those introduced into divine service. pendent exercises, but at the same time adds mastery ‘went to his palace, and passed the night fasting; “Solomon himself mentions his private orchestra in over a difficult passage in some inspired masterpiece. neither were instruments of musick brought before his reflections on the vanity of worldly pleasures and If naturally economizes much time and brings more him’ (Dan. vi, 18) ; from which we may conclude that luxuries: ‘I gat me men singers and women singers, progress, since it holds more of the real vital issue— his band was in the habit of playing before him in the and the delights of the sons of men, as musical instru¬ The Prima Donna of To-Day and Yesterday interest. evening. ments, and that of all sorts.’ ” (Eccles. ii, 8.) by LORNA GILL It has been said of musicians that they form a sneezing and yawning aloud. The Gondoliers entered HANDEL’S TEMPER. third sex or sex apart, but to no class of musicians free and composed the claque; the ladies took coffee does this more happily apply than the prima donna, Handel was writing for the stage in London at this and ices, chatting incessantly until some diva began who from the earliest days of opera has been amen¬ period, and brought for the first time singers from her aria “If she pleased, the public was not content able to none of the ordinary laws of humanity. Italy, who reigned supreme over the world. People with clapping but burst into endearing terms. Spoiled and showered with the applause of the public, flocked to the opera in spite of the ridicule and raillery The Best of the New Music Issued by the Leading Publishers she developed early that vanity, egotism and capricious¬ Siestu benedeta! Benedeto el pare che l’ha Fato! heaped upon it by Addison in the Spectator. Handel, whose name suggests angelic choirs, was a man of ness of temper that has become since proverbial of the ah cara us buto zozo! Blessings on you, blessings militant temper, a match for fiery and capricious prima Selected, Graded and Recommended to The Etude Readers prima donna. This enchanting lady has ruled and de¬ on your parents! Flowers and verses rained from the boxes and galleries, doves with little bells around their donnas; he would put up with no opposition to his lighted us for generations, has defied kings, emperors, artistic ideas. Cuzzoni, one of the greatest sopranos necks were set free to express the admiration of her This list of piano music and songs represents a gleaning from the new music of the various leading publishers as offered from month to month. The pieces geniuses, poets and composers, not to mention long- of this age, absolutely refused to sing an aria hearers. are graded in a scale of ten: from Grade i, very easy, to Grade io, very difficult, the stage of virtuosity. The compass of the songs is indicated in a general way suffering impresarios. Her rule, however, has gone he had written for her. He seized her firmly about by the capital letters H., L. and M., standing respectively for High, Low and Medium. When the song is published in several keys, it is so indicated. the way of most despotic government, for being grad¬ Leonora Baroni, a famous diva of that century, had the waist, rushed to the window to throw her out, ually shorn of her power, she rules, now, only in ac¬ a whole volume of poems composed in her honor. Mil- but she consented just in time to save her life. cordance with the directions of the composer. PIANO SOLO ton, who wrote three poems in her praise, probably The Italian singers brought with them not only their heard her in Venice, when he visited Cardinal Barberini beautiful voices but also their rivalries and habit of BOSTON MUSIC CO., Boston, Mj BOOSEY & CO., Net CARL FISCHER, New York WHO WOULD NOT BE A PRiMA DONNA? there. intrigue. The northern clime does not seem to have Thnmbkin .... had a cooling influence on their tempers, for some of Schmitt, Susan. Easy Tunes for Two. White and Rose Grade Price In past days dukes crossed swords on handsome By the beginning of the eighteenth century, the 15 Pour Hand Pieces for the Spinning I Earnicott, R. Have You Se< Franke-Harling, W. Three Songs— the greatest feuds in operatic history took place in The Dan Italian piazzas for her favor and affections; princes leading lady had become so capricious, vain and ex¬ Pianoforte . 1 London. The Cuzzoni-Faustina feud is among the Schytte, Ludvig. Forty Pedal Studies and kings paid her homage; composers were worms orbitant in her demands that she became a very thorn r Seif Insti the Piano conspicuous ones. Cuzzoni was at the height of favor in the ground, who prepared the setting for this price¬ in the side of both composers and managers. less jewel, for from the beginning, she commanded when Faustina came, a younger, handsomer and gentler In 1720 Marcello, a well-known composer and writer prima donna, but the fiery Cuzzoni could brook no ARTHUR P. SCHMIDT, Boston Cowen, F. H. The : large prices, both the glory and the shekels going OLIVER DITSON CO., Boston Hughes, H. I Knoi G. RICORDI & CO., New York of this time, gave expression to the attitude of the rivalry. As a verse of the time says: Barbour, Florence N. r. Sanderson, W. Lc to her. Volumes could be filled with her romances, Better, L. Joys of Youth. Waltz. ... 2% .30 Paldi, Mari Surlelgh, H. T. Elysium. 2 Keys... 3 .i composers toward singers in a satire called 11 Theatro Smith, H. W. Woodland Chimes. 4 .60 darschal-Loepke, G. Op. 27. Songs— her fiery bouts with impresarios and composers, her i learned the discords of the state alia Moda.: Oi the prima donna he says: “At no irts jar with Whig and Tory hate.” Tennant, Hon. Mrs. A Bushmai rivalries, jealousies and intrigues with her colleagues. pains to form their voices or sing in tune, their be¬ Opera owes it origin to the Florentine cult of men Their quarrels and jealousies led to the formation V/illeby, C. Only Friends. ' 3 ' Keys havior on the stage was outrageous; their dress ridicu¬ Wingate, Maud. Sweet as the Gra who sought to revive Greek drama. Their effort of two parties headed by the nobility, and animosities f: Melodies lous ; they paid no attention to the audience, chattered Parlow, E. of a Rose. 2 Keys. found its first expression in Daphne, by Peri, per¬ as bitter as political parties arose among them. These Wood, Haydn. Days of Gladness. with the prompter and made eyes at the boxes. Imper¬ formed in the Corsi Palace in 1595 in which the music sweetly singing songstresses once came actually to Via Eas; Fireflies._ 5 Woodforde-Finden, Amy. Only tinent and capricious, they were never satisfied with s within t Scott, C. I was intended to express and illustrate the emotions es for Pou s II. : the impresario’s terms. They sang only when it suited Lady Horace Walpole had the temerity to invite both Songs of Britain. Too English, Spring Sc of the text. A few composers in the beginning, par¬ SomerviUe, them and fell ill on the slightest pretext.” Again “The rDanes Alla"Handel.'! ticularly Monteverde, that epoch-maker in music, tried to the same dinner, at which the question of precedence Florio, C. Nursery Rhymes. 20 Ohil- I Keys. composer will be most attentive to the ladies of the to carry out the ideals of the founders, but it was not gave her great trouble. At another time she invited ' n's Pieces for Piano ’ theatre supplying them with plenty of old songs trans¬ both unknown to.the other, to sing at the same concert. ■ies. Series I— long before they were cast aside and an appeal made ter Piper . ARTHUR P. SCHMIDT, Boston posed to suit their voices and telling each of them that Finding it impossible to prevail upon one to sing in ) Three Wfse Men of His Song . Branscombe, G. Song Cycle. A Lute to the public taste. ) The Thief .. Honey (He THE JOHN CHURCH CO., the opera is supported by her talent alone. . . . The the presence of the other, she took Faustina to a re¬ Lullaby . .. Prelude . .* New York, N. Y. Clough-Leighterf H^After" ’■> Kevs' 1-22 The first public performance of opera took place singer will always complain of her part that it is not mote part of the house, on the pretext of showing her e Wondrous Wise Men Williams, F. . Coleridge-Taylor, S. Tell. O TeU mV. 4 'C0 in Venice in 1637, which soon took the lead of the Plaintive Melody. Fosse, M. Only in iimm, vm o suited to her . . . protesting that at such a court, some rare china. Meanwhile Cuzzoni had sung, think¬ Still Thine Own ( An Explanation.' Italian cities in both the number and magnificence of i. Old King Cule.jt.. 2 Key her air carried all the applause. ... At rehearsals ing that her rival had quitted the field. A similar ruse . The Broken Doll. Low Breathing ’ its opera houses. The Mischievous Crow.. she will hum and insist upon having the time her own was practiced with success upon Cuzzoni to induce Faustina to sing. At the end of the century there were eleven in full way. She will get hold of a new passage in triplets Series II. Spencer, V. At the At length managers decided to put an end to their 1. Mistress Mary. Quite Cor 3 Keys) . . Consolation (L) blast. Melodrama and intrigue of every description and introduce it into all her airs, the higher she can go Good Night (L). quarrels One knowing that Lady Pembroke, the 2. Good Advice for Traveler; took the place of the classic heroes, but the public in the scale, the surer she will be to have the principal 3. A Nursery Song. In the Home Toi leader of the Cuzzoni party, had made the singer B. F. WOOD MUSIC CO., Boston Night Gossip (H really cared nothing for the plots, as they talked all parts allotted to her.” 5. Simpie Simon . The Sea Hath its G. SCHIRMER, New York through the performance, and were silent only when swear never to sing for less money than Faustina 6. (a) I Saw a Ship A-saili Barnard D’Auvergne. Enchantment. Than Art So Like Chadwick,]_ G. W. Five Songs. The Though the development of opera was retarded by the diva sang her aria. Opera played right into the offered Cuzzoni on the renewal of her contract a (b) Poor Robin . Barth, O. Op. 16. 'Eight' Little Tone Ware, Harriet. Alone I Wande the vanity of the singers, it was there in the middle guinea less than her rival, which sent her flying back 7. (a) A Catastrophe, Poems— Roses°(h^ , this island bid the founder of bel canto with his array of famous Even at the first opera, Daphne, “did the soprano pupils, the greatest, perhaps, the world has ever known. Vittoria Archilei, ornament the written monody with HINDS, NOBLE & ELDREDGE, I have heard one of our great opera singers say that Another Porpora product, Gabrielli, was as famous Metcalfe. B. Op. 47. i 1 flourishes.” So from the very dawn of opera were New York 2 Kev the vocalises that formed the pabulum of these singers' beauty1- ■aS,£,f.her marvelous voice and Kroeger, E. R. Grimm’s Fairy Tales— Phelps. E. S. Message oi C. Of the abuses that proved the glory and the fortune of would be impossible of execution by the great ones Little Red Riding Hood. 3 2 Key the prima donna. manaL in M d m ’ the famous tenor, then a The Enchanted Stag. 3 of to-day. There was improvement in the quality of ktX i ' WT?eJ° Metastasi° concerning The Frog Prince. 3 her. Metastasio answered, “The amusing stories which “Vi. S1™!:' * ture. 's Kevsi n ’f” A PICTURE OF OPERA IN OTHER DAYS. the music of Pergolesi and Scarlatti, and' in the lib¬ ""S. A. 2 Keys!: 3 iso rettos of Zeno and Metastasio. The most famous areSoo TrueSignora Gabrielli The Venetians were insatiable opera goers arm were prima donnas, Cuzzoni, Faustina, Gabrielli, Minotti are but too true. She is young, favored by nature? and very noisy audiences, shouting, whistling, coughing, were all Porpora products. "l ” ™1 a-bll,t,e\ 80 that !t is n°t -surprising that like other sirens she should be capricious. In 336 THE ETUDE THE ETUDE 337 interesting the boy pupil. order to moderate her impetuosity, it will be neces¬ man, she was incapable of the vocal tricks of Catalani. sary to impress her mind with great respect or rather Her vogue was such that everything from bonnets and „y ELLSWORTH H1PSHER. positive fear of the sovereign and his court.” shawls to barrooms and sausages were called after her. He tells how she enchanted wherever she was skil¬ How great her art must have been can be judged by the boy, starting into music the high opinion of Mendelssohn and Chopin. The les^ons^^ aT uncomfortable outlook. If he has fully managed and that the most successful expedient lessons, nas a j,eld up to him as ideals A Concise Dictionary of Musical Forms latter said, “She is as great an artist as ever lived.” eyer tried to have her sing well was to induce her jsisjters, pr°e*ery may attain. And why parents has presented little dictionaries of this kind with the view of assembling special information along well defined lines, Those who have heard both Patti and Lind, say the favorite lover—for she always had one—to sit in a to which he position is one of the missing this is the result of research in works not commonly possessed by the average music lover. box near the stage, when she would pour forth all latter possessed all the gifts of the former with the her powers to please. No earthly power could make addition of a soul. Rossini once heard Patti sing one lffikslnffie2 processes of the human intellect. Despite her sing if she did not feel like it either for kings or of his arias so loaded with embellishments, that he the fact that the greatest musicians of all ages both creative and executive, have been masculine, yet he emperors. The Emperor of Austria, with whom she asked her sarcastically whose aria she had just been opin on is persistently bobbing up that music is for was a favorite for some time, banished her finally from singing. She answered that Strakosch had taught it Musical form has been defined as the "design, plan CHANT: a short liturgical composition to which the drls and not a manly P^it for boys. Should the idyl: a short pastoral movement or a song of" a his kingdom for defiance of his authority, before which so to her. “Then,” said Rossini, “it is a Stracochoneria” or structure of a musical composition.” A musical de¬ bov be fortunate enough to receive proper encourage¬ psalms, canticles, etc., are sung. It consists of a single pastoral character. (cochon, Pig). sign, like that of a fresco, is based on the orderly she had been exiled in turn from almost all the cities ment at home, he surely will have to withstand play¬ note or chord, called the reciting note, followed by a of Italy. repetition of certain ideas, which are appropriately IMPROMPTU: An extempore composition. 'Strict mates who too often look upon piano practice as passage in strict time called the mediation; this leads WAGNER’S IMPRESS. arranged so that the whole work possesses unity, adherence to form is not essential; and there is Some somewhat of a “sissy” occupation. So that the boy to another reciting note, followed by another short HOW GLUCK REFORMED THE PRIMA DONNA. variety and proportion. liberty allowed for freedom of expression. What a change in the attitude of the singer, toward who comes for lessons , at once has my sympathy and passage in strict time forming a cadence. A double AIR WITH VARIATIONS: A short melody first played chant in which this process is duplicated, the second A long time before Gluck came with his reforms, her art, the composer and the public during Wagner’s INTERLUDE, Intermezzo: A short instrumental work chant forming an “answer” to the first, is also fre¬ opera had assumed certain fixed rules of construction, time! In 1851 Schroeder-Devrient proclaimed in the very simply, and then repeated in various ways.. Often between verses of a chorale, between vocal items in a quently employed. so many arias, .quartets, duets, trios and choruses, ir¬ operas of the German revolutionist a new vocal art, FIND THE BOY’S VIEWPOINT. the variations are of cumulative interest, passing choral work, or between movements of a sohata or through a variety of moods so’ that the work as a whole respective of the requirements of the plot. The pioneer the art of declamation. The composer is no longer The wise teacher always studies the individuality of CHORALE: A hymn tune. The modern chorale was symphony. never flags in interest. of German opera, in his efforts to make it more ex¬ her slavey; she becomes the conscientious interpreter his pupils Especially must he differentiate between introduced by Martin Luther. INTRODUCTION: A short cotnposition Jading iljt6 pressive of dramatic truth, gave the first blow to the of his music-dramas. Wagner’s works were fraught the mental qualities of boys and girls. Most teachers ALLEMANDE: a moderately lively dance, of Swed¬ CHORUS (OR PART SONG): A work to be sung by vanity of the singers. with tremendous difficulties for the singer, musically, have such a preponderance of girls and young ladies ish and German origin. It is usually in common time, the main work; it usually ends on the dominant, but is though it is also found in triple time. It consists gen¬ a number of voices, usually written in a contrapuntal otherwise complete in itself. The Paris of 1773 was the principal scene of his dramatically and vocally, increased vocal power to be that they are apt to become biased in their way of erally of two complete sections of about even length. style. A body of singers is also called a chorus. reforms. He said, “I have avoided interrupting a heard above heavy orchestration, the singing of diffi¬ looking at the teacher’s problems. And yet, to succeed JI(> (Gigue): A lively dance in 6/8 or 12/8 time. singer in the warmth of a dialogue to wait for tedious cult intervals and a passionate style of declamation. with the average boy pupil, he must be handled from arioso : An air or melody for, a single voice, CHACONNE: A graceful old dance in 3/4 time. Also ritornelles or cadenzas. . . .” Naturally the singers The singer’s importance became relative to the reading the boy’s viewpoint. His natural frame of mind, his shorter than an aria. a set of variations on a ground bass in slow 3/4 time. did not like their parts, and it was all he could do to of the text, the orchestra sharing equal honors. In more active sports and employments, and his outlook ARIA: "in a general sense,” says Pauer, “an aria is Similar to the Passacaglia. LANDLER: An Austrian dance fr-om which the speaking of her art Schroeder-Devrient says, “I had upon life must be taken into consideration. every tuneful air or melody which has, a- certain defi¬ modern waltz is said to be derived. find a sufficient number to sing his operas. CONCERTO: A composition in sonata form (q. y.) to think not only of my own reputation but to estab¬ One characteristic, which the boy seems to possess nite form.” In a more restricted sense, the grand aria Two parties had formed, one in favor of the Italian for a solo instrument with orchestra. The most usual lish German music. My failure would have been in¬ in a greater degree than his sisters, is his ambition is a threefold composition, in which two sentences are MAZURKA: ^ A Polish dance in triple time usually composer, Piccini, the other for Gluck. Both composers solo instruments are violin, piano, ’cello. , or organ. jurious to the composer.” Before her singers had to do things like a grown person. Now, this can be set to music. Of these three forms, part one consists having a strong accent on the second beat. had written on the same theme, Iphigenia in Tauris, The scherzo or minuet movement, however, is usually delighted and astonished, it remained for her to thrill turned to most excellent account. Imitation, carried generally of an instrumental prelude, principal melody Gluck’s proving the greater success, with Sophie Ar- omitted. with her passionate art. Wagner says, “The remotest to excess, is abominable. And yet, when we look far (the setting of the first sentence) ; modulation into the MADRIGAL: An unaccompanied chorus of one riihve- nould, a French prima donna, in the leading part. ment, written in free contrapuntal style. It is to secular contact with this remarkable woman electrifies me. enough back, each of us will find that most of our dominant; return to the tonic with variation; a short CONCERT-OVERTURE: A somewhat extended over¬ On the opening night of Piccini’s opera, his discom¬ music what the motet is to sacred music. For a long time I heard and felt her presence, when education was acquired first by some means of imi¬ instrumental postlude leading to part two. Part two is ture for orchestra constructed usually in the form fort knew no bounds, when he saw his costly prima tation, and that later we so digested the substance of the impulse to compose came over me. . . . She set shorter and more concise than part one, and consists of of the first movement of a sonata except that there is march: The march is of German origin. It is’ in¬ donna, La Guerre, come out as the daughter, Agamem¬ our example that, finally, it became a part of our an example of which, I alone, of the dramatists used a melodic setting of the second of the two sentences. no repeat of the first section. tended to act as an aid to soldiers on the march, and non, making faces at the men in the pit and boxes, and mental equipment to be used as our own. So the Part three is a complete repetition of part one with a as a guide.” Frederick the Great, of Prussia, was as must therefore be so written that the time Is strongly flopping about and reeling through her part. The cli¬ teacher need not fear the effects of many practical new variation of the principal melody. CODA: A part added to the end of a composition to unpatriotic as to say that he would, as soon listen to accentuated so as to fit the step (one, two, one, two, max was reached when Sophie Arnould, who was in illustrations in the early course of the pupil. “And, make a more effective finish. The word is derived from the neighing of a horse as the singing of a German ANTHEM: A sacred choral composition, the words etc.). There is usually two strains each of eight or six¬ the audience, set the house in a roar by calling out, now see how I do it,” will almost always stimulate the the latin, caudum, a tail. prima donna. If such a charge could have been brought being taken from the scriptures, hymns or collects. Its teen measures to the first part, and the same in the trio “This is not Iphigenia in Tauris, this is Iphigenia in boy to a genuine effort to play “like the teacher.” This form is very elastic, and it is usually written in a con¬ COURANTE: a lively old French dance in triple section, which usually has a theme of somewhat broad Champagne.” applies to technic as well as to interpretation. “Do trapuntal style. A verse anthem introduces solos, time. The word means “running.” character. There are several kinds of march, which La Guerre was whisked off to prison for two days Lili Lehmann and the great German singers since it this way,” with a careful illustration will accom¬ quartets, etc., but a full anthem is sung throughout by are more or less accurately described'by their names: by the king’s orders after which she returned to the her, have combined the declamatory art with all the plish more than a hundred deadening “don’ts.” the full choir. ENTR’ACTE: A short orchestral piece between the Quick March, Slow March, Funeral, March, Festival refinements and technique of bel canto, and have Then one must take into account that the normal stage again singing better than ever. Up to this time, acts of a drama. March, Religious March and National Marches. however, France was far behind Italy in the art of proven, moreover, by their long careers, that the sing¬ boy has other interests outside of music. His sports BALLAD. BALLADE, BALLATA: A ballad is a popu¬ song, as well as in that of operatic composition. There ing of the Wagner operas do not ruin voices properly and games are vital to his physical and mental health. episode: (See Sonata and Fugue.) MASQUE: The forerunner of the, opera,, combining lar song in which the music is repeated for each verse, ■ were no singing schools, no singers comparable to the trained. Nor do they unfit singers for other styles, A few interested words regarding them will not be poetry, music, dancing, etc. The characters were repre¬ and is of very ancient lineage. Usually a ballad tells exposition: (See Sonata and Fugue.) great Italians, but the French, from the beginning, seem as the success of Lehmann and Nordica in French and time misspent; for when once you have the human sented by masked performers, and the entertainment a story of some kind. “The German, ballade,” says to have excelled in acting. Sophie Arnould, the most Italian operas indicate. interest and sympathy of the boy there will be little was generally based on some allegorical or mythological Prout, “is a different form altogether, and is either a FANDANGO: A Spanish dance in slow 6/8 time. distinguished leading lady up to then, had dramatic difficulty in getting his attention for anything you subject. poem set for one voice and composed throughout, as DRAMATIC SINGERS OF TO-DAY. may wish him to do. And, when all is said, the FANTASIA: A work written in a .somewhat gifts greatly admired by Garrick. in Schubert’s Erl King or Schuihann’s Belsatsar or MASS: A sacred composition invariably associated Since Wagner the music of all countries has become amount of interest you are able to develop in a pupil rhapsodic style designed to show off the performer’s The nineteenth century saw the Italians Rossini, sometimes a species of cantata for chorus and orches¬ with the celebration of the Eucharist. It is sung to more dramatic, calling for more serious musical and will measure your success in furthering his progress technique, sometimes similar to the sonata or rondo in Bellini and Donizetti supreme in the operatic field, with tra, with or without solo voices. Mendelssohh’s First Latin words in the Roman Catholic Church. The prin¬ m his studies. Get yourself into a sympathetic at¬ form, but not strictly adhering to form of any kind. their exquisite melodies and vivacious fioriture. They dramatic study upon the part of all singers, though Walpurgis Night is a ballade of this kind.” There is cipal movements are the Kyrie Eleison, Gloria in titude towards the interests of the boy. and you will Very often airs from an opera, or other popular airs, played more than ever into the hands of the singers, not demanding so heavy a voice as the Wagner operas. also an instrumental ballade, such as that found in the Excelsis, Credo, Sanctus, Benedictus and Agnus Dei. the orchestra now accompanying them, and allowing In the French and Italian operas great triumphs have be surprised to find how often some phase of these are used as a basis. may be used to emphasize or illustrate some point of works of Chopin, in which the chief theme is en¬ them to take their own time. This, however, had some been won by Calve as a creative interpreter and emo¬ MOTET: An ancient sacred choral work written in the work in hand, which you wish to bring clearly hanced on each reappearance. FUGUE: An elaborate polyphonic form, consisting of advantage, as it gave the serious singer an opportunity tional singer. polyphonic style, employing never less, than fpur parts to his mind. ° 1 BALLET: A story told by dancing, pantomime, etc., an Exposition in which the subject is announced by one to pay more attention to acting, and produced conse¬ In French opera, Mary Garden, whose career would Orchestral or organ accompaniments are sometimes em¬ and the music appropriate to it—usually a suite of voice, and the answer by another, and so on until all the quently the first of the emotional singers. “Pasta,” it have been impossible in a former age, when vocal gifts, ployed, but this is a comparatively'modern innovation was said, “was a Siddons; Malibran, a Garrick.” Son- dances of a more or less fanciful character. voices have entered. With the answer appears the alone, could have won success, has achieved fame by counter-subject, or part written above it; the counter¬ tag, Grisi, Perseani, Catalini, Alboni, Jenny Lind, were great histrionic powers backed by only fair vocal ones. Anotner item of vital importance is the style BOLERO: A Spanish dance of a somewhat lively music selected for study. Naturally, a boy, ful subject usually appears with each subsequent entry of the most prominent among the sopranos. Not all were Farrar combines in a happy manner the gifts necessary character, in triple time. It is also called a cachuca, subject and answer. Following the exposition is the the high type of artist as Malibran, the daughter of for the highest type of singer. Sembrich, whose ex¬ snap and life, will not be much interested in dre is often in a minor key, and accompanied by castanets. Garcia, combining with her gifts of singer and actress, reveries and nocturnes. Give him a selection BOURRl£E: a stately French dance in common counter-exposition in which the answer appears first , —vu, ulicu on me same plan. The quisite art is the delight of all good musicians, finds and the subject follows. Then comes the development great musical knowledge and high ideals of her art. its best expression in the works of Mozart, is the great¬ time, somewhat like a gavot, except that it starts usually two were performed alternately, thus giving rise to the PuTffre^nteTt a .vigorous ™lody, and he in which subject and answer are heard in several re¬ est living exponent of bel canto and prides herself upon on the fourth beat instead of the third. expression “a pair of minuets.” The second minuet Still CATALANI. lated keys separated by short episodes. Towards the the fact that she has won her laurels without playing further differed from the first V being played'by'only BRAULE: A lively country dance in “rondo” (q. v.) end comes the stretto in which the answer follows the The vocal tight rope walker is still with u ti Cata- to the gallery. The success of Tetrazzini presents a ^ree ,?eri,°rmers’ ? ,th“s came to be known _as. the form. subject at a shorter interval, that is to say—before the i woman of extraordinary natural abilities, who curious anomaly in that the old style diva, supposed trio. the name trio has been retained long since subject has been heard in completion. Usually at the with all the gifts necessary to become a great artist, to be as obsolete as hair furniture and bombazine the practice of writing in three parts only has been CANON: A kind of composition in which a melody end comes the pedal, a long note held in the bass while spent her life doing vocal stunts, caring only for money gowns, is represented in her, and finds large audiences abandoned, and is also employed for the second part of sung (or played) by one voice is echoed a bar later the other parts move freely above it. If the long note marches, gavottes, etc. and cheap applause. She cared nothing for the opera fond enough of vocal agility to sit through old-fash¬ ooK linT iZ <3£c,“T;,£1£ T™ s.yi« oi comp„,,tion "U u“ by a new voice, the two thus proceeding together. The is held in an upper part it is called an inverted pedal. in which she sang, and her demands were so exor¬ ioned prima donna operas, for there have not been distance is not necessarily confined to a bar, it may be a bitant that nothing was left for the other singers.. Her any new ones written in fifty years. Interludes, formed usually from some portion of the half bar, or more than a bar; nor is the echoing voice subject, help to give variety between the different sec¬ husband said to a manager who complained of her Some of our prospective prima donnas seem to think or “imitation" necessarily at the octave. It may be at a tions. terms, “My wife and, four or five puppets is all that is MUSICA PARLANTE: it unnecessary to devote as many years to vocal phras¬ third, sixth, etc. Other voices may join in in the same Music of a declamatory nature, necessary.” ing and technique as the bel cantists did, they talk about written like a recitative. way. A reigning empress who had asked to hear her sing, a thousand a night before they have studied two years. escent, one in which thg •GALLIARD: An ancient Italian dance in triple time. CANZONA, CHANSON: A song. when she heard her terms said, “Not one of my field A study of the greatest achievement in modern opera GAVOTTE: An old French dance, originally from the CAVATINA: The cavatina is somewhat similar to the marshals gets as much.” “Then,” said Catalani, “let shows that it lies in combining the best qualities of country, but made graceful at the French court. It is of s~:ris,y the sei aria, save that it is shorter and consists only of one her get her field marshals to sing for her.” the Italian and German schools, the vocal finish .and in 4/4 time, and begins on the third beat of the measure. Unlike her Jenny Lind, with her heaven horn gifts technique of the former, with the declamatory art of part, and is not repeated. It has generally a longer ( 7 p,c'-c ui song torm.” The inventor, of it was John Field,, the Irish pianist, hut the latter. Yesterday the prima donna was only a text than the aria, and consequently there is little repe¬ GLEE: A vocal work for three or more singers, often of voice and soul, made “a conscience of her music.” found re;plendent',n ttlV'VaC,ty °f the pcr Chopin invested it with so much beauty that the term She reverenced her art and no efforts were too great vocalist; to-day she must be an interpreter, musically tition of the words. It is also more contemplative in having several movements. Somewhat contrapuntal in sadness and sorrow is als °f thc CO nocturne has become definitely associated with piano to perfect it She came to this country m 1850 and . and dramatically, with a finer ear for intricate har¬ character. The arioso at the end of a recitativo is also style. man art turns mo7e fretluT ^ ^ pieces which have a certain atmosphere of myst tism though exploited and brought by Barnum, the circus- monies, and a richer, broader mentality. sometimes more of a cavatina, the feeling being concen¬ such as we get in Chopin’s works. The name suggests^ *» of'Zo.-”,0; trated as it were into melodic form. HORNPIPE: A sailor’s dance in quick 4/4 time. piece to be played in the quiet of evening " THE ETUDE THE ETUDE 339 338 the reservoir. Minuet (or Scherzo) with trio, and finally a Rondo (or OPERA: A,secular music drama, usually consisting of by THOMAS TAPPER. solos, duets, choruses, etc. In grand opera there is no Allegro). spoken dialog. In opera comique, however, there is, and SONATA FIRST MOVEMENT FORM: This is one of , „c music who ever lived has not had ver^r often this is the only means of distinguishing the the most important forms in music, and though it is expectations, merited praise for tome- one item the other. Carmen, for instance, is opera subject to variation, as are all forms not .stnc y ambition, g edPvis.ons of greater and more worthy cojtiique, though it is serious in character and tragic in tended for dancing, or some such purpose-, the thmg accomp h . ^ We all remember how its ending. Comic opera in the Anglo-Saxon sense of ard”- form for the first movement of a Sonata is performance f building these occasions were—what Chopin as a Virtuoso the word is known as opera bouffe. The lyric dramas follows: , ..K-mo-p” of Richard Wagner and his followers have not set arias • Part 1. First subject in tonic key; episode or bridge sa m «* How Chopin’s Playing Impressed His Hearers duets,7-choruses, etc., but are one continuous flow of leading to-second subject in dominant; a .codetta end¬ music from beginning to end. They derive their inter¬ ing at the double bar in the key of the dominant, thus est-from the constant use of “leit-motiven—musical leading back to the beginning for the .repeat. 1 doe,°»1* >>“ *ri“ «“ were living i passages associated with certain characters or events m whole of Part 1 is known as the exposition, or enunci- .e .hall forget the rar. honn-ahen our strength with anything the the opera, , which frequently reappear in more or less the hope of measuring Part 2. The Development, or Free Fantasia section, iT^Itrht ask of us. And with the lessening of recognizable shape throughout the work. world might ask oi_( 1;#- prppn,. in. wp becomj. The performances of Chopin, like those of Fran? sorrows of the absent fatherland, his dear Poland, with a sort of restrained emotion that was indescribable. consists of a working out of any passage or passages OVERTURE (see also CONCERT-OVERTURE): An in¬ ambition the humdrum of life creeps always ready to conquer and always defeated. But Lastly he rushed through the final movement with fault¬ taken from the first section. There is considerable Liszt, have been the subject for much speculation. fi®t‘ creatures of habit; later on of habits that pro- Since our only guide in the interpretation of some of without these conditions—the exacting of which for less precision and extraordinary delicacy—not a single strumental piece performed at the commencement of an modulation, etc., in this'section. . duce personal comforts for us. Now and again, at the Chopin masterpieces rests in the descriptions of his his playing alL artists must thank him for—it was useless note lost, and with marvellous phrasing and alterna¬ opfera or oratorio. In opera it is very often a resume Part 3. Recapitulation or repetition of f'art i, of th« principal airs in the piece, though in some cases, c instead of first, then oftener, we'find the day and the days work playing given in the accounts of his contemporaries, to solicit him. .The curiosity excited by his fame seemed tions of light and shade. We stood spellbound, never which the second subject appears in the even to irritate him, and he shunned as far as ppssible having heard the like.” ais in the Tannhauscr Overture, it foreshadows in tone, the dominant. There is usually an elaborate coda. monotdnous. ,. , these written documents are of real value to all who the psychological basis of the entire work. Some over¬ When that happens to us, are we fit teachers for read them. The Etude has frequently spent consider¬ tfie non-sympathetic world when chance had led him As the sa keen observer also received piano lessons N. B:r_If the «rSt su1)iectn*5,^tHeeB^* young people who are living in that great promise of able time in research with the hope of Uncovering rare irtlp it. I remember a cutting saying which he let fly from Chopin, is interesting to read her description of his tures are in sonata “first-movement form. Jett will usually appe ideals as to at constitutes good piano playing. relative major. In ipitulation, however, it will fife that we have left behind? We are not; decidedy letters and old news notices which will throw light one evening at the master of a house where he had appear either in the tome upon a subject of such practical interest. In the Janu¬ dined. Scarcely had the company taken coffee when “In. sending you these fragmentary recollections,” PART-SONG: A composition sung by a chorus or quar¬ subject) or else in the tonic major. we are nbt Now, if ever, must those fires burn brightly tet generally without accompaniment. It is usually to order to light ’safely the path of younger feet than ary issue of The Etude we gave an excellent article the host, approaching Chopin, told hiip that his fellow- she goes on, “I feel it would be unfair to Chopin if they by the Polish pianist Wanda Landowska (reprinted guests, who had never heard him, hoped that he would were to convey the impression that he had a cut-and- simpld in form with.a melody predominant and few con¬ .SONATA di CAMERA: An old form of sonata from our own that they may keep out of the hours of from the Wiener Komertschau). be so good as to sit down at the piaho.and play, .them dried method. The majority of his pupils, I always trapuntal complications. which the modern sonata is developed. The term monotony l . some little thing. Chopin excused himself from the understood, were already excellent and even distin¬ means “sonata for the drawing-room” or sma.l concert- “But,” someone objects, “it’s natural to get that way. I^ASSECAILLE: Passacaglia (see Chaconne). CHOPIN’S ROMANTICISM. very first in a way which left not the slightest; doubt guished musicians before they went to him. They It is not natural to get that way. If it were, nature Although Chopin, according to Mme. Landowska “had,no as to his inclination. But when the other insisted, in required' no elementary teaching, whereas I was only t^ASSEPlED: A lively dance in triple time; said to be SONATA DI CHIESA: A “sonata for fhd. church.” would have tired long ago of the beauties of spring. fancy for the romanticists, yet his own music unquestionably an almost offensive manner, like a man who knows a young amateur with merely a great natural love- for the precursor of the minuet. Delongs to that Order. There is nothing of the chiliy The term is now practically obsolete, though it might But she does not tire. Every one, as it comes, has its austerity of Bach about the nocturnes, polonaises, mazurkas, the worth and:the object of the dinner which he has music and very little previous training. Chbpin ques¬ PASSION MUSIC: The- story of the‘Passion set to conceivably be employed for an organ sonata. ineffable glory. Nature shows us in all she does that etudes, valses, nor even the preludes of Chopin. Indeed the very nature of thes- tioned me as to this, and I told him that music in oratorio form. SUITE DE PIECES: The precursor of the sonata. A it is not natural to lower standards, to forget old Works is foreign to pure classicism. Chopin I had learned more from listening to was the very embodiment of romance, aud PASTORAL: A movement of a peaceful, rural charac¬ collection of dance tunes, arranged to follow each other ideals. She keeps up to hers, and keeps jogging us his aversion to its exponents was probably singing than anything else. He remarked: with due regard to contrast in style. A. prelude and to do the same. some queer application of the canon of ter generally composed in 6/8 time. Often an instru¬ physics that causes magnets of like polarity ‘That is right; music ought to be sung.’ fugue were sometimes included. A modern suite is to repel each other. Chopin was unquestion¬ mental interlude in a cantata. POSITIVE HOPES AND AMBITIONS. And truly in his hands the piano did Sing, more free and fanciful, and generally consists of ma¬ able susceptible to romantic surroundings.” and in many tones. I watched, I listened, PAVAN: An old dance originating in Spain; in triple terial too slight to make a sonata or symphony. Now every positive hope, every ambition, every satis¬ Joseph Nowakowski has related in his but could find no adequate description of SONG-FORM: The form in which the majority of faction we have ever felt is still within us. Let us biography of Chopin how one evening that thrilling music. One never thought POLONAISE, POLACCA: A stately Polish dance in 3/4 drawing-rodm pieces are written. It consists usually of get them together in a great reservoir, and let all the when there was a gathering of friends in of ‘execution,’ though that was marvel¬ time.: The musical phrases begin on the first beat of the a first theme, then a second theme, contrasted in style inspiration that flows from us in a day’s teaching tap the Chopin salon at Nohant, Liszt played ous. It seemed to come from the depths bar arid end on the third beat. Modern dances in this and in a different key; an exact or varied repetition of that source. All that glory of life we once believed one of Chopin’s nocturnes, to which he of a heart, and it struck to the hearts of form are usually played more rapidly than formerly. tlie first theme and a short coda. in so thoroughly was true. We have not found out, took the liberty of adding some embellish¬ listeners. Volumes have been written, yet PRELUDE: A movement introductory to another, SYMPHONY: A sonata for full orchestra. Some¬ in growing older, that it was not true. We have our- j ments. “Chopin’s delicate intellectual I think no one who did not hear him winch I® nevertheless complete in itself and usually ends what more elaborate than the sonata, but essentially the selves failed, somewhere, to be true. face,” says Nowakowski, “which still bore could quite understand that magnetic , on the 'tonic chord. Modern preludes are not neces- same in form. We need alt that enthusiasm of former days as the traces of recent illness, looked dis¬ power. It is still a deep, though some¬ ■ sarily introductory save in the sense that they estab- much for the young we are teaching as for ourselves, turbed ; at last he could not contain him¬ what mournful pleasure to me to open the TARANTELLA: A lively dance of Italian origin, in lish a certain seriousness of mood. and certaifily when life becomes monotonous do we self any longer, and in that drawling tone pages marked with Chopin’s pencilings on 6/8 time. The dance is said to be that used by the need it chiefly, indeed. We talk a great deal these which he sometimes assumed he said, ‘I the margins, graceful little additions to rhAPSODIE: A composition irregular in form rather Italian peasants of the sixteenth century as' a, cure for days about the pedagogy of music. Not until we learn beg you, my dear friend, when you do me the printed music.” the bite of the tarantula, a large spider. the honor of playing my compositions, to on the order of a Fantasia. to be inspired by the best we have had in all the play them as they are written or else not Mme. Rubio, another friend of Chopin, RlfeAUDON: A lively old French dance in common TERNARY FORM: See SONG FORM. years past, and not by the worst that is in us just at all.’ ‘Play it yourself, then,’ answered has stated that he once said, “You must TOCCATA: Originally a study in finger dexterity, the sing if you want to play,” and Chopin cer¬ this moment, are we worthy to talk about the science Liszt, getting up from the piano with tainly left no stone unturned to carry out RONDO: A movement in which the chief theme recurs : being derived from the Italian toccare, of teaching. some irritation. ‘With pleasure,’ answered his ideals. It is not generally realized how The wliole composition is usually derived from CHOPIN PLAYING IN THE F i OF HIS FRIEND, PRINZ RADZIWILL. much of an innovator Chopin was in mat¬ repeatedly, the portions in between its recurrence being Let ns live, as teachers, in the best we have had Chopin. At that moment a moth fell ters of technique. Mikuli, another pupil of known as “episodes.” As a rule the Rondo is of a lively gle figure. all along the way, and not in the irritation that we into the lamp and put out the light.. his relates that fell in with this morning. character. VOLUNTARY: A voluntary was originally a piece They were going to restore the flame when Chopin given, the artist cut the conversation short by saying ; , “In the notations of fingering, especially of that Every Sarte person believes in having a good com¬ exclaimed, ‘No, put out all the lamps, the moonlight is BONDO-SONATA FORM: in this form the second sub¬ extemporized before, after or during divine service. with a weak and broken voice and a fit of coughing: peculiar to himself, Chopin was not sparing. Here ject appears twice, and'the development portion often plexion. Well, if you want to lay the natural foun¬ quite enough.’ Then he began to improvise and played ‘Ah; sir-1 have-eaten so little’.” pianoforte-playing owes him great innovations which, introduces or is replaced by a third subject. The whole WALTZ: The name waltz comes from the German dation for one, do not believe in monotony; do not for nearly an hour. And what improvisation it was! on account of their expedience, were soon adopted, not¬ entte with a coda of considerable importance, as in •wiihen, to revolve, and the dance of German origin try to kill time ; do not forget that all the good you It would be impossible to describe it, for no words can CHOPIN’S TECHNIQUE. withstanding the horror with which authorities like convey the emotions aroused by Chopin’s magic-touch. Although Chopin was much affected by his environment; Beethoven’s. Sonata, Op. 2, No. 2. was derived from the landler, and was, as Pauer puts have ever had is still stored up within you. There is Kalkbrenner at first regarded them. Thus, for instance, When he left the piano his audience was in tears; he was not lacking in a technical equipment which would RECITATIVE: Musical declamation, sung in a speak¬ it, “like an animated minuet.” The modern Viennese a fortune in it, and too many of us are leaving it for¬ have made his playing remarkable in any environment. Chopin used without hesitation the thumb on the black waltz has more fire and abandon, also more tenderness, ever behind us. Liszt was deeply affected, and said to Chopin, as he em¬ Only exceptional technical ability could call forth the keys, passed it even under the little finger (it is true ing style with considerable freedom as to the tempo. braced him, ‘Yes, my friend, you were right; works praise of so keenly critical a brother virtuoso as Moscheles, thus providing a wide field for the composer and dancer If it could b.e done for one day that every pupil and yet Chopin enraptured him completely. with a distinct inward bend of the wrist), if this could round, ROTA: A composition in which several voices like yours ought not to be meddled with; other alike to show variety of mood. The waltzes' of Chopin left his teacher feeling that he had been inspired to facilitate the execution and give it more repose and start the: same melody at certain distances from each people’s alterations only spoil them. You are a true Moschele^, the genial friend of Mendelssohn, gives, in are richly imbued with the spirit of the dance, though believe in himself, it would be a day of thanksgiving evenness. With one and the same finger, he took often other,- the Whole making correct harmony. poet’.” a letter to his wife, an account of his first meeting with not of much use for ballroom purposes. The dance is in countless hearts. We have it in our power to build Chopin at which they both played. “Chopin’s appear¬ two consecutive keys (and this not only in gliding down written in 3/4 time, though the true waltz has a strong from a black key to the next white key) without the SALTARELLO: An old Roman or Italian dance, up; let us do it rather than, by mistaking our own BERLIOZ ON CHOPIN’S SUSCEPTIBILITY ance,” said Moscheles, “corresponds exactly with his and weak pulse on the first beat of alternate measures. least interruption of the sequence being noticeable The ill feelings, cast our gloom over the reasonable ex¬ TO HIS ENVIRONMENT. music; both are delicate and fanciful (schwarmerisch). usualfy in lively 12/8 time. The name is derived from It would therefore be more correct to write the waltz passing over each other of the longer fingers without pectation’s of some one else. He played to me at my request, and then for the first the latin saltare, '“to jump. in 6/8 or 6/4 time. The romantic environment was doubtless largely respon¬ the aid of the thumb (see Etude No. 2, Op. 10) he There are a great many musical clubs in America, sible for the effect Chopin produced on his auditors. He time I really understood his music and saw the explan¬ SARABANDS: An old Spanish dance of rather stately very much disliked playing before “Philistines.” Berlioz ation of the ladies’ enthusiasm. The ad libitum which frequently made use of, and not only in passages where character. It is in 3/4 time and usually there is a strong devoted collectively to many worthy pursuits. It would made this very clear In an article he published in the the thumb stationary on a key made this unavoidably be a fine thing if, here and there, there could be one Journal dee Debate, Oct. 27, 1849, in which he says, with his interpreters degenerates into bad time, is, accent :U the second beat. A LIFE OF SACRIFICE. when he himself is playing, the niost charming original¬ necessary. The fingering of the chromatic thirds based founded exclusively to specialize the possible joy and It; has been the privilege of the writer to' discuss the “A small circle of select auditors, whose real desire ity of execution; the harsh and dilettante-like modu- on this (as he marked it in Etude No. S, Op. 25) affords SCEliA: A dramatic vocal solo. optimism of the music teachers’ life. But if we can¬ character and life of Liskt with &t least a scote of the to hear him was beyond doubt, could alone determine lations, which I could never get over when playing his in a much higher degree than that customary before not found a club for this purpose let us work it out, SCrtERZO: A work of a light playful character in the famous pianist’s pupils and friends. All of these men him to approach the piano. What emotions he would compositions, ceased to offend when his fairy-like him the possibility of the most beautiful legato to the form o'f a minuet. It was first introduced by Beethoven, and women have been tremendously impressed, with the each of us individually, as a club of one. then call forth! In what ardent and melancholy reve¬ fingers glided over them; his piano is so delicate that quickest tempo and with a perfectly quiet hand.” and it replaced the minuet in his sonatas and sym¬ breadth, generosity and lofty idealism of Liszt as they ries he loved to pour out his soul 1 It was usually to¬ no very strong forte is required to give the desired con- CHOPIN’S OWN PIANO METHOD. phonies It was originally always in 3/4 time, but mod¬ knew him. Liszt’s greatest ambition was • to be re¬ wards midnight that he gave himself up With the trast. Thus we do not miss the orchestral effects which ern‘composers not infrequently write ro

the etude 340 f Gluck’s Armide, and was — n the divertissement the old man exclaimed in -i. poft 1 r.v~ . THE BALLET IN FRANCE. ^equently sent to ce 0f an admiring throng: ‘Go, a beautiful quality of touch and a perfect shading. For The Teachers' Round Table a long time players have acted against nature in seek¬ The French nation is famous for its gaiety, and ltis , td- him< — in thetfte pP . j. Take mymv carriage, and ask Augustus, go to P friend the King of Poland.’ ing to give equal power to each finger. On the contrary, not surprising to learn that it was in France in the t me Conducted by N. J. COREY for the room O J'ed Augustus for not having done each finger should have an appropriate part assigned it. of the Bourbons that gaiety was first crystalkz This department is designed to help the teacher upon questions pertaining to “How to Teach,” “ What to Teach,” etc. and not technical problems pertaining to musical The thumb has the greatest power, being the thickest the ballet. The ballet is in a sense as old as the dance, Another time heP ^ King of Sweden, ‘when theory, history, etc., all of which properly belong to the Questions and Answers department. Full name and address must accompany all inquiries. finger and the freest. Then comes the little finger, at and that is as old as humanity. Castil Blaze has traced his duty by dan 8 had performed hers by asking the other extremity of the hand. The middle finger back the ballet from France to Italy, from Italy j- the Queen o, gentleman added that he would is the main support of the hand and is assisted by the Greece, and so to the youth of the wor d But the forn to do so. di between the houses of Ves- first Finally comes the third, the weakest one. As genuine ballet as we know it to-day a 1 ’ j £eand° “f‘Bourbon, which had hitherto always lived to this Siamese twin of the middle finger, some players fold in dance to appropriate mus>c->s a Product of try to force it with all their might to become independ¬ France of the late sixteenth and early seventeen on. the best terms/ _ ^ Taglioni, a lady who RENEWING ONE’S ABILITY. You should know the various touches and cultivate OCTAVE AND CHORD TOUCHES. ent. A thing impossible, and most likely unnecessary. turies. It seems to be intimately connected with the Another grea fines of praise in Thack- “Not long ago I started to revive a flexibility I your judgment as to their best application, in accord¬ “1. What is the correct stroke for legato octaves, There are, then, many different qualities of sound, just masque, and it would be difficult to say whether the enjoys the -* Marie Antoinette consulted her in matters of dress. libretto, but more probably because he realized that number one is being polished, but piece number three to do with the values of any class of notes over an¬ talented pop'l "hose ctrentn.Me» «« not^he be Small wonder that when she had the misfortune to opera was not his metier. Cherubini's fame was made should not be added before the polishing is finished. other. A click of the instrument applies to any note 1. Get a rubber band about three inches' long and a break her arm prayers for her speedy recovery were largely upon the success of his operas, but now they The only time when another piece may be given before of any value from whole to sixteenths, as may be in¬ quarter of an inch wide. Place it over the hand until offered up at' the cathedral of Notre Dame. are never heard, in America at least. Opera was ob¬ those in process are finished is when the teacher finds dicated by the composer. Often half notes are played the wrist is reached. Give it one turn, making a small foolish and w > professional monuments. viously out of the grasp of the divine Chopin, as it he has made an error in judgment and given a piece to one click of the metronome. It is all a matter of THE VESTRIS FAMILY. loop, which you will now be holding in the other hand “l? S- expected^added time cm, was alien to the splendid talent of Grieg. Haydn wrote that is too difficult for the pupil. In such a case an at¬ tempo. I presume that the question simply means that It must not be supposed, however, that only the fair many operas, mostly in lighter vein, all of which have tempt to master might result in serious' harm. you play chords at average slow speed. Place this loop over the thumb. This will hold the sex among the dancers achieved fame. The great thumb back while you practice your octaves and prevent been forgotten. Whether Liszt avoided opera in def¬ In answer to a question I would say to A. J., that You should learn the tonic triads in all the major family of Vestris, the greatest of which was Gaetan it going out of joint. After a time the difficulty will erence to his mighty son-in-law, Wagner, we can only in the majority of cases, a staccato mark at the end and minor keys in the three inversions. Then -y°u Vestris, is sufficient evidence to the contrary. The surmise. He unquesticnably had the dramatic temper¬ should learn the tonic, dominant and sub-dominant in disappear. If the rubber hand is too large for a,small SSSsSt-SS-us, first of.all, remember we time etc family originated in Florence, but Gaetan, his three of a phrase indicates that the phrase should be ter¬ ament as his oratorio-cantata, St. Hlicabcth. shows- hand, experiment with those of various sizes until the minated by quickly raising the forearm straight up all keys. It would then be well for you to learn every legitimate and a® the lawyer, doctor or any- brothers and his son, Auguste,_ were the chief mem¬ Mendelssohn aspired to greatness as an opera writer triad in the. key, and transpose to all others. Then right one is found. as the merchant, the banter, la y od Let with the hand hanging loosely. You will find it illus¬ bers of i't who arrived at great distinction. Gaetan Ves- hut no suitable libretto could be secured. Schubert you will have the musical alphabet pretty well at your tris, in particular, thought no small beer of himself. trated in your Mason Touch and Technic. The kind 2. I know of nothing better than practicing the up wrote numerous dramatic works but none have present- command. I presume, however, that your questioner Even in extolling his .son he would say, “Auguste had of touch to be used in various staccato passages de¬ and down arm movement, as well as wrist action thor¬ day popularity. Schumann’s one opera, Cenoveva, is will expect you to play the three inversions of the tonic oughly exercising them, and insisting that the same Vestris for a father—an advantage which nature re¬ so rarely heard on the stage that it is almost forgotteii- fends entirely upon the context and desired effect. triad in every key. ^rCUand Harry J. - « " loose conditions prevail while practicing. fused me.” Grove’s Dictionary records several anec¬ lhat so many men of such vast musical ability have it is in your head to do it, get ^ ils down dotes of Gaetan Vestris. “On one occasion,” says the dictionary, “when his son was in disgrace for having b°W to such ta,ents as Bellini, Donizetti. Balfe. Offenbach and Meyerbeer indicates that opera writing gent'^and ^V^w, perhaps, the refused on some point of theatrical honor to dance habit may in time be stopped.

i 343 THE ETUDE THE ETIDE >s Prehde t0 a Knightly Play that it i8 considered the ancestor of aU reed instru- »*£££ P^d ients! and the oldest of all instrumen s m use^Theg ^ ^ Prologue ^ H“PReuSs is responsible for is also the Kamanga, which is a small v o. - t|e very dramatic, while ^ . to Dcr Tor und der guitar called El Aioud shows its Ar^^nd°^ich after still another successful ^ fl child>s S„ng pleased I Musical Thought and Action | relation of its name to the historic A1 Ud, Lute Tod. Dohnanvi sVa * d his Scenes Histonques. passing through Moorish h^l3> b“ most Oriental Berlin. Sibelius has P by a symphony and in the Old World. 15 The Egyptian dancing, like that 01 m ^ Garf Nielsen is win1n g cvmohony is the second by By ARTHUR ELSON nations, consists of Postarl^ “°ed as appearing other works. jjcalls a real success with body. A famous dancing girll » de ' ^ith feet Franz Schmidt which enjoyed Oaristys, by Raoul in black and red, with spangle . h °flat Egypt- very striking themes. {or >ceilo and orchestra tmtfpF.STING FOLK-MUSIC OF SERVIA. sun,still, she moved-- herr, , forward.w^ AUA11 rnisthis was Brunei,uruua, and a clean-cmt works are becoming by Dubois. vr'“Cyril seen , bis new piano concertoconcerto at StSt. _ccompamea uy me ,. widely popular, will P‘ay the music of S • ~„„i„ what he calls clinked a pair of sma _ , ideas %2£P^tersbur ness■ in it and considers the people in what he ca«s clinked a pair of sma r°ther .primitived“"h "‘ideaself Petersburg. al WOrks is Huber’s new MOZART'S PERIOD. Many of the Egypt ^ ccrtain Pasha in Cairo Most important among ° ^ seems to have a real the Tolstoyan state of life, or happy pastoral x stence. Of all the famed rulers of Austria, of European music. smart set by having oratorio, given at Base ’ -d Qf trUe greatness ratner stands out more prominently than Maria Therejsa. The Servians he finds wished to show himse un(1-s at the great originality, and to write m c Newman is out with Despite wars fought at a fabulous cost of blood ous as the Bulgarians, wh°f T^avViennese. The i^S”n £.lSyo? Kwta B,i™. But the ,hi£ p»s»* C"'f “** and gold, that remarkable woman was ettajjled Mohammedan testiva consisted of a cornet, bigh praise for b“oep ,“ Bells for solo voices, and ah to develop education, arts, seiences, eorpmerce _ successfully 23K - «**- combination that ^proved rather shocking to Rachmaninoff has set enjoyed the somewhat ided by the couj-t and and trade in a manner which made her one of the the Emperor in person. '• . idols of Eurojpe. She was wholly .in sp'irk with the Returning to Vienna Mozart found to his delight that the ‘Tn1 £T times the ' Teal Archbishop had been convinced of his ability and chronicled the deeds of iero , Jn bis praise, or times, and it is not astonishing that 'those , who. arranged for a performance of his rejected op'etff as well as doing the composer the great honor of appointing of many exploits. Ther* ;a thicaV Voyvode or Het- working for high musical ideals found1 much' encour¬ him Concertmeister to the Archbishop without salary. It in tribute to many a semi my ,be various fllbrytrare far apart, “ Thw srt*lesser works are a,sJ" g;do Corio, and piano pieces agement during the reign of Austria’s' great. queen. ihould be noted that the Archbishops of. the period .in. ■ and in some parts of Germany had temporal power Mozart, unfortunately, benefited little from,:: govern¬ ernors as well as their ecclesiastical power. The posi- SSwrf Sd ^ “-IS mental assistance coming directly from thg cr.own, but if Archbishop was one of august importance, and he was blessed in coming to the vporld; in a country t’s appointment was not to be sneezed at. and at a time when musical interest was being dance in the woods by moonlight fested in an extraordinary manner. At Salzburg the doubting Archbishop did his" best to prove that “a prophet is not without honor, save in MOZART’S ANCESTORS. his own country.” He mistrusted Mozart’s genius and in order to test it had him write a cant'ata under strict¬ however,deludingMMsm the flute, violin, drum, bagpipes an ^ The progra„s f ^Xing^nTfinite /Bad'w'iWungen included a John George Leopold Mozart the father of Wolfgang iltlfli Amadeus Mozart, was descended fron) a family of book est scrutiny of trained musicians. In 1867 the father binders, masons, builders and artisans In oth'er' branches took his children to Vienna to be featured in the fes¬ of work. Although originally intended for thV law, he became a musician. It was while he was studying juris¬ tivities attending a court wedding. There they both prudence at the house of the Prince Bishop of Salzburg contracted the smallpox, and Wolfgang was blind for that he became one of the musicians of -the ctyapel. While in this position he married the daughter of g hospital 1756—The Real Mozart—1791 some nine days as a result of this ill-fated expedition. attendant, one Anna Maria Tertlin (or Bertl). This de¬ I'Sps voted couple became the parents of seven children, two of THE ITALIAN JOURNEY. ( whom lived to become among the most notable figures in musical history. Leopold Mozart was an able .musician In 1869 Mozart and. his father set put for Italy. violinist and composer who, had it not been for. his talented children, would have been a simple, devout pious burgher “I have God always before my eyes. I acknowledge Most of the principal northern Italian cities.; were, Iffi.;te.tout NUt,; »"«*'VX and if work. of hi.toticl. inter.* „o ^ pro.... >» wanting Tittle more than his slender -fees as a local music visited, and to put it in the words of the fa'tljer his teacher could bring him. His best known work was his His omnipotence. I fear His wrath. But I also ac¬ yanka, from Vranya. There is alsomi ...... violin school. knowledge His love, His pity and His mercy towards success may be stated “the same here as every where.”- The whole trip was a march of. triumph for STozarf. He, anther experts. MOZART'S BIRTH. His creatures. Whatsoever is. according to His will is also according to mine; therefore I cannot fail to be At all points he met incredulous musicians ilkhp in¬ Wolfgang Amadeus Mozart (christened Joannes happy and contented.” sisted upon testing him as to the genuineness ‘ pf his » <»* ;ide.P~i Chrysostomus Wolfgangus Theophiltis Mozart) was genius. All question was ended when the remarkable The value of the Servian music lies ^ P^ HOW TO DEVELOP CONCENTRATION. born at Salzburg on the 27th of January, 17Sj5. At the the city of:"Haydn. .At Vienna the emperor : e little boy wrote down from memory the entire Miserere of its freedom from outside *« u« ' bonest and age of-three he found his way to the piano keyboard, fellow play on a keyboard cone aled by a cloth cove . Allegri after one hearing. rather inaccur^ when he -d^tha ^ not to manufacture discords, but to discover a world stupid trick -quite worthy ' idle monarch. Unaffected t even greater repertoire. Some of Bach’s suites and by e. a. gest. child, that he was, he th irms about the neck of of delight in making chords.. His father saw that the the great -Maria Theresa and ki* 1 her manv times. The emperor was delighted and oa d the boy his “little The open door to all musical success is concentre child had a phenomenal gift. Consequently he took magician” (“kleiner Hexenmeiste . In Vienna, Wolfgang “*£r wouiir °! vrnvFT ties be held down to its PurP°se- The following exercise IS hind the altar so that its light is hidden, although' i,t the months novelties. ,ot oHginal> nor is it a ..We can teach you in a dar and amazed all by playing the notes in perfect intona¬ don, where the “prodigies of nature,” as the father illuminates the figure of the Pope clad in scarlet In opera, Siegfried Wagner is still working on pa tem of concentration, but it has proved helpful tion. One very helpful circumstance in the‘. childhood exploited Them, made a furore. While in London the father was Taken sick, and being unable to practice, raiment as he kneels at his Genuflexorium at the high X&. te"?.. , ..1 .toil »»“ ** tightly! His latest production is called Der Hei en- towards developing concentration which has beeti of Mozart was the association with his talented sister, altar. In the darkness of the chapel a single soprano, konig. France is still speaking of Faure s_ Penetope, (]efined ag doubly distilled extract of attention, the nine-year-old boy set out to write his first sym¬ Maria Anna (bom July 30th, 1751). Indeed,, it was voice is heard singing “Christus ]actus est pro nobis which is praised also at Brussels Uaubert s Flnlotis p]ay the scaie 0f c both hands together, ascending phony. Later the children gave a most successful con¬ said that the talent of the sister affected the entire obediens Usque ad mortem.” As the tones of this soli¬ Danscuse de Corinthe is admired for its refinement and Qne octave and back to Dj from d one octave up and cert in London, at which Mozart and his sister piaffed or peasantry, is for the P tl and their career of Mozart in a very exceptional manner. tary singer die away a solemn silence ensues, during attain , Mr Kitctiener variety of instrumentation. Fragments of Uucasse s ^ tQ E> from E one octave up and back to F, etc., a four-handed piece upon the harpsichord,- then a newly affair. The ^behTnd them Mu Kitchenei which the Paternoster is said in secret. Then follows city brethrefi are not far behind 1.^heeled ballet Orphce aroused interest in that work, yvhich is a continuing ;n this way Untu the next octave is reached, invented instrument. Thereafter the father gave pri¬ city brethrefi are not far Denina « *,„„.,„Keelec TWO JUVENILE VIRTUOSOS. the sombre music of the Miserere mei Deus. It in im¬ often saw from his window t e natives large affair with full orchestra. ugus p then down one octave and back to B, down one octave When Mozart was six years of age his father "'determined vate exhibitions of the children- charging two shillings donkey trucks (Arabeyah carros) f^f^pSent is to be given at Antwerp. Brussels applauded De % back tQ A> ^ Tbe fingering retnains unchanged possible to describe the effect this imposing ritualistic to make tours with the little composer and his gifted sister. and sixpence for an opportunity to examine them and service invariably has upon all hearers. Naturally the of both sexes, all singing joyously o nat;ve drum Boeck’s ballet Phalcne. a story of re on ove an j throughout, right hand thumb always on C and F, From 1762 to 17G5 Leopold and his wonder children wan¬ test their m.usical prowess. This plan proved a losiitg dered over much of musical Europe arousing sensational in¬ setting of Allegri became one of the most famous of of the Darabooka. The last is a ousy. Eulambio’s Ninon de Lenclos won a great sue- £ - * * A11 the scales venture, and in 1855 they started for .the court of consisting of an earthenware jar covered with s • at Kiel. Zandonai’s Franca was much applauded ^ scales in terest wherever he exhibited them. Much as" flic cider all compositions, particularly since it was believedi.that als0 Mozart has been criticized for this course it is fair to note Holland. . andds played by being touched '« J ";e S|ur Si” ,at Turin. A Croatian composer Bemto Bersa has ^ and p that the youthful Mozart produced in these years an alto¬ up to the year 1770 only three authorized versions of ;• air? are “full of the quaintest twists an“ lu ’ crodUced The - Shoemaker of Delft, which is said to gether incomprehensible number of astonishing works. ” THE JOURNEY HOME. the Miserere had ever been made. When Mozart re¬ ofton containing long cadenza-like passages ^h many V dttractively melodious. Other new ;operas include Indeed, millions of children of the past and present sur¬ produced the work from memory after one hearing; so rounded by every safeguard of the .home and sehbbl bear At the -Hague the Prince of. Orange welcomed the uotos sung to one syllable. Many phrwes, Francesco Malapieri’sxvxaiapivi. o Canossa,. a prizex: winner toat v. no comparison to the progress made by" Mozart under what children, who by this time were tired, wornout little that the leading soprano of the Pope’s choir declared "° *Wrt. end with an abnipt and very' n. verse poorly received in Rome, Haerle’sHaerle one-act Mysterium most parents and educators would declare “impossible" con¬ it to be perfect, the news of this feat spread all over or short, end wit a k tbe cnd of each . ditions. musical freaks. Naturally they fell prey' to. illnesses’ Satia on a Celtic Saga, Schelderup’s Nutt de Prw- Europe. closei Often the si S ■ „ ^ sQme otber tavonte •ip was to Vienna, via Munich and Lfnz.’ Can which might have cost the world two very unusual temp’s and Jour de Fete, the Glockenspiel of Brandt- ' DISTINCTIONS IN ITALY. by ejaculations of ’ wbicb ;s used, does not we frame words this delightfully picturesque scene. musicians. After protracted sicknesses they were Mozart anc »is wife, “the handsomest couple in all Salz- Buys, Max Henning’s one-act Jael, and Giovanni Pag- again brought before the public in Holland, and later The days of the Mozarts in Ttaly must have be&n very word. The A*3 ’c j j eflects, as it is rather gut- two beautiful children mak'ng prepara- happy indeed. In Naples the superstitious people could not lend itself well to mu tions bard to pronounce, ella’s’ Judith, with text from Hebbel. tions for the journey that was"* j imtjlortal fame: in Paris, as well as parts of Switzerland. Finally, in a a success believe that he gained his power through natural means >,ral and contains sum? *-; . Salamieh; this Franz Schreker, the opera composer,. T, the 0'ialnt old diligence, starting out under and insisted that he put aside a ring he wore upon Al? tural and c°ntains 51 ^truments is the Salamieh; thi« the glorious Alps looking down on beautiful Salzburg, the 1866, they arrived home after an absence of some three Among at Vienna with his orchestral Prelude. a Drama. finger. This he d'd and much to their amazement tilkVed Among Vthe native i . .. .i-„ „,rirPr statesstate- romantic Danube: the tottering castles; and then Vienna years. equally well. The Pope bestowed the order of the “golden is apparently, some sort ot odo , THE ETUDE 345 THE etude THE END. • ‘ ■ c Atn his bed. He ordered the ALLEGRESSE—A. SARTORIO. Mozart Vu’s xonfin It was late in the the boy and for Ponte later gWe^wiA^uch suc- Another addition to the long list of effective teach¬ bia College, New York)- 11... 11 prohibit encores requiem br(f f1 Vfth of December, 1791, that he gath- ing pieces by this well-known writer. This number is positions" sfgno^'cavaUcre afternoon of the tut help him try over parts Well Known Composers . ered together a few friends ^ and ^ especially good for the cultivation of light finger work Academia miharrnonica ad- ro£tErPr:^ h in and ease of execution. It should be played in a spirited of the work. Sudd y Hc realized that he of To-day ™‘ompositore"°atter Tsevere §tvS to” Prague revealed to hi, that the Bohemian manner and in strict time. Grade III. examination. Italy had'great tered the the work. Too far gone to charm for this ntteen yea city was equally enthusiastic over h'sworl^ come and '’ boy and aHhougbner& would not Bve frlend siissmayer how certain OLD ROMANCE—G. N. ROCKWELL. governmental appointments at uncer- write, he tried to te J c- . Fan;ng into a gentle sleep A well-made composition in the style of one of trips be seemed ... parts sh<|tild'*be ^arrned ^ ^ wag even then trying spend his days with w Mozart «, Mg* mo.icta the old folk songs. The harmonies are interesting and warm-hearted, gonial tern tain income, and at the same osts In de- his faithful _ frten . his dreams, mumbling the the climaxes are well planned. In this number one peramental people of tuo , with scanty equipment secure . ^ {or a better to follow the mfUS‘Cdrum At midnight he sat erect FANTASIA IN D MINOR—W. A. MOZART. has' opportunity for the cultivation of the legato style spair he longed to however, ghostly rumble o distances Then the great An able exposition and analysis of this fine classic of playing. It should he played in a tender and ex¬ NOTABLE EARLY WORKS. and stared into * h;s iUow as his soul passed on. will be found on another page of this issue. Mr. John pressive manner throughout. Grade III. Mozart was so continu¬ master .fell soitiy , - \tozart was removed to Orth’s suggestions concerning interpretation and per¬ The next .day *efun- GOOD-NIGHT!—A. L. NORRIS. ally busy during the ensu¬ formance should be followed closely throughout. . Out¬ ing years that a lengthy the St Stephen s Ca ’ sacred precincts o{ Mr. Albert Locke Norris is a promising young side of the sonatas there are comparatively few com¬ volume would be required eral was provided not witti SQ much to e„- American composer whose work is new to our readers. to catalog his activities. He the Cathedral, Mozart who ^ ^ ^ poor for ^ positions by Mozart for piano solo. Of these, the Good-Night! is a short but very pretty song without mozart’ Fantasia in D minor is one of the best. Grade V hadnau aucaujalready at the age of rich tbe m'rs'C surrounded the bier and fGi¬ words, one of a set of three piano pieces recently com- fifteen an enormous number of unusual ^°tks or VI. oosed. Grade III. credit. At twenty-one he ranked with the great f' fT-t t6 dty g^es when a frightful storm arose ROMANCE—J. SIBELIUS. masters then living as a composer and as a performe { Jean Sibelius, the celebrated contemporary Finnish POLKA M1GNON—F. BAUMFELDER. His father had seen to it that he had a measure of composer was born in 1855. He has written successfully Friedrich Baumfelder, the well-known composer of the best obtainable educational advantages of the ba z in ali the larger forms and his songs and piano pieces bright and tuneful teaching pieces of easy and inter¬ burg of his day, which together with travel, associa¬ the miserable tragedy of the thing. have been received with much favor. The Romance, mediate grade, was born at Dresden in 1836, and is tion with notable people, and a gift for 'ahguages rnade Op. 24, No. 9, is a splendid concert or recital piece, still living. Polka Mignon is his most recent work. ' him a man o'f more than usual culture and breadth of This-is a lively dance movement, full of'vigor and MOZART AS A PERFORMER. original in construction and in thematic material, full view. This led him to realize more and more that the piano, tbe - freshness. Grade III. narrow channel of thought which marked the little t performed— upon-» tbe^organ^ noeanie bis favorite of passionate fervor, and rising to a strong climax. Austrian village was intolerable to him and he accord- and tbe t - HiSTconllrtf wcreTuX very . This composition will require a well-rounded technic FRAGRANT BLOSSOMS—M. LOEB-EVANS. STaid not" reHsb th«L He loved to improvbimprovise »uu uu.wu and good musical understanding on the part of the SK outagain in 1777 to seek new fortunes. This vent to UK heart” declaring that This is an easy waltz movement in the running style, time his mother accompanied him Little "Cached ■’ - bis playing, to 1 player. The principal theme wherever it occurs should riong one of Mrs. Evans’ latest pieces. Pieces of this type CARL MOTER. zsjrsK?* xszx stand out strongly against the rich harmonic back¬ afford a pleasing vehicle for practice in light and ac¬ ground. Grade VIII. curate finger work. Grade IIJ/2. Mr. Moter is among the many fine examples of MOZART’S COMPOSITIONS. SILHOUETTE—A. DVORAK. BATTALION DRILL—CHAS. LINDSAY. foreign born musicians who have come to America, This is one of the shorter lyrics by the great Bohe¬ made this country their home, and worked diligently A mere catalog of Mozart’s work ^umes^a^tonisb.^ One of Mr. Lindsay’s best easy marches. This is in JSBT r2iL^«d(S“ 7'cS su mian composer. Originally this piece was for four the true military style, introducing the familiar bugle- for its musical upbuilding. He was born in the pro¬ von Weber). ^ FAMOUS romance. “(A e"tirhceatamg ^Kiicbel issom >r the church hands, but it is equally acceptable as a solo. It does call. It should be taken right up to time, for the vince of Hessen, Germany, in 1864, He entered the not present any passages of much difficulty with the best effect, 120 steps to the minute, counting two in • Royal Conservatory of Music in Munich in 1878, study¬ famous"£S"*,1STSSl exception of the cadenza occurring in the middle sec¬ each measure. Grade IIpi. ing piano under the late Carl Baermann, Jr. (two ■ t\Tenty!et^ ahwpancf l” bard ‘to tion. This should not be taken too rapidly, but the years). From 1880 to 1882 he studied at the Royal beloved as a girl “Sbte ? aadeXnd how the lm- descending figure in chromatic sixths must be played SWEET HOPE—S. F. REINHART. Conservatory of Music at Dresden, studying piano smoothly and in a rippling manner. The remainder An easy song without words, nicely harmonized, and under Jean Louis Nicode and counterpoint under Riseh- with 1 ^"J^p ^^uld be deceived into thinking piano" sonatas 5 sonatas f%0 ljIBuong "quartets, 42 Uoita lying well under the hands. This may be taken up as THE MOZART FAMILY piano pieces, 11 for SDCcial instruments as well of the piece is of reflective character, demanding the bieter. From 1882 to 1884 he was at the famous Hoch a^a^vast'number0of^ciimposiUoiisTii*various forms for the an elementary study in style and expression. Grade II. '£l.eC3te some thirteen years l™^Zg^*tXrT\oJsiZ\i employment of the tempo rubato. Grade V. Conservatorium in Frankfort am Main where he stud¬ ied piano under Bertrand Roth and composition under COSSACK DANCE (Four Hands)—E. KRONKE. her. Ills father, ho«wei> J’0' tv ,o yo.ir door” and Mtr MOZART’S PERSONALITY AND APPEARANCE. MARCIA FANTASTICA—C. MOTER. Bernhad Schlotz. He came to America in 1884 and FINANCIAL STRUGGLES. Any one who has seen any of the many troupes of t Gluck’s death A portrait and sketch of Mr. Carl Moter will be after touring the South and the Southwest finally that she was quite content to nave Returning to Vienna Mozart Hi c f ^nfedhiin ^eiglit'^d^ medfum^w^lgh t’ wirtou^prei^-c^ jns Russian dancers now before the public and listened to -j meaiuin uoigui found in another column. Marcia Fantastica is his into a prosaic friendship. . f . pariS. The trip would certainly make„ “came in the form of the their characteristic music will realize how true to its settled in Reading, Pa., where he has spent many years In 1778 Mozart the p^lie admira- physical attributes. His hail ,,M;' ...... latest piece, and one of his best. Only occasionally wns ill-fated for Mozart fa^ n£nnDSs Us mother took large and aquiline and his eyes ' er> MnrlM or outer am... name is this well written Cossack Dance. Herr Emil in successful teaching. He has written many delightful tion he had Imped for. Worse than mWhs fter their y1n« markedly different from the other tne dress and jew- does one meet with a march movement in triple time. ill and died m ms aimu umj **«■,«. h- was in despair aha tsC’of the most pUifuftMngs in all musical history to Kronke is a modern German writer whose works are piano pieces among which the following are especially arrival in the Efescb capital Me> stopping on the ^y“S exccpUonalhf SS^lS^dls^slUon sod However, Mr. Moter handles the rhythm very cleverly. becoming popular. The Cossack Dance is an original interesting: Fantasie-Impromptu, Romantic Thoughts, returned to Salzbuig slio:rny In paizburg lie be- ^Tntf;«rsC^ ?A7efl b: eood-natured prank. Ilummel. Moiart s Such a march is more in the nature of procession, in wny at Nancy, Straw®**. '• t ’ the Court, the areh- vas given iu uaccoo^- Mozart four-hand piece, not an arrangement. It is exceedingly The Mill, Forest Revels, Evening Song, Vacation came Concert-meistei and °'”an'A r„turn to Ms favor, phonies, piano XMl^the smug world looked on and •ss man, indeed^he —to make a this case, a fantastic procession, rather than in that well balanced and sonorous, full of life and animation. Rambles. hlsliop having -|jjg +" mn” He was**badly in debt at the time « his of a quick military march. In Marcia Fantastica the Grade III-IV. MOZART’S MARRIAGE. .his funeral expenses defrayed by his friends ,c pitiful sum of about ten dollars. He was buried student will find an abundance of material for profit¬ We next find Mozart in Munich able practice: arm and wrist work, chords and octaves, ROMANCE (Violin and Piano)—H. TOURJEE. HUMOR IN THE TEACHING HOURS. tbe first performance of bis ® summons from the and the staccato touch. A strong accentuation and a Violinists will appreciate Mr. Tourjee’s neve Romance. ;Tlie composer to his ™rpnse, recelvea.a Mareh> 17gi. The ofnBahour$d3000°m repuej^ow couldl A MOZART PROGRAM. Archbishop of Vienna wnitnci ut wc tlle position of a steady rhythmic swing will he demanded throughout. It is not difficult to play and it fits the instrument Archbishop insisted upon Mo master even ate at the BY VIRGINIA M. MADDEN. servant In his household, ije m talselv assumed that Grade V. admirably, affording abundant opportunity for beauty servants’ table. 0f musicians of the time, 1. Piano (Six Hands), The Magic Flute.. of tone production and the cultivation of the singing this represented 7®,differently in other aristocratic 2. Vocal Solo, The Violet. EN BALANCELLE—V. DOLMETCH. style. It should be played in rather free style, with Music teaching is for the most part a serious occupa¬ MOZART’S LAST DAYS. 3. Violin Solo, Ave V.. This is a charming waltz movement in the modern much expression. tion but it has its mirth-provoking incidents,, due not at■ ni.n ... thc^iabbishop’s house ^ with the Wei Mozart’s northern trip brought him distinction but 4. Piano Solo, Fantasia in D Minor. French manner, with some decidedly original features. unusually to the quaint faculty of the little folk fqr * in Vienna Mozart lived part ol vueme marriea an acwi little money. He offered his resignation upon his return Solo, Sonata No. 9, in A Major. saying the unexpected thing. Myra, aged four, came family. Aloysia had In the^m 5. Piano We refer particularly to the piquancy and freshness KAMENNOI-OSTROW (Pipe Organ)-RUBIN- jonstanze, immediately o Vienna but to the Emperor’s “What Mozart, are 6. Vocal Solo, Voi che Sapetc.. of the harmonic treatment and to the technical work¬ STEIN-GAUL. into the studio one day just as Paul was finishing his named,e iAnge.the object Her of Mozarts E flat.. beciime tfie”ob5ecfeof Mo»^» WeaHn the%en| you going to leave me?” He replied “Your Majesty, 7. Piano Duet, Minuet from Symphony ii ing out. Note the effect of the changing-note taken An excellent organ transcription of a famous piano lesson. She at once became an interested onlooker ’^t «p| w^ude«|d to I throw myself on your kindness, I remain. The 8. Piano Duet, Duet Sonata No. ./. by the left hand at each crossing of the hands and piece. With due attention to the registration it will while Paul struggled with the mysteries of the tonic emperor’s “generosity” is shown by the fact that he 9. Piano Solo, Pastoral with Variations. the rather unusual cadence at the close of each theme. prove surprisingly effective. It is not too ornate for triad. “First comes G,” urged the teacher, “then what— ■jSSaM?ned?rtPoverty Mswlfcwen-Ts waited upon opujence^and ^provident as - 5*. ordered another opera, Cosi fan Tutti, the production 10. Ch ■s, Gloria from Twelfth Mass.. Withal the piece is not difficult to play, requiring taste a church prelude or offertory and it should prove a what comes after G?” of which January 26, 1790, brought Mozart more fame snsZndnconsiderationft and understanding, but no great technical skill. Grade favorite at recitals. “Gee-whiz!” broke in Myra before Paul yould speak. ess, III. wr-y ■ - 7T"HL ti. nomlla^opinionr Mozart was than money. The first performance of The Magic acautlful to note. Contra y Plingng anaan(j alwaysaiwa>t-p sa BOOKS ABOUT MOZART. IV. Eleanor, too, has the faculty of being unexpected. aot dissolute. He was simply joy w . &- Flute (September 30, 1791), was so coldly received 'iood" a" time" as his favorite past! Of the very numerous NIGHT SCENE—J. PASTERNACK. THE VOCAL NUMBERS. “Now shall I go back,” she said one day, “and play the /btilTrds^sMtti and dancing ^ould permit. that Mozart concluded that the work was destined for books about Mozart one of A very pretty nocturne, with strongly contrasted Mr. Borowski’s Love in Spring is one of the most final discord?” failure. the most popular is a ro¬ MOZART’S PRIME. mance written around his themes and rich harmonic treatment. In giving out the artistic songs we have seen in many a day. It will “The final discord?” Mozart life by Heribert Rau, (Eng¬ opening theme, care must he taken that the left hand undoubtedly be widely used. “Yes—the D. C. al fine.” e to him as a serious THE SINGULAR CIRCUMSTANCE OF THE REQUIEM. lish Translation by E. It. n e^fd M?^hfriot stand the abuse' he receivedreceiyea in Tnlv of 1791 a stranger visited Mozart and com- Sill). This partakes of tlie chord work at the crossing of the hands be not too Mr. Galloway’s setting of Kipling’s Alone Upon the Unexpectedness, however, is never so unexpected as •e'„mpos£ lie could not-- JUV,.?£ 1, write a requiem offering him fifty or a nature of fiction and yet heavy. Let the right hand sing the melody strongly Housetops has already proven popular in the lower when something given in good faith as instruction Cop«y°and0flttYeSlya kge/JT ^ the “^danedl Mozart had foregone writing church music holds close to the main facts whereupon he »■ rro A meeting with Josef Hayan some and the task appealed to him. The myste- in such a way that it makes but expressively. Grade IV. key. It is a highly characteristic number which should comes back in a new guise. “Poco piu tnosso, ex¬ high-steward Coi rwuhent In his career since the two ... strangerstran appeal'd to Mozart again just as he was go well in any group of recital songs. a momentous ncment The proauctlon of abouti!ous. to _start upon a lengthy trip and begged him - very pleasant and profitable plained the teacher, “means a little more stirred—more 782, also encouraged finish the requiem The identity of this sombre figure reading. The best biogra¬ DIANA-G. S. SCHULER. Mrs. Bohannon’s Thou Art So Dear is a very pretty excited.” auu iruuStantly phies of Mozart are those tiuroll, although this tne last nn of Moz; jed with spi of .Tahn, Nolil, Wilder and Two of Mr. George S. Schuler’s piano compositions love song, easy to sing, and excellent for teaching Laboriously Ethel read through the page .with a very a most enthusiastic IfOWdereues’t>st edepression.dlpres°sion‘le TteThe regufem took“airhis"Ua M™ ,t Breakspeare. Mention should have appeared in The Etude within the last two years purposes, the work of a practical vocalist, large percentage of wrong notes and a very limited ,e ritualistic work of SJSiaWS.^SrSStday and night. He evenc-... told his wife that he felt also lie made of the excell¬ that he was writing his own-requiem. requiem, Sher, per- ent concise biography written and both have found favor. Diana is a recent com¬ number of right ones. The teacher was secretly ex¬ vi™ to attempt another work, fearing that it was by the late Ebenezer Prout. position in the style of a ballet number. It has three The human voice is really the foundation of all asperated, but she decided that she would at least AN OPERATIC SUCCESS. the requiem that was depressing him. Promise of help Friederioh Kerst compiled noblemen of Hungary, always generous and annotated the written well-defined themes, each with a character of its own. music; and whatever development of the art, what¬ make sure that Ethel knew what the new musical term . t776 Mozart wrote Le Nozse di Figaro to a lib- eBwJromj.- coterie in Amsterdam agreed to publish words of Mozart and this The first theme given out by the left hand is graceful ever the boldest combinations of the composer, or the meant, Tn 1776 Mozart w_ , Marriage dc Figaro. hi9 (.0mpOSitiOn: ut this failed to encourage him. It was has been ably translated by H. E. Krehblel. and flowing, while the remaining themes are of more most brilliant execution of'a virtuoso, in the end they “Now,” she said, “tell me what poco piu mosso vigorous and characteristic type. A good study or must always return to the standard set by vocal means.” p™'(da recital piece. Grade IIIJ4. • music.—Wagner. “A little more mixed,” promptly replied Ethel. THE ETUDE 347

the etude

an interpretation lesson on . ^ Mozart’s “Fantasia in D Minor Prepared by JOHN ORTH d .

in Boston jor upwards of forty years, T„ measure 30 it is A sharp against B n the left i f it in Inrn measure 9 play the first note firmly and solidlysolidly, (very. poignant) n the left Everv piece of _ ttiusk is _ what^ you^mak ^ ^ q{ then ith a heavy climb up *e • f a bit on InIn measure 3!31 it is« G against G sharp i this lesion 1 want V7e,p-you to make all you can or ^ hand (also very I^harp and in measure 33 F sharp ^Lefmt'Sotl'here my favorite thought from Wag- *e D sharp ^t Retard a little at the end ner: . , artists to of the measure. Hold the pedal through these two 33Wedcomfnow to a real musicall flourish. Even this

jut *kt is ot Dreaming fss*»A lcnest noxcs un tixv. - down. Stop an instant on the lowest C Put ^ the m rrilTthe more independent and creative his emo olentv of time-at least four beats after putting the pedal. Hold the pedal until the first note of m P6f E ^Kee^e p^Td^ uCil Tes" eighte/n 12, so that there is no break in the sound. n0tC di! awaf TMs isPa beautiful pedal effect. Make the tional style of singing and p y. g h e teen seek- EXPRESSION NOTES. Kean a am m-IPj Notice that from here on it is marked Adagio T is fl°urish as fast***:*:£• as you SS SLSf s'lonsrrr 1?;:=«s„„ nne of the most plaintive of melodies, full ot teei ing and expression. In Cantabile passages of this kind -‘HERO AND TTTHEROINE. In measure 35 our hero enters again, strong and )naci vviij virile as before in measure 20, remaining with us dur ttuuiuw ~ . . ~ a* well as vaudeville and ing the next two measures, 36 and 37. Our heroine 2 £ is with us during the next six measures 38 to 43 in¬ high-class music y h a nutshell.” clusive. Her palpitation and agitation rise to a higher •half as long again as written. An eighth note ca pitch than before in measures 23 to 27 inclusive. Ritard ^JS£h*2S <» Music o.d How I, U Tm* to speak, to three-sixteenths at the end of measure 43 and wait to four-sixteenths, because then it is a quarter In the next flourish, measure 44, delay a little o the first note. Ritard a little at the beginning of the ■ft* m» “inm^asureeasure 13 dtthehe expression note is D ssharp. arp. Lin-* ee succeeding groups, on Bb, A, C. Be very firm that.. u.i..Make it about three-sixteenths in value. thre^ ^ A ^ ^ f( ger c : it aDOui wucc-bwvv*». « the low A and the following A. Go slowly on the e poignancy than any other note 1: Give i next three sixteenths. Put on the pedal on the next SPECIAL PEDAL study. ^rmeasure^by^aking'allthe other~notes pianissimo. eighth note A. Hold the pedal until you get to the Place your hands on the keys and play the just meas- the m a y ^ Mf steps nting and lingering upon m>- • last four notes of this chromatic scale. Ritard a little 1 nana auu ----- with a heavy devitalized ^ J aare,e amoamongstngst the »ostmost expressive intervais m =rmisic on these last four notes. Be sure to keep your finger That is why the D sharp E in measure 13 is much on the half note A until you reach Tempo I. more expressive than the interval G F in measure 12 From here on to measure 49 inclusive, is the same or the same interval in measure 14. In measure 14 as measures 12 to 17 inclusive. flelav on A in the right hand. In measure 50 there are two expression notes—A In measure IS delay on G. In measure 16 we ave and E. a half step in the right hand and two steps in the left instant after thea ianissiino manner. Listen again! In measure 51 the first note—E. hand Horn D to C sharp and F to E Be very firm measure m pedal dur!rlg these two meas- t hand and on the D in the lett mIn measure o*52 we have another splendid pedal effect Keep yuui »ww - * , . ,_i on methe An inm the«*». right hand“f* and on the, D ..in the lett_ jn thirty-secondn,;rf,,_=oron/l nntpsnotes. There are sixteen ofui them.n.v.... ures^and and hear the wonderful pedal effect!effect. ^ ^ ^ hahd Let th two voices °OTO«e each “therewith a ^ «y ^ they die away Play the 1 No pedal. Toul of the piano; there are cases w— ciiti— r- - irfirstsages. Eri—->• —— *- twoA c,,DELIGHTFUL"d‘in “asure FINALE. 53 ,ight and ^ The Allegretto is peaceful. No more stress or agi¬ 'TTnoTitak ,« .1 measure 3. Let jour laud lie ““^L^u SUft*Tbink of wail tation. The first expression note is the first note in upon the km ««<» the rejerbera.ioa 8™ » mikc it sound!onnd likenice one. Y«ruu tnj|Ijgttwm mcasuicmeasure 2.t*. Thesemtsc first eight measures are light- the left hand lie upon theme octaveuktuto D,—, while_ ..lately in time, of course,course. But dontdon’t think , of time, L“" t the last four notes of the measure. *— hearted,i-Jw, almost gay Spirit. Let your touch be of hand clings to the a expression notes, think wail. „ Measures 17 and 18 go wailing and sobbing on, the same nature. The next eight measures are a little more serious as you see. It is all half steps, chromatic. Play with and legato. Bring out the Tenor part in measure 10. heavy hand, a heavy heart and a heavy tread. In measure 193 die into a whisper.whisper, Again/vgain, uundont l Pause a little before measure 15, as if there were a measure 1 echo,' pianissimo; again, wait, listeni auu think *of”~time.e .• LetT this4-Ulru measuremAOClirP 1)2pass 8!? offOTT UltOinto thetile comma. Ritard a little in measures 15 and 16 meaSUmeasureI 4 Measureecho, pia 5, loud and’ a rerelaxed.laxed. Measure 6, ™°,! put on the pedal, of course, with Fromiiuiu hereuvib yuon tolu measurelubaouic yu33 playyjicxy ni the most light¬ hearted manner, almost as frolicsome as a little child. k»* —»-»*• •Ritard a little on measure 24. In measure 33 hold the pedal from the first note until you get to the top the kevs with either hand. Play as if your hands sank measUres 20'and 21 he makes himself felt and of the hill D. Make“ a long trill on E with a dimin- Stokthe keys and as if they had no more spring to them ^ d with abundant vitality and a stentorian voice. uendo at the end . mto the keys measures 1, 3, and 5 at about hear ^ Jn measure 22 is very firm. Then From here on to measure 44 inclusive, sweet and than a jely • easures 2, 4 and 6 a little slower t whisper. light as in the first eight measures. Whisper measures 60 quarter not .^6 ^ of the measureS. a , ®ext tyfee measures suggest palpitation, agita- 45, 46, 47 and 48. Play them a little slower. Play the withWim a retik,«*u ^ rmxtnext two measures are We will imagine it is the heroine speaking. Does last six measures briskly and peppery. Noin o pedal.pcu

*) These four measures pp may be played somewhat more quietly than the previous Allegretto Tempo requires, but with the following/ the regular Tempo will take its place again. Still care must betaken that thisslight deviation from strict time is not carried to excess, for under no circumstances should it form a contrast between dragging and hurrying. ^*"4

1 THE ETUDE 351 THE ETUDE 350 allegresse HONDO A,. SARTORIO

JOSEPH PASTERNACK,Op.ll.No.l

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Copyright 1898 by Theo.Presser THE ETUDE 353 THE ETUDE

en balancelle v. DOLMETSCH, Op. 93 yalse lente l.h.

Moderato m.m.J=126 l.h. . 3 „ 4 V

thinning, and play to Fine, then,play Trio. % From here go to thi THE ETUDE the etude 354 COSSACK DANCE COSSACK DANCE KOSACKENTANZ kosackentanz E. KRONKE Vivo con spirito m. m. J = 126 PRIMO SECONDO Vivo con spirito M. M. J = ice it ’

Copyright 19i4 by Theo Presser Co. TH E ETUDE 357

PRIMO

SECONDO .#. • JR. > jKurf^u _# • >

f _ > 1—. >

wr is 3 I [ 2-i.

S. ^ > >*5- > > ; ri-g-g- S^J^I.rgfZ^T]

> > ■ {mrny#j m te: sempre piii mosso G 3^-- --—^ B x *tf t T rp [ ^ ~ rfr rfr' rrr V y.t.- v LJ *t=- fcK-f 4l r \ . cresc. sempre ft—- iyM f=HTf r r r F'cj 1 the etude THE ETUDE 359

SWEET HOPE « *T^ i a v . Ea n \t^i £\ . r ^ SARAH READ REINHART ■ meditation iipit iii :7fT4 :f-R ?=4= LgyJ jVf =#= :S=SE -J . =fW,

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British Copyright Secured Copyright 1914 by Theo. Presser Co. POLKA MIGNON FRIEDRICH BAUMFELDER Op.394 Gracioso m.m.J=ios 6 3 *

_a | _Jr

eresc.' poco apoco dim. i ,/ Fine\

-Ur—~~~^

4 —1 2 3 4 Hrr^* ^2"^ 2 U w International Copyright Secured Copyright 1012 by Theo. Presser Co. ' British Copyright Secured Copyright 1914 by Theo. Presser Co. THE ETUDE 361 the etude BATTALION DRILL MARCH Intro. Tempo di Marcia m. m. J = iso CHAS. LINDSAY March 2_4 1Jr~A

m m iifTTT K ■JlJ-pfriiLlj*j8 m H h- t'rTJtlpTJT lr fJ IfT

5

j i -Jr-* ]■{ ff^ r -# ^ *—p r frfe p g ±d IfLL4f it ■ ^Fine pi® Mi ?»f« TRIO

Copyright 1914 by Theo. Presser Co. British Copyright Secured 3G3 THE ETUDE THE ETUDE 3«2 THE ETUDE THE ETUDE mDPTA TrAMTASTICA THE ETUDE 367 THE ETUDE 866 FOR PIPE ORGAN KAMENNOI- OSTROW r»T Ti RAM A NP1F. M.M.J-112-126 REVE-ANGELIQUE Anton Rubinstein,Op.lO, No.22 AjkIante moderato _From_the Gallery of Twenty-four Portraits Arr.byHarveyB.Gaul

Man.

THE ETUDE 871 THE ETUDE To O.B. LOVE IN SPRING THOU ART SO DEAR! FELIX BOROWSKJ.

Seor Copyright 1912 by Theo Presser Co. Copyright 1914 by Theo Presser Co. British Copyright British Copyright Secured THE ETUDE housetops Kipling’s ALONE UPON THE ^ TOD B GALLOWAY, Op.30,No.7 “Plain Tales from the Hills. With expression % -*- '

^ rit.poco— a cresc^__

, H f’ Cjjg r.| 1 r77$ /pf ■'* rrn,rr ri—j---- JJy ■ upyp-*- feFF J 1 — - r /.r --44— - wv, /WTf=- [J ^ u

Ti ^ffZ' u Tempo I. with mute (ad lib.) nr—9 . i nm ^ i n 1 v II tf ]+ , i 1 1 1 .-1-1 ii i-i-r—t—r -fc * te*94 1 I J I.J 1 J- -4— l—rtf 1 i l; J II' m ■ I i n» -\:J1 A ■ J JjJ I ' ? pp! p * -— f j ■ w i " "" _ Also Published for Low Voice ^ TO OT\/[ A N Z A HOMER TOURJEE = I —-1 Copyright 1914 by Theo.PresserCo. 1 \ V f AVA AA Ax / J A A (to U S j Andante sostemito m.m. J=72 E P r tu ** r -j.™gga 1 s “..1-h = J J # j j -■■'A. J> £= UP J ‘ i ■*-—r 1 M ¥ r • s -3—3—1 5“

PIANO

Copyright 1914 by Theo.Presser Co. British CopyrigM 374 THE ETUDE THE ETUDE 375 FRAGRANT BLOSSOMS Keeping a Small Musical Library in Order WALTZ matilee loeb-evans By FREDERICK H. MARTENS There was an old Scotch gardener kind, and protected from all the various once, who had a number of superstitions evils that threaten either slow or speedy regarding his craft. I remember, for in¬ destruction. stance, that he believed that by gently THE ADVANTAGES OF SYSTEM. stroking the leaves of some backward Aside from the saving of wear and plant, and whispering a few words of tear in the case of the music itself, there encouragement to it, he could induce it is the saving of time and temper. The to cherk right up and grow splendidly. musical temperament, of which so much Of course, it is not implied that the life is said, is apt to drop a couple of syl¬ of a sheet of music may be prolonged lables toward its end, when an emergency by patting it on the title-page, and giv¬ calls for a particular piece of music ing it a few sympathetic words. But which cannot be located just when it is surely the old gardener’s underlying most needed. The musician emphatic¬ thought, that of kindly interest in his ally “wants what he wants when he plants, is something every real music- wants it,” and as regards getting hold of lover has for his music. And translated his music, a modern music-filing cabinet into practice, it means: “Take care of is the nearest and most reliable means to that end. Probably many • who read Music costs money. It represents a these lines can recall how times without definite and continuous outlay. And number they have dug or clawed their neglect of music is nothing more noi* way through a pile of music on a piano- Notching the bridge on the sounding board less than throwing money away. While top or table in search of some particular is another operation where human skill and music, especially sheet-music, is so easily piece, occasionally tearing another in In our factory it is done by men some of whom have damaged or destroyed when left to lie their haste, only to give up the chase in been with us lor a quarter of a century. about in haphazard fashion, its lift-span the end. Of course, to add to one’s ex¬ may be indefinitely prolonged by proper asperation, the piece looked for usually treatment. And the lesson of “conserva¬ turned up a few days later in the very tion,” as applied to music, has found pile that was most frantically searched. Kranich & Bach practical expression in the adaptation of I know that this has been my experi¬ a system of filing to its better care. The ence in the past, and even if one is not many filing systems in use in modern so very temperamental it is apt to lead Ultra-Quality PIANOS business life, and their application to to anger. library work, notably in the Library of A minor point in selecting a camnet, Congress in Washington, where they one that has nothing to do with the bet¬ and PLAYER PIANOS brought order out of chaos, probably ter preservation of the music or greater Created with thousands of bits of wood, felt and glue—materials of little natural per¬ suggested applying the idea of filing to convenience in getting at it, and yet is keeping and preserving music. Take the manence—the attainment of LASTING EXCELLENCE in piano construction is one of important at a time when so much at¬ the most marvellous examples of human ingenuity in the world’s history, and is insured case of the old Library of Congress, for tention is paid to the decorative side of nimniteBTpuirLU,r°"!h the Lme-honored Kranich & Bach policy of instance: While books and music were furniture—for ’a music-cabinet is furni¬ BUILDING EVERY PART of the instrument from start to finish under one roof and kept there in piles it took hours to find ture in a way—is having wood and finish under watchful supervision that demands mechanical perfection in every detail, no anything that was wanted. Now the correspond to that of the piano and other matter how minute—a policy followed by no other man¬ musical contents of the Library are kept articles in the room in which it is to be ufacturer of high-grade player pianos. in files, “in rank and file,” to use a mili¬ placed. Yet after all, the main thing, if The address of the Kranich & Bach dealer nearest tary term—ready for service. The sheet- you wish to keep your music with you to you will be sent on request, together with a music in the Congressional Library, num¬ copy of our beautiful Golden Anniversary booklet in good working order as long as possi¬ entitled “Fifty Years of Kranich & Bach Quality.” bering 593,126 items, is arranged, with a ble, and keep it in the manner most con¬ simple index, in separate trays. Any venient to yourself, is to provide a home given composition may be found when for it, some place that is emphatically KRANICH & BACH wanted at a moment’s notice. its own, just as you do for your books. 237 East 23rd Street - . New York City The idea is very simple, and can be The new-style music-cabinets, which may applied just as readily to a private col¬ be seen in most music-shops nowadays, lection of music, the library of teacher, seem to hit the nail on the head as far artist or amateur as to one of national as construction, design and practical use¬ importance. The great point here, as at fulness go, and, in general, their price is the Library of Congress, lies in the dis¬ not prohibitive. tinction between piled and filed—music Treat your music kindly, give it a piled on the piano or on the library floor shelter where it is safe from the many exposed to dust, careless handling and and various dangers of a life in the open accident, and music filed in the indexed of the music-room, and it will repay you trays of a cabinet, where it may be kept by lasting long and always being at hand in order, separated according to class and when wanted—a joy forever. vose -PIANOS n Difficulties in Repeated Notes have been established 60 YEARS. By our system of By S. REID SPENCER payments every family in moderate circumstances can. own a vose piano. We take old instruments in exchange What could seem simpler than strik¬ accomplishing this the student will find and deliver the new piano in your home free of expense. ing notes in succession? Yet even in that during his slow practice it will prove Write for Catalogue D and explanations. legato passages where repeated notes advantageous to play the notes with a occur difficulties arise which puzzle some sharp, quick, decisive, staccato move¬ vose & SONS PIANO CO., Boston, Mass. students. When the time is very slow ment of the fingers or the hand, with there is little trouble in playing them maximum motion. As the speed is grad¬ clearly and properly. By means of ju¬ ually increased the motions become less dicious use of the metronome correct pronounced. This is accomplished auto¬ “slow playing” may usually be developed matically, but the high quick stroke should into correct “fast playing.” In other not be diminished a particle until the in¬ words the student must first get the creased speed compels it to be so. The passage right at a slow speed before he quick staccato in the slow movement trains can ever hope to get it right at a rapid the fingers to get out of the way so rapidly speed and the difference between slow that they do not stumble over each other BEGINNER’S„ BOOK PianoforteSdK,oU>f,he By THEODORE PRESSER Price 75 Cents and fast must be a matter of gradual when rapid playing is attempted. Indeed, steps, not a jump from a valley to a when this species of practice is highly ■ HE latest work along lines of elementary instruction. The material used is entirely fresh and is presented in an attractive manner. It is intended mountain top. This applies with especial developed the repeated notes come so T. for/he veriest beginner; little tots just out of kindergarten. Avery laree force in studying repeated notes. smoothly and the interval between them note is used in the early part of the book. Questions and answers are given to Certain pieces demand the rapid reiter¬ is so slight that the effect is that of a con¬ clinch every subject. Writing exercises are introduced at the very start. ation of notes at a perfectly regular rate. tinuous stream of sound. Repeated notes, The utmost care has been given to every part of the work to make it as nearlv a This also implies sharp, clean, neat, de¬ in rapid passages by Chopin, Liszt and perfect Beginner’s Book as it is possible to make. A trial of this new book is livery. They can not fall indiscriminately other modern composers, offer opportu¬ earnestly solicited by all who have to deal with elementary piano instruction Liberal discounts. ■British- Copyright«« upon the keyboard like a shower of hail. nities for special study which should be They must be even and orderly. In very inviting to the industrious student. Theodore Presser Co., 1712 Chestnut St., Philadelphia, Pa. le mention THE ETUDE when addressing our advertisers. THE ETUDE 377

down and the larynx up, etc., etc., in an 376 THE ETUDE endless entanglement! Ah, truly singing is hard for such a one, and.we must Department for Singers forgive him the flushed face, the beady Getting Expression Through Accents stare, the whip cords in his neck and Edited by Noted Specialists The By EDWIN HALL PIERCE the unnatural look of his whole bearing. New Books Editor for May C°“hW. rendering.^ X He is attempting to surmount impossible Alexander henneman difficulties, and we should give him credit, very common use, yet the thing it signi- O be read with not censure him, for his courage and Brookfield fies is in common use by. many of the approximately, and , . tne greatest executive artists, both singers academic strictness, t t> grace determination. and players! and there being no other hearer being that of f^^m ^d grac^ Professor M. s9d|.; or more familiar words to express the The reason for the use h,s form o h \T Small AI-- THE EXPERIENCE OF A MEDICAL Summer SPECIALIST. same idea if seems worth while to ex- accent was, doubtless, that wh.L the INTERFERENCE AND BREATH¬ have crippled the interaction between plain the name and the thing at the same whole passage was intended .to The ideas of .7 acques-Dalorozc s ING. parts and the voice is gone. That the conscious directing of the act time. From one of the more complete and flowing in character, c^«n note_ and his whole scheme of rhythm c training of breathing is faulty is proven over¬ School of To breathe is as natural and instinctive Just as treacherous in its action upon modern dictionaries we learn that the needed to be given a rea thematic so original in many of its phas<~ that It i. whelmingly by the experience of a phy¬ difficult at first ” an act as is swallowing. We can, if we the breath is wrong body poise. A body word agogic (pronounced a-go-jik) is pence in order to bring ou , have a“d lts importance. The cn maintains that is properly poised will have such sician in the hospitals of Paris. This derived from a certain Greek word idea. Realdynamic _access . .ejv_ that^ 0ne can understand omprebend will, make swallowing a conscious, di¬ specialist in pulmonary diseases, has spent of study, rected act. If we do, at once, and in¬ perfect adjustment of parts, such a cor¬ Singing meaning to lead or conduct. Agogic ac- made „ trifle'rough and jerky; ^ac^t^t^he* wil^vlsh years on the subject of breathing and accents at all, would have left it tame win 0f course arouse much interest variably it becomes difficult and uncer¬ rect alignment of members, that the dia¬ cent” is that form of musical expression comes to these conclusions: - - ™ ■ important his work. rrh<* tyim1- - — tain. A pill is not too large a thing to phragm, the intercostal and the clavicu¬ which consists in prolonging the duration and meaningless. The most atSHefferau Tnear Dresden, Germany"),Tto lar muscles will not be interfered with “Breathing is under all conditions and of a note at the expense of the notes use of this kind of accent is £gg t^uth^S take, yet many who cannot consciously for all purposes an instinctive act and Swallow a pill can easily swallow a much each other in their movements when the immediately' to follow, without necessa- consisting of rapid notes eq exercises. Its relation to music and musical image in the mind sends its message to as such will fully meet any requirement. rilv increasing its loudness It has some value, which nevertheless are not mere ducation comes partly through the fact tint larger morsel while eating. Why is this “It can be made a conscious act, but, rily increasing its loudness, it nas some > j b t contain the the students are trained In simple and com- * so ? Simply because in swallowing a pill them. The thought in the mind is the is charming in its at¬ affinity with tempo rubato, but is by brilliant passage work, , f>iex rhythms as never before. For instance active power that moves the diaphragm. owing to its complexity, is rarely, if ever no means identical with it, for in the outline of suggestion of some theme or nttie^ students. walk keying step In two- • the fine coordination of all the parts is performed successfully. mosphere, unique in destroyed. To the mind the pill is a The length of the breath, its force and tempo rubato we have an alternate accel- motive. Organists might ma eve.y, . four time. An almost infinite number'of amplitude are contained in the conscious¬ “That all physical exercises, be they'of its methods, and sat¬ eration and retard extending through use of it in certain of the preludes to rhytb Ic variations with syncopaffirn, arc •pill and not food. It is something novel whatever kind, are most healthful and , . . . Pof'ln’c nraan fit true*; or indeed, in some possible. The belief is that this will pro and unusual, and therefore one expects ness of the thought within the mind. musical phrases, while agogic accent usu- bach s organ tugues, o , ■ duc(» a higher basis for the musical training “My dear” qn two eighth notes demands beneficial to breathing, and develop ca¬ isfying in its results. ally applies only to single notes, often of the free-episode passages in certain Qf thfce children. Then there are elaborate trouble and one gets it. Attention on GOURAUD’S less breath than a six word sentence on pacity and control quicker, if the act of y 11.... . , , 6, rf ti1P fuoues themselves, yet strangely exercises, ear training, etc. This book at ‘the act is the cause of discomfiture; yet mere subdivisions of the beat. ot ldg DoMSvinnu to tempts to tell the main purpose of these four long measures. The mind must breathing is a secondary consideration. So far as the writer can recall, the enough, they seem generally oblivious to exeIPclses whloh have attracted world-wIdeat if the act of swallowing is unconsciously know the sentence and since it knows the In other words, the mind must attend to earliest use of this term was by certain their opportunity. It would be all the tentlon Kmll^lacgues-Dalcroze^the^trua performed it is invariably successfully ac¬ sentence, the “thought force” acts on the the exercise itself, not to the manner of The work is adjusted rienta musical critics attempting to describe more justifiable, m view o tie ac the new movement, was born In \lenna, July complished. Similar experiences may be diaphragm and the- other breathing mem¬ breathing, while performing the exercise. Joachim’s performance of the Beethoven the technical limitations of the organ -.1865,, He was a^upU of WoWllb*ani .duplicated in other acts. The result is so as to be valuable bers in a way that will bring about the “That conscious directing of the breath¬ violin^concerto. The writer, unfortu- biake the ordinary dynamic accen , as ^usical director In a theatre in Algiers and always the same. oralization of the sentence that is on ing apparatus in only too many cases, is both to beginners in nately, never heard Joachim in this, his applied to single notes m a passage, a Inter became^ the8 ^ofvssor^o^ H^rmony^, Breathing is an extremely difficult and the mind. For a short phrase the mes¬ injurious and defeats its own purpose. greatest piece, but he remembers well practical impossibility. ... , one ‘T like Joy, for it is life, l preacb jot, complex act when viewed in its different singing and to ex¬ Cream sage calls for a short breath. For a “That the greatest development of both benrinv him make use of the atronic ac- Of course, m the hands of unskilled for jt aiono gives the power of creating : ■ .phases and movements, but an extremely hearing him make use ot tne agogic ac f t runs the ful and lasting work. This condition of long sentence or a loud phrase, it demands breath-capacity and breath-cbntrol is perienced artists. cent in certain passages in the Bach players, mis rorm in acecm ruua^ ^ brought al>n • • . simple act when performed under instinc¬ feeling of a greater amount of air. The mind knows gained in a series of graduated exercises, Chaconni ~~ ~~ | ~ Mtfttjj HT ! clear per¬ tive and natural conditions. And singing tempo rubato, it is a dangerous tool to ceptlon of the creative power ns,... by the how much or how little it needs, for, is beginning with a simple and easy effort Ahna (the second violin in Joachim’s balance of our natural powers, by .... is' a natural condition—is in itself an it not the bearer of the message? The and gradually increasing the effort as t'Tl'Zt, quartet) play the Beethoven concerto, trust in the hands of a beginner. Never¬ monious rhythm between the Intention and instinctive and a natural act! Being such, the deed.” One writer describes the atmos¬ call therefore on the diaphragm is com¬ ability and control increase.” The session begins and remembers well the strikingly grace¬ theless, with those vyho have the intelli¬ we must go about it in a manner that phere at Hellerau thus: “The moral and mensurate with the needs of the occasion. For this purpose the patients in the ful and beautiful effect of this and simi¬ gence to use it in good taste, it is a mental tone of the College la pure and bean- permits the organ to act without inter¬ June 1st and ends No more, no less! If no interference Paris hospitals are given an apparatus At Druggists arid Department Stores. lar passages: valuable and beautiful effect. ference by adverse thoughts. These The sign of the agogic accent is A, takes place, the breathing apparatus will made of two large flasks connected by Oct. 1st. Come for , .thoughts on our breathing direct the No. I. _ which should be clearly distinguished The-.„ Story of. lirlga,--— from the German—. of respond to the demands with neither more a tube. One of the flasks contains one- FERD. T. HOPKINS & SON.PropT. mind at the time-to only one phase of the full term if pos¬ from >, which is the common or dynamic nor less breath than called for. fourth less water than the individual can 37 Great Jones St. New York .» » T the act, for we can consciously think of accent. I have known some stringed-in- Y. Price $1.33. displace. If the maximum amount is a sible. Teachers can but one thing at a time. We thus give AN ANALOGY. quart, only three-fourths of a quart is mrnuJ strument players to mistake it for an up- lift ta&J undue prominence to one phase of breath¬ easilygivetwo months bow sign, and to be greatly puzzled at many ns It has probably never been known put in one of the flasks. By alternating ing, thereby destroying the coordination In the mechanical field we find an anal¬ rendered somewhat a s follows: what seemed an ill-advised- or eccentric !? ***?*• “?d,,KO much fuss Is being made at ogy to this! The current comes into the between the flasks the water moves to to the school; and , . ,. the present time about whether or not it is -that is necessary between the different and fro from one flask to the other. No. 2. bowing direction. ‘•safe" to study abroad, that It Is more than groups of muscles and the changing posi¬ motor at ten miles the hour. If the motor those who have only One prominent composer of our own . is correctly set and properly built, it This is done three times a day and about tions and conditions of the chest, the ten times at each period. One-fourth a short vacation can lungs and larynx, all of which must act will run ten miles to the hour, not four of this sign, has been careful avoid fellow-singer with whose arii-t less than the normal maximum is put bee singularly accord. Their harmoniously, if correct singing is to or twelve miles. If, however, an inter¬ combine relaxation —bsbu—^—ts misunderstanding by explaining in, so that the effort will not be so gether, howei--. is not happy since result. ference in the shape of a displacement foot-note in some of his published finds that „desire for worldly si in one or more of the parts exists, then great that the pressure on the breathing with some valuable which was said to be practically the s; positions. greater than his for a : * The harmonious action in this involved muscles draws the attention of the mind unhappiness ______and complex act is not difficult to obtain trouble ensues. Just so with the singer. practical work in divorce proceedings are completed matrl The poise of the body will create normal to the breathing apparatus. If also, pre¬ Mnrsehner, another fellow-student and « «n if we go about it in nature’s way. The vents strain. singing. poser, whom she really loved from tbc Hit infant at birth knows how to breathe or abnormal conditions within the body. Methodical Piano Practice This bald outline of the plot, however, in I The latter are a continuous handicap to So wonderful was the curative effect way does Justlcp to the genuineness, 11 and does breathe correctly for the many By LUTIE BAKER GUNN on the first tubercular patients that all sweetness and the sincerity of the not complex and varying acts of its growing the effective acting of the mind on the . . . . . , , , , Mrs. I.ewlsolm deserves all congratulation muscles at work, and breathing difficul¬ were given this exercise. The effect on A STATED period for practice should be devoted to octave practice is indisnensa- for '>nvlng translated the siorv in » way life. All that is necessary is that the their general health was so marked, that If you are interested arranged for all piano students. Go to ble. One fine way_ to develop. . this"... Unit nreservos the charm of the m-lcinsl work position be correct and the body un¬ ties result. It is a universally accepted and proven it was tried on other patients who had the office of the superintendent of a.large play octave scales, slowly at first, but with hampered. Given these conditions, the no lung diseases, and the result was most in any phase of vocal educational institution and see how care- great precision; then increase the tempo i It elution of the Putin child will breathe correctly. fact that but one thought can be con¬ lated f the French of M. Rlcdotlo Ci»- sciously in the mind at the same instant. gratifying. So much so, that it has be¬ music, you will enjoy fully every hour in the week of every so that a high speed may be developed "Ml, n • Praise of Music." by »n«# teacher is planned. Good planning and without tightening the wrist Published by T. N. Foulls, Lod POSITION. The principal burden on the mind is as¬ come the practice to give this daily exer¬ reading our illustra¬ and Edinburgh. suredly the phrase. It must be admitted cise to all the patients be their troubles good system are an immense help in ac- While the many technical’studies pub- Thiskl" Is n“ philosophicalphilosophic treatise, tbc p®' Position is very important, extremely that the greatest mind energy is focused what they may. After the individual has ted prospectus. quinng and retaining a good technic. lished are al helpful the pose of which Is, fully- -I d- sscrllksl by the title- so, and I venture to say that wrong posi¬ Regular systematic scale playing in all ercises should never ^ legaar C* It Is written v ' ' oloquonci* on the sentence, and only in a fragmen¬ displaced his normal quantity of say three- " purity of st.v tion is at the bottom of .most faulty the forms of the scales has become part fue:r M1 8 ’ as tary, disjointed way can the mind spring fourths of a quart for a week, it is in¬ hurried vnu R „„ breathing and singing. The human frame of the work of all teachers who aspire m “ f 7 acco™Plish that, in the words of l.lncoln, "(or tho* from it to other things. That being the variably found that his normal maximum who like this sort of thing this Is tbe sort is constructed in a manner that all organs case, is it possible to believe the mind to be thorough. Begin with C major and T,“t,!Cc 7 °f 8°°d technic' of thing they like,” •'lit the normal individual can function has gone above his first quart and may its accompanying minor. Play the scales e s y . Btudes and Sonatas is can, besides holding the sentence, also Choral Technique, and Is(rrprrtoflo». freely and easily, and when in action will now he one and a quarter quarts. Again in all keys every dav. Play them slowly ^ecfssarY and in many ways beneficial, Henry Coward, Mux Doc.. Osoo. r»bll«W flit over the entire singing instrument and only a quarter less is allowed. him, and at first and repeat them a little faster until jejwus work sh°uld he given them not interfere with one another. This, Herbert Wilber Greene by Novollo and Companv. I p«w, b®1"" direct it in a conscious way, all the while before long his capacity has doubled and you are able to play them quite rapidly. .roug the different grades of study in m cloth, numerous notation examples. however, is only true when these organs book is of particular Interest » are poised properly. Let us take for singing the phrase artistically? Think of more'. Here we have, first, increased ca¬ Systematic progress is insured by the use jlan? °!" e’ ?s t‘leY assist materially conductors. Its nuthtrr ' the complexity of the act, or better said, Director of the metronome. The arpeggios should developing the gifts of- interpretation^. ■ - and ?-'noa1tt'sJ1 ot Present dav choral conductor*: example the head. Unduly raise the chin pacity, and second, control. Both gained the many distinct acts, all going on at be studied in similar manner. y ,a and you find it difficult to speak, though by a normal, natural means, devqid of •'.your voice is in excellent condition and once! Is it a wonder that the average If the teacher uses an ordinary amount lng' strain or effort and done unconsciously Address until June Is the result will be that pupils who o he able to read The P ■ your larynx healthy. Interference has singer suffers under interferences? He in a space of time and with an ease, im¬ , , , , «. ... , . rare o-ift . “ ,TIU.S'C rapidly is a "J}°" tugues and funl entries. „noimt,T* have formed early dislikes for scale prac- lare and can be cultivated tr, ejects, rehearsals, etc nr.- tilled wltt fi* ‘ here destroyed the possibility of free stands incorrectly, thus hampering both possible any other way. 701 Carnegie Hall, will enjoy playing the scales action of the larynx, epiglottis and diaphragm and lungs, and all attending r*Jew York City never. have before. Train• the ■ ear __ Oyr_ I _.J H tongue, and the voice so perfect and muscles; he tries frantically to project A SIMILAR EXPERIENCE. nntev fC“ltl' ln reading their as *h,c!’.xLr:.,0.uV,r firman guide to jS In making your piano practice method- and brought to tho ,• e ,earlY taught of tnS K ' 'I* the full plots and lodk*''f employed. A similar >**J ical, you will find that one-half an hour teacher and pupil 3 lzatlon both author entitled Puhrrr d«tv» rtTmanUcoperas!* thC P'°U °f 200 THE ETUDE 379 378 THE etude “I want a nine-tone scale repeated a Some advocate humming for this. My Before long you will find that F responds ily functions, and natural actions was number of times. I want it on a pure The Tonsils and objection to humming is that humming in every attempt and is now an assured unvarying success assured, vowel sound, smooth, even and so per¬ the Voice is not singing. Since it is already diffi¬ note in your voice that you can sustain. GEO. CHADWICK STOCK teacher who wishes to find out for h,m fect an action that I am totally unaware In Science, Surgery, Speech and Song cult to get a good position for singing, The whole problem of gaining high tones self what system is the best SS^_ that my breathing apparatus is at work; By RICHARD B. FAULKNER, M. D. why then assume positions that are not solves itself automatically in observing Perfect Teacher of Singing offers a (Columbia ni.lwr.Uy) beginning a pupil on the nve to I can sing it five times, but will sing it Covers every ^int^pertainin, to tonsil, used in singing? Furthermore, M sup¬ the above method. It is so simple that SIX WEEKS SUMMER COURSE OF VOCAL STUDY cise, in the best part of the only four times; therefore it is easy, arid, plies us with a hum, and does it in a it appeals only to intelligent students who SURE HIS POSITION IS CORRECT. W this thought of ease 1 will hold through¬ purpose in the vocal scheme, their derangements natural way and in a manner that the really want results and are willing to fal¬ figures BEGINNING JUNE 15th this, no system of training, conscious or out the attempt.” That is the concept singer will and must use. It is therefore low instructions, even though they seem npHIS Course is intended particularly for Soprano and Contralto voices; for those who otherwise, will succeed. This is the fun¬ on my problem and this aspiration acts logical and saves time, and is a natural childishly simple, which this system is. qEvery woman can be teach as well as for those who sing. . , damental requisite. When m P«^ ^ on the apparatus inducing the smooth, assured of perfect figure I believe that every possible facility should be accorded prospective students ol means of attaining a certain end. Hum¬ tion’have him sing the five-tone exercise perfect action necessary for the fulfill¬ TWO DOLLARS, NET How high should a first tenor sing with lines if she wears American singing for investigating.the merits of any teacher. . Sent prepaid wdp? ofprice; also through ming too often is done with a closed on one breath as many times as he can. Lady Corsets, and “just the By all means ask any questions that may come to your mind, hull information ment of my aspiration. throat. an open tone? regarding my views and way of training voices will be mailed on request. A number of attempts may show it W That the number pf repetitions under PRESBYTERIAN BOOK STORE, Distributors right model of American 225 Fulton Bldg. Pittsburgh, Pa. Since we are never quite sure what My purpose in advertising this studio through The Etude is to spread widely four times. Now let him. practice daily such a system of practice will increase Lady Corsets for her indi¬ How long should a student practice, tone quality another calls “open” or information that is continually proving of practical help to singers. with three repetitions. Invariably after a is self-evident. By practicing with gradu¬ vidual figure”. There is that and would two or three hours a day im¬ “closed,” this becomes a hard question to All instruction is individual and is given by Mr. Stock personally. The number of week or ten days, he can sing it five ally increasing weights, not by the study model among the innumer¬ students that can be admitted is necessarily limited. No applications for this course prove the voice ? times. He now practices it regularly four of anatomy, did Sandow come at last,to answer. A sad, melancholy song will able styles, which are can be received after June 10th. Instruction is based on clear logical lines that do times. When his -range has improved use A beginner should not practice away have few, if any, open sounding tones; lift 2,000 pounds. HOWN’CBronchial ^ designed for all types of not leave the student in doubt as to what to do. the nine-tone scale. Try him out for his from his teacher the first week or two. 'tight- while a joyous, sprightly and light song figures, slender, medium and therefore maximum, then take one less for daily /on at fail, CONCLUSIONS. B TROCHDVJ Later, fifteen to twenty minutes at a will resound in a more open placement. stout. The free, lithe, wil¬ work. Keep his mind on “freedom, pure To find the same conclusions reached time, at different hours of the day, is The word, its vowel sound, and its spe¬ lowy figure is correct. It is vowel, good tone, evenness and smooth¬ Helpful To Singers « /-'ll | » | o. 1 Vocal Studio: Y. M. C. A. Building in the medical field, to discover that the best. The time Cannot be given. Some cial meaning in the sentence, determines yours if you wear the -Amer¬ ness” Do not tell him to take a full, and speakers in keeping the voice clear. Give relief NEW HAVEN, CONN. :: Phone 3094 better physical culture trainers in devel¬ in disorders of the threat and larynx, coughs and benefit most by practicing sparingly. The its coloring, not the height or depth of ican Lady Corset designed Ueo. Chadwick OtOCK big breath. His mind attends to the oping breath direct the attention on the hoarseness. May be used freely as they do not affect poorer the voice the less should be the the pitch. amount instinctively, and better than you the nerves. Free from opiates or other harmful drugs. exercise, not on the breath, to find the practice. As placement is assured the can decide for him. A full, deep breath In Boxes 25c, 50c, $1.C0. Sample free. I have two defective places in my voice, same satisfactory results attained in the will most likely mean an excessive quan¬ JOHN I. BROWN & SON Boston, Mass. time can be lengthened. “More thought namely, F and G. When I sing above JULIUS HARTT, Pianist tity, and this is always worse than to singing of a graduated exercise, and to and less throat” is an excellent advice. these tones it comes easy. Can you sug¬ be a little short of breath ; for the first note that these results are positive and Throat muscles respond more readily gest a remedy? ilmeticmL Offers a Six Weeks Summer Course of Piano Study BEGINNING JUNE 15 quick and the same on all pupils who than do those of the hand. The thought tone will blow out enough air to sing You do not state what F and G you fulfill the requirements of position and in the mind moves these muscles for tone Among Mr. Hartt’s teachers were: Carl Baermann (Boston), pupil of Liszt; Ernst a whole figure on. His aspiration to SHEA mean, the upper or the lower. At any Jedliczka (Berlin), pupil of Rubinstein; and Wilhelm Berger (Berlin), pupil of practice, proves that in developing breath PARIS, 5• rue Gounod production much more easily than it does produce a perfect, even scale throughout, rate, if the tones are better above than von Blilow and Brahms. , , , without effort or strain, sends the mes¬ capacity and control in this manner, w the muscles of the hand for piano play¬ While it has been Mr. Hartt’s privilege to receive instruction from some of the most conform to the laws of both psychology VOCAL INSTRUCTION below, then perfect these better tones. sage to the breathing apparatus and co¬ ing. Throat muscles act instinctively and Now, when singing downward strive to distinguished masters of pianoforte playing, he refers tb the fact as having been his great and physiology. The first American man W good fortune, rather than as conclusive evidence of his ability as a teacher ot his art. ordinates all parts so that his intention ' HnOnera “ have no dead weights to overcome; the preserve the same feeling and the same Voice-Te CORSETS A successful teacher should be able to point to pupils who have achieved notable things is realized. Should the result not be hand muscles must make conscious ad¬ quality for the G that you had above it. under his guidance and Mr. Hartt welcomes inquiry in this connection. startlingly gratifying to the teacher then justments with an added dead weight re¬ QUESTIONS ON THE VOICE. The feeling represents your physical na¬ two things alone are to blame. Either sisting them. Bear in mind; if your ture; the quality, your spiritual nature. ^American Lady Corsets the poise is incorrect, making, concerted, ace warranted to wear and T. TV VI to TJ1 r»T"T,Wrlte f.°F f:U ‘"studio!’ROOM 23, INSURANCE BUILDING Thf. following questions were sent in Scale and Chord Practice Made Easy practice is hard, you are wrong. Singing The two cover all that you. need to ob¬ JULIUS HARTT, » : NEW HAVEN, CONN.Phone 8085 harmonious action and interaction of parts ^ ^ The work Uugbt^ without^ notes^ not to rust. Why not buy to The Etude: is easy. Cease at the least sign of fatigue. serve in moving from a good tone to a impossible, or the student is not applying corsets superior in style, in poorer one. In working from above himself to daily practice. A teacher who How can I develop nasal resonance? How can I sing softly on high tones? service and in satisfaction, down, sing on the octave interval to a gives this a fair trial a,nd has a student especially when you can Sing your exercises on such syllables No tone should be started any other good tone above the bad spot. Then if who daily does the little work demanded secure all this at popular as na ua, ma ma, tiro (teero) lira, tirang. way than softly. This includes the for¬ the tone feels easy and sounds good, D. A. CLIPPINGER will find that in a short time the nine- Mis, Mar, E. Werner, 22 Bi Great care must be taken not to sing tissimo tones. The inception of every come down the scale, making, as little tone exercise is sung seven and eight through the nose, but only to set into tone must be in the pianissimo. Jean de change as possible on ihe bad tones. The times in one breath and an advanced stu¬ SUMMER TERM FOR SINGERS sympathetic vibration the air in the nasal Reszke developed all his tones in the error has most likely been caused by dent sings it as high as fifteen or sixteen At your dealer’s TUNE 29—AUGUST FIRST cavities. French is the best language for pianissimo. ‘In the sforzato his transition singing too heavy and dark into these times. Few phrases a singer is called this. was so rapid the ear was deceived in notes and carrying the lower register too $1 to $?50 Private Lessons, Lectures, Recitals, Conferences upon to sing exceed the length of th _• thinking, it an explosive tone. To acquire high. nine-tone scale sung, eight times. (129 ROOT’S How can I eliminate a throaty tone? this,' begin on a tone in the best part of Author of SYSTEMATIC VOICE TRAINING notes). And after all, to sing the phrases Sing for a while with a gentler, quieter the voice that you can sing softly. Make What position should the tongue be in of the masters is the singer’s vocation. Technic and lone. Observe your throat and neck a slight crescendo-decrescendo on it. If when singing covered tones? INJURIOUS PRACTICES. when in repose. Preserve this same feel¬ you have succeeded, take the half tone The position of the tongue is not de¬ Kimball Hall, Chicago Art of Singing above. Your last good tone is your guide. D. A. CLIPPINGER Excessive chest expansion (a dangerous ing and condition and sing softly on d. cided at all by covered or uncovered The next above must respond with the practice from the standpoint of health), Listen attentively to the vowel sound. A tones, but first, by the consonant, and ional Works in Sin, same ease and freedom and in the same freakish development of the solar plexus pure ah will not respond on a tight toije. n Scientific Method,' ‘ ‘ for Use in second, by the vowel that follows it. Try ind in coloring and quality. If it does not, do muscles, the ability to blow a high number Speak ah a number of times to establish this experiment: Sing Ah-EE and ob¬ not repeat it. This is so simple anybody on lung-testing machines, violent exhala¬ a good concept and sustain the last ah ar serve your tongue. If your Ah was good By FREDERIC W. ROOT can do it, but few have the force of will A NEW CANTATA for CHILDREN tions, the unnatural feat of overcharging a singing tone. Then strive to reproduce, the tongue was in its lowest and most I. Methodical Sight-Singing. Op. 21 to stop on ' upper E if it js doubtful. the lungs with air (inducing emphysema) relaxed position; the Ee, however, curved the same vowel sound in the singing Part L The Beginning They only stop when they arrive flushed or straining to prevent inhalation on lungs Part 2. Through the Keys.. it high within the mouth. Between these voice. Your desire to produce a gofld. Parts. ProgressiveMusician, . .50 and palpitating with a strangle hold on forcibly depleted of even the residual air two extreme positions lie all the com¬ pure ah instinctively relieves the tension high C, or the strain chokes off the tone (inducing strain on lung tissue) are all II. Introductory Lessons in binations of coloring on all vowels. The “CONTRASTS” in the throat and overcomes the throSly and them with it. “Go from the known uncalled for. The singer’s, is a gentle Voice Culture. Op. 22 - $1.00 number is legion. The greater the artist tone. If a stiff tongue causes the poor to the unknown.” Nothing so simple; BY FRANK L. BRISTOW art; even in the biggest fortissimo, or III. Thirty-two Short Song Studies the more varied will be the vowel color¬ tone, limber it up by singing a syllaMe nothing so sure! You know how to pro¬ the longest phrase. What he. needs is For high compass. Op. 24.50 ings and the greater the number and An amusing Musical Dialogue, between City and Country to each note of your exercises: na na.h For medium compass. Op. 25.50 duce E flat, now more confidently to E elegance—net bulging muscles ; control— For lower compass. Op. 26.50 combinations of positions. Your guide Boys and Girls, preceded by “The Little Drum Major, and “La natural. If you are a tenor and the E not force; how much breath can he retain, la, do re mi, and da me ni, are excellent. for finding the correct position is the Petite Vivandiere” in musical Epigrams with or without costumes. Do not adjust the tongue nor observe it IV. Scales and Various Exercises does not respond easily, then you do not not how much is he able to blow out, is' for the Voice. Op. 27 - 60c concept. The kind of a tone you decide The Melodies are composed in a rollicking, jingling vein, all in the mirror while singing. Listen at¬ ■know how to sing E flat. Perfect this his problem. V. Twelve Analytical Studies. on adjusts the positions, not only of your within the range of a Child’s voice, while the Piano accompani¬ tentively to the syllable and note if lower tone and you will fine) E natural tongue, but of all the numbers of the Op. 20 $1X0 Model ments are both easy and effective. PHYSIOLOGY. really hear a correct L, N, etc. Aski ready for you. Do not attempt to sus¬ singing organ. The eye can only roughly VI. Sixty-eight Exercises in the tain F or any higher note until E natural 602 Will be pleased to send to Teachers, on ap¬ A knowledge of physiology is invalu¬ listener what consonant and vowel jfw, estimate them. Furthermore, ..neither able, not only to the teacher but also to Synthetic Method. Op.28 75c is perfect, unless you discover that the Brocade proval, at the special price of 38c post paid. are singing. If he cannot tell you. then (The General Principle of Vocalization.) tongues, throats, nor mouths of all in¬ the singer. All conscious efforts directed highest note of an ascending-descending $3.50 you must strive again to sing so that he dividuals are alike. How then could one to the physical side of singing, to have VII. Guide for the Male Voice. exercise is perfect. If so, you must con¬ THE JOSEPH KROLAGE MUSIC CO. can tell the letters. You will then be on Op. 23. - - $1.00 state the positions? Nor is this at all value, must, however, be done without tinue singing the exercise higher and necessary, for the positions all result the way to relieve the tongue and throat VIII. Studies in Florid Song, $1.00 Race and Arcade :: :: CINCINNATI, O. any connection with singing. As soon as higher, as long as the upper tones are from the intention in the mind to pro¬ of constrictions, not before. J singing is attempted, the attention must —SPECIAL OFFER— perfect. Start your exercise in a range duce a certain kind of tone. After all, be on the phrase, not on the muscular How ran I pitch the tone freely eU in which you can sing the climax note what is it to you how your tongue poses ? TO MUSIC MANUSCRIPT WRITERS _ re wanted of ^MUSIC-. s< ... movements. The muscular activity does easily in the head voice? correctly. Raise the figure by half tones, Are you studying the tongue, or the papers of any kiad. THE BENSINGER RAPID DUPLICATOR wiU 'make 2, UL20 cop.e.fam not create the tone or the phrase; it is observing two things : Does your throat tone? Do you intend to be a tongue-ex¬ penwriting andtTOewriUng in a jifyequa to t^eorigma^ ^/l^ILo^with black and colored ink There is nothing better for this than these that induce the muscular action remain in the same easy, unchanged posi¬ pert or a tone-expert? Is the dissecting COMPLETE OUTftr. ^|eA6^.^BANDMASTERS, CHOIR LEADERS find it indispensable. Our efforts sljould not.be, how to dire-t M. Do not start the M too hard, hot. tion? .Is the quality and color of the I4 E. STONE ST.( NEW YORK ClTV begin it gently and hold it, letting -it’ roorri or the concert hall your goal? My the breathing apparatus or any other vowel the same as it was on tjie last half dear friend, neither you, nor I, nor any sound a little before you have the vowfl member of the organ, but how to create tone below? If so, you must go higher; scientist in the world knows’how the conditions that will allow them to func¬ follow. The M must be on the pitch. New Vocal Music ON SALE small packages 'of new music ON^SALF, during tbej if not, you must cease at once and go tongue performs its functions, nor know tion natural.y. These conditions are Thus: back a half step each time, to lower we how to consciously direct it to per¬ created on the physical side by perfect THEO. PRESSER CO. pitches. By doing this you will at for¬ form its mysterious acts—and .(now mark American Lady Corset Co. poise, on the mental by correct Compre tunate times go above E, perhpps as high well my words) the new born babe poises hension of wkat we wish to c°mpre- 1712 Chestnut Street, Philadelphia, Pa. Home Offices, Detroit as A. You then have “cut the groove” and yscs it correctly. Is not that a worn Address Dept. A. THEO. PRESSER CO., 1712 Chestnut t, Philadelphia, Pa. how we wish to sing it. mS’ and deeper and “paved the way” for your F. derful baby? "please mention THE ETUDE when addressing our advertisers “a* not m .... oh Please mention THE ETUDE when addressing our advertisers. 8ln» 380 THE ETUDE

realize this tendency, and lend their sup¬ 381 port to bringing it about, will they ge THE ETUDE the full sympathy of the people. People have changed. So must the methods ot Austin Organs gest a length of service as a rule only then two or three, and before you realize Department for Organists attracting them to church. long enough to gain the end desired. it, your day has been sold and eventually Perhaps, as I found it to be, the friend¬ your health with it. Do not do it, You Conducted by Organ Specialists HOW SINGING HELPS. ships made might make it very hard to cannot afford to. You give yourself with 'T'HE new Austin A Tonic Editor for May, HERBERT STAVELEY SAMMOND Having obtained some knowledge of break away from such a club. your work, and so if you do not stop 1 console, the fruit the use of the voice the organist should Horsford’s Acid Phosphate taken long enough to recuperate the nervous next put it to some practical use. by of several years study when you feel all played out, can’t KNOW MANY SERVICES. energy you give out, your machine will sleep, and have no appetite, refreshes, singing in some choral club c • society- and development of The third (and last suggestion) is that break down and you will be unable to invigorates and imparts new life and HOW CAN A YOUNG ORGANIST increased his earning power. He can This would be before c e is equipped as organ mechanicals, a young organist become familiar with do anything for a long time. As it may energy. BECOME AN EFFICIENT then conscientiously take vocal pupils. a voice teacher. has been receiving a the music and the services of all religious take years of constant strain to break¬ CHOIRMASTER. Not all organists, or even singers who Select some fine church choir presided generous share of at¬ faiths; Roman Catholic, Jewish and down a strong constitution, so will it take Can one learn the art of choir train¬ claim to be teachers, are justified in so over by an expert choir conductor, if such tention from the fra¬ among the Protestant denominations the years of watchful care to restore it, if it ing, choir accompanying, etc., from doing. an one is available, and get permission service of the Episcopal Church especially. is ever restored. Get some hobby and ternity. books? If we were to ask the authors If he has a church position and a from him to attend the rehearsals, and, This can only be done by getting in and ride it on your off day, or whenever you of books on choir training, accompany¬ It is an epoch mak¬ chorus choir, and such a choir I believe if possible, sing at one of the Sunday playing such services as one wishes to feel the need of a change of thought. ing, etc., where and how they obtained every organist should have, he will have services. ing improvement. learn. Although some organists have a Learn to think and do something else their knowledge of the subject or from no trouble getting pupils, and that, I Particulars may be what books, if any, they got their ideas, This can be done, even though one has successful record of twenty-five years ex¬ beside music. Let your neighbors think think, should be the principal work of his own choir to attend to morning and had by writing to the perience in one church, it might be well you are a farmer or a carpenter as they their answer, I am sure, would be, that every organist-choirmaster during the evening, by joining the choir of a church factory. before the student finds such a place, if find you puttering around your home, their knowledge was largely obtained in week—training voices, not having to give the school of personal experience. How that holds afternoon services. If the he ever does, to broaden his experience Subscribe to a farm or garden magazine piano lessons to beginners, unless he spe¬ then is a young organist to get that ex¬ choirmaster of such a church does not in this way. Almost any young organist, and be sure to read it. Some day, should cially desires so to do. I believe as perience? consider your voice worth paying for, if he is at all adaptable, can obtain a you realize that dream of yours to retire David Taylor says in his new book, The Believing that every man or woman offer to volunteer. Attend the rehearsals position in a small church of any denom¬ to a fruit farm or raise chickens, you Psychology of Singing, that the coming AustinOrganCo. who has traveled a road along any line regularly, for it is there you will get the ination or faith he selects, if experience will be glad of the information acquired and the logical voice teacher will be the WOODLAND STREET •covering a period of twenty or twenty- most valuable points. I venture to say is what he chiefly desires. His religious While seeking recreation from your work. church organist: The young organist HARTFORD, CONNECTICUT five years, has something to offer to the that the organist with a very ordinary faith will not be questioned, and if he must, of necessity, then, study the sub¬ Church Organs Take a vital interest in your own com¬ one starting out in that path, I venture, voice, having acquired something of the does his work with respectful reverence ject to the point where, if he has not munity and its government. Join some by reason of a varied experience cover¬ art of singing, who reads music readily, Latest Approved Methods, Highest he will receive the support he needs. civic organization. Study political econ¬ ing such a period, to offer a few sug¬ voice good enough to sing a song as we will receive a warm welcome in almost I Grade Only. Established 1827 | The immense amount of church music omy, and then perhaps when the day gestions that may prove helpful. As like to hear it, he can at least demon¬ The Guilmant any choir in New York City, Boston, of great variety he will become familiar strate the principles of singing with his A thoroughly^ modern two - manual instru- arrives, and I am hopeful that it ‘will, what is here said is largely from my own Philadelphia or wherever it may be he experience, I ask indulgence wherever for sale at a bargain. Built for exhibition with will be of inestimable value to him when honesty and efficiency count more chooses to enter in such way. Organ School the personal pronoun is used, as in the Then, again, he raises the standard of purposes. Excellent opportunity. in whatever position he may occupy later. than kowtowing to a boss (this was writ¬ HOOK & HASTINGS C(X very nature of the case it becomes neces- his choir by placing cultivated voices in If a woman is barred from taking part William C. Carl, Mus. Doc., There was a time when I was playing ten before election), you may have an it and the pupil gets the advantage of in the services of a male choir, she can Director in a Presbyterian church Sundays, play¬ opportunity to prove your worth by serv¬ Starting out with the supposition that at least attend the rehearsals, but that ing Requiem Masses in a Roman Catholic ing the community in some minor capac¬ the experience needed, for here he or she 25 Students now holding N.Y. the young organist has been thoroughly can get the start that may ultimately lead need not discourage her from joining a church on weekdays (having previously ity. held a position in a Catholic church to grounded in piano and organ technic and to a solo position. The organist also good mixed choir having afternoon serv¬ positions There is danger, however, of one wear¬ Church Organs which I had gone from a Congregational has a fair knowledge of Harmony, which strengthens his claim on the church by ice. If one has afternoon service in one’s ing himself out trying to do too many Students aided in securing positions church), a Hebrew temple on Friday and he will supplement as the opportunity being the Persona Factor as far as the own church there are many opportunities things at once, and a musician is con¬ offers, I wish to suggest three things: to sing evenings elsewhere. Send for Catalogue HUTCHINGS ORGAN CO. Saturday, and occasionally a Y. M. C. A. chorus is concerned. A quartet choir is meeting Sunday afternoons, or Evangel¬ sidered well paid if his income equals First, that he should study the voice only resorted to where means will not Twenty years ago, while organist and 44 WEST 12th ST., NEW YORK BOSTON, MASS. that of a minor political appointee. Per¬ from a most practical standpoint. istic shop meetings at noon of a weekday. provide for a larger body of well-trained director of a volunteer choir in a Brook¬ haps it is our own fault or it may be that Second, that he join some choral or¬ This varied .experience, if it did nothing singers. Ask any music committee or lyn Congregational church,- the writer we do not use good business methods. ganization under a well-accredited leader, more, made me a firm believer in tne church pastor that shows preference for sang as a volunteer Sunday afternoons in I Just want to say to all young organists provided he develops sufficient voice to brotherhood of man. four fine solo voices, if they would not the choir of St. James’ Episcopal Church CARL BARCKHOFF 3rimtg i»rhiuilufCOiurrl) ffflttBtr who are filling small positions with all do so. in New York City under Walter Henry If the young organist is not blessed, prefer such a choir as the Musical Art BUILDER OF A Training School for Organists, or perhaps spoiled, in having parents kinds of handicaps, with great credit to Third, that he acquire a working Hall, and attended rehearsals as regularly Society if the church could get it. The Choirmasters and Choristers support him during his first years of themselves, who yet feel that they could, knowledge of the music and the services as possible. result would be better for all concerned, Church Organs Headquarters, 90 Trinity Place, New York organ playing, he will very likely be if given a chance, fill a much better posi¬ ■of all creeds. To do this he should study If you cannot get access to a choir in with one who can give him the funda¬ if instead of spending the bulk of the AND FELIX LAM0ND, Director obliged to teach the piano for a large tion, do not get disheartened or discour¬ a large city, you can become allied to Superb, Porcelain Lined—the delight of every mental principles of voice culture; prin¬ appropriation on four singers selected by part of his income. After he has added aged if the big job is not in evidence woman's heart—the pride of every housekeeper. a music committee, the money could be the best available, even though little bet¬ Self Playing Instruments Here’s that famous Refrigerator with the seam¬ ciples that he can take and impart to voice and perhaps organ and theory to and no signs of it seem to appear on the less, scratchless, dish-like lining, the genuine divided equitably among the chorus, thus ter than your own. You will at least his teaching equipment he will arrive at others. Over 3000 Barckhoff organs in use horizon. Keep agoing and do more than VOICE BOOKS TO READ. providing an incentive for each one to gain inspiration and broaden your vision. the point where he is likely to specialize Leonard Cleanable which testify to their Superiority you are paid to do. If what you are study. Where this is done the organist Join some choral body. What a privi¬ in the subjects he knows best. I do not Don’t confuse this wonderful sanitary lining with The working foundation principles can¬ and Durability in Construction, Eatablibhed New York, 1851 St. Louis, 1873 doing can be measured that way and paint or enamel. I will mail you—free—a sample not always 'be obtained from the teacher should be held responsible for the selec¬ lege it is for anyone to be' able to join believe anyone can become an expert in if you are equal to the work of a more of Leonard Porcelain that will quickly show you tion and paying of the whole choir, as is Workmanship and SweetnessofTone GEO. KILGEN & SON the difference. You can’t scratch it even with a knife. or singer with the -best -voice. Ask your¬ the Musical Art Society of New York more than two or three subjects. exacting position you will surely get your done in the Episcopal churches. I think self, after 'a reasonable time spent in City. What a magnificent opportunity BASIC CITY :: VIRGINIA If the average organist before reaching more people would be drawn to a church Pipe Organ Builders chance to prove it. study—have I any definite working prin¬ it offers to become familiar with all that ST. LOUIS. IVIO. that halycon period, if he ever does, when Seb®sfi“lL2 5.00 possessing such a choir than are drawn to ciples that will enable me with perhaps is highest and best in choral music. he can pick and choose his work, is found 50 Styles—$15 up—Freight Paid churches in which, as is often done, the One of the most complete Pipe Organ Plants in the United a very ordinary voice, to impart what I The Organ Power Co to be teaching the piano, voice, organ, "ihio and Mississippi Rivers. I take the risk; send appropriation is stinted out of all pro¬ It might tempt an organist if he have HINTS AND HELPS FOR THE catalog today. Money -- " know to others? In the many books on theory, sight singing, playing in church -“tly satisfied. Ask for i portion with every other expense. a voice good enough for such an organi¬ HARTFORD, CORN. YOUNG CHOIRMASTER. ill my booklet “Care of the subject to be had from most any pub¬ and training his choir, giving organ re¬ In these days when luxuries are as zation, to adopt the career of a singer, MANUFACTURE MORE Never waste your choir’s tifne through lic library the following can be well M. P. M0LLER PIPE ORGANS citals, pupils’ recitals, accompanying at C. H. LEONARD, 1 much of a necessity as mere necessaries, but let him not forget that he has a lack of decision as to what to do next. recommended: concerts, writing music, conducting a a church service has to be attractive and larger mission; that he is to be a leader OTHER CONCERNS IN THIS choral society or playing in one or more Plan your work ahead at least two Henderson’s Art of the Singer. SPECIALTY P have in it that emotional quality which of singers and later play on their voices weeks; a month is better, but have it Kathleen Rogers’ Philosophy of Sing- OETHER. OVI lodges or perhaps moving picture shows; appeals to the congregation as much in as he would on the keys of an organ. EQUIPMENTS IN I if he is trying to do all these things, how in that case subject to change unless a the music as in the strength-giving power Lilli Lehmann’s How to Sing and Vocal If not so fortunate as to become a alars, address can he do justice to any one thing? printed announcement has been made giv¬ of the- sermon. You can appeal to the M. P. MOLLER, HAGERSTOWN, MD. At the convention of the National As¬ TINDALE Instructor. ' member of the Musical Art Society he ing selections to be rendered. heart through the emotions whether by sociation of Organists held at Ocean E. J. Myers’ Vocal Renaissance and can probably join an oratorio society for Going over the four parts together Music Cabinets sermon or music, quicker than through Grove in August, Tali Morgan in his Vocal Re-enforcement. he purpose of becoming familiar with without knowing which part is wrong ot the intellect. One of the appeals of the paper on the Standardization of the Or¬ David Taylor’s The Psychology of the standard works. Indeed, his educa- - ESTEY CHURCH ORGANS- THE BENNETT ORGAN COMPANY where the trouble lies is a waste of time. Catholic Church is the Mass, which is ganist, said that in his experience with Estey standard maintained. Acquire the habit at the outset of read¬ Singing. the most beautifully arranged service of edge.1S ^ C°mplete without such knowi¬ Maximum facilities. ORGAN BUILDERS all kinds of musicians, he found organists prayer and praise known. ROCK ISLAND • • - ILLINOIS These are a few works that have some Highest grade of product. to be the best. Is it so? I am glad ing perpendicularly as well as horizon¬ most excellent points to offer after, and Pioneers and leaders alwsys. The organs we build are as near perfection A well-arranged service is like a well- to know that we have some in our pro¬ tally from, the lowest note in your ac¬ only after, one has had the personal con¬ ng'at Hre™6 SPem in V0'Ce Study and Examine stop action and wonderful rwdk* as skill and money can make them. served dinner; it must have its relishes Oboe. Saxophone. C larinet, etc. fession that merit the compliment if it companiments to the soprano part. By tact with the voice specialist; not before, and dessert as well as its solids. Good and harmony S Z? ESTEY ORGAN CO., B»ukb«wVenial*. is nothing more, but when so much is watching the progression of all the parts as even among those writers-there is such music is the relish or dessert to the ser¬ attempted it is almost impossible to excel you will know where the trouble lies the a wide divergence in detail, if not in prin¬ Tindale Cabinet Co. mon. Mind you, I say good music; for organist in any one thing as a great pianist, vio¬ moment an interruption of break occurs. ciple, that one has to know.by the trying New Organ Music 1W. 34th St, New York the finest sermon by the greatest preacher Brooklyn, I w^pernfitt5Churdl- linist or vocalist does. Then take that part by itself. out, as it were, what to accept and what will not make an attractive or appealing Apollo Qub If Brooklyn fmaiente- the hall ORGAN CO. It is unfair to those singing correctly to reject. service unless the music measures up to Of which he was then £ V°,ces>’ New Haven, Conn. ON SALE STANDING THE NERVOUS STRAIN. While I suggested the study of the the same standard. Most people nowa¬ to have to tire themselves unnecessarily Here I found " excellent COnductor- MAKERS OF MODERN • voice for the purpose of becoming a more days prefer less heavy food served up to To stand the tremendous nervous strain by aimless repetition when the fault is not in their part. NORTHWESTERN OHIO SCHOOL proficient choirmaster, one has the added them and more of the fixings, and not PIPE ORGANS such a profession involves, one must set advantage by such knowledge of having until ministers and music committees aside a day regularly each week for re¬ To get the best results from a choir, be Dlstlnnlahed for Artistic YoMw laxation. Sacredly keep that day to your¬ saving of their time and voices whenever PIANO TUNING self or the time will come when you will possible. 9th Year. Diploma. Granted. Free Catalog. have to. You will be tempted again and Singers are quick to notice whether THEO. PRESSER CO., Philadelphia, Pa. again to use it for just one lesson and time is well spent or wasted and will |D- O. BETZ, Director : : , ADA, 0_ Please mention THE ETUDE when addressing PleaBe mention THE ETUDE when addressing' onr advertisers. our advertisers. b THE ETUDE 383 382 THE ETUDE performance, for it is well understood intal singing make the that the brain should be clear and the C U«a U111aav.j ***- ‘ j-rc tf * -- nervous system in a normal state and not VIOLINS > considerate such words much more difficult to General Knowledge FOR ALL PLAYERS shown them he affected by stimulants, if the performer is than when spoken. mtisic Students Outfits $10 up You Can Weight respect. Do not be so enthusiastic overthemusic and Inspiration to appear at his best. Exactly What \\ Have all solos, duets and quartets pre- Do not be_so as’ to fail to pared as far as possible at home and or notes o e Hearlv enunciated, Real ofd violins, $40 up You Should gone over before or after the general see that the words ^ the con- MISTAKES AND DISPUTED 'GEMUNDER ART” VIOLINS chorus rehearsal unless the solo be an Call your choir s the VOWels. POINTS IN MUSIC \ Vj / $150 UP Oa^log No 2 E obligato and requires the chorus for its reminder on an By LOUIS C. ELSON ’ vS Repairing, Exchanging and Easy Payt’a- An inquirer writes: “Can you suggest FREE, Our Booklet. Best methoda of A book that tells you the “whys” an.l wherefores” in music. Mr. Elson, one M any exercises or method for obtaining 6 If the chorus has been singing almost average of every °*?j rehearsal le most distinguished of American musical a free wrist? I have great difficulty in steadily for an hour and needs a short it becomes a xe artist singer ritics and educators, has included in hi. rest, some solo part, duet or quartet, Know your anthems as an art^smg^ ew book all of those hundred and one things playing certain exercises in Kreutzer due You Can Be pon which most pupils and teachers have to stiff wrist.” might well be done at such time. knows a s°ng so ^ thg last notes n inaccurate knowledge. STAGE FRIGHT. tried to address audiences. He could not So Well! Price, *1.25 The difficulty is not in finding good ex¬ A good plan is to have your soloists, where to phra • written A correspondent writes: “Can you collect his thoughts, and stuttered through give me any advice concerning a remedy ercises for wrist practice, as every good well l I build up your vital- or such one as may have a solo, come of phrases are not held the fun ^ ^ DESCRIPTIVE ANALYSES OF his speech in a way that made the people for self-conscioiisness when playing for hoot in derision. But he did not give method and set of etudes contains many atrengrthen your heart ac- 7.30 if your general rehearsal is called length ohrase. Remember PIANO WORKS the next phrase. Others? I find'that often I fail entirely up. He practiced at the seashore amid such exercises, but to learn the wrist for eight. By EDWARD BAXTER PERRY breathe, to stand, walk and in a performance when I had thought the din of the waves, his mouth filled stroke itself. A flexible wrist and good relieve such ailments as Start your rehearsal promptly whether that a T^^wed ffiy^nlffier & phrase. Nmowne... Torpid ‘that I had learned my music thoroughly. with pebbles the while, roaring out his wrist bowing is to violin playing what solo work is finished or not. ; , , , . s of shorter e is lofty periods as if he were addressing a the springs are to a carriage, and the Some such definite method of work oug ^Yrl en :n tbe’ middle of Perr.i worked o Any advice on this subject would cer¬ will yield better results than a hit or ^ration than one in the middle historical analysis tainly be • appreciated.” vast audience: He also never lost an lubber tires to an auto. Being of such tion of some of the greatest and opportunity of addressing a human audi¬ paramount importance, it is strange how strength." Another saye: miss lilan. . Phrase' 'ano compositions. Stage fright or nervousness is one of "Last May I weighed 100 much the wrist stroke is neglected by pounds, this May I weigh 126 Begin your general rehearsal by going TEACHING ENUNCIATION, The book contains seven of the leading the biggest “lioils in the path” of a suc¬ ence. He constantly improved, gradually and oh! I feel SO WELL." ano compositions of Boethore" <— - violin teachers and pupils. How many over the hymns that may be unfamiliar jf there are singers in your choir who eber, eighteen by Chopin, elevi ® by List, cessful performance in public. Some peo¬ overcoming his (nervousness until he be¬ _.id several each by Schubert, teachers there are who say to their pupils, and then the work for the coming Sun- i,ave never had a vocal lesson they will ple are nervous on some occasions and came the favorite orator of the Greeks. Grieg, and Saint-SaSns. “Bend your wrist; play that passage with day may be polished off, time and notes ileecj many little hints that you can give Price. SI.SO pot on others, some are constitutionally Frequent public appearances will do the E. T. ROOT & SONS wrist bowing,” but without seeing that having been learned at the previous re- jf y0U are a vocal student yourself, nervous at all times when appearing be¬ same for the violinist. I 530 E.- S3»h Sfreel CHICAGO. ILL. STORIES OF STANDARD TEACH¬ the pupil does it. If the pupil can play hearsal. This Will take about an hour. Words of one syllable like Lord, hear. fore the public, and never seem to over¬ The violinist who aspires to public per¬ ING PIECES with the wrist stroke, well and good, but The choir will then need a rest of five near, arm and many others with an r come it, while a very small percentage are formance should never let an opportunity slip of playing for audiences, any kind of it often happens that he has not the slight¬ loCTXi;;*sr minutes or so, which might be considered they will be apt to sing as if there were By EDWARD BAXTER PERRY never troubled - by nervousness at all. The unusual popularity ^ot JjDescriptivi an audience, from a roomful of people est idea ho$ to use his wrist, and the an intermission, when all can relax while two syllables instead of holding out the Professional players get little sympathy teacher either does not know how to NEUNER VIOLINS at a neighborhood gathering, to a large some one, not necessarily one of the aw sound in “Lord,” or the sound of mother work, which includes just tho-e liter for this affliction, and yet some of them teach him, or will not give himself the MUSIC MATERIAL te and standard compositions of loser diS concert audience. It is best to commence soloists, can entertain with a solo, pre- j as ;n “with” found in the words “hear culty about which teachers, pupils and rrra, fire among-the worst sufferers of all. I trouble. What the teacher should do is For Kindergarten Teachers with small gatherings at first, and with pared in advance. Give everyone a chance an(j “near,” or the aa sound in “arm,” knew a professional concert violinist who to seize the'pupil’s wrist, and guide the, The Color Bird Scale; Color Note Scale; Small I piect very easy solo pifeces, and gradually work to take their turn this way. It will work to tbe fujj vaiue Df the note or notes e third grade of difficulty had such a dread of appearing before the hand through the proper motions for the Color Scale; Music Staff Peg Board; Music Staff up to larger audiences and more difficult Folding Board, etc. Send for catalog. like a charm in promoting enthusiasm and thgy are to be sung on> anfj then treat the public that he would pace the floor of wrist stroke, persevering lesson after les¬ pieces. A failure has a very bad effect DANIEL BATCHELLOR & SONS anA parh nfher «r>> very slightly as it should be treated. the stage back of the scenes before each son, until the movement has been mas¬ Germantown, Philadelphia, Penna. on the performer, in a psychological way, and will be an incentive to individual voice A little hint along this line will insure Concert appearance, vowing that he would tered. Even with a good teacher the HOW TO UNDERSTAND MUSIC making him dread another failure at his a good pure tone on such words, with never go through the ordeal again. When wrist stroke is often long in coming. After a short intermission, study the By W. S. B. MATHEWS next appearance, and for this reason he the mouth well open and the tongue lying actually before the footlights, violin and The idea of the wrist movement is often Pipe Organs of Highest Grade Only workrk torfor tnethe second aunaaySunday iouowmgfollowing t . * . , . f ,, „ , . should commence with a small roomful bow in hand, his nervousness would van¬ best obtained through a physical drill, The “COMFORT” CHIN REST f», a rn*. or any .p«ial = T “".f "f£ of relatives or friends, where there would Our Instruments comprise all features which guttural sound, caused by forming the ish, and he would play with the greatest without the violin. Let the pupil rest his function that may be as in<)i>|K’ntjable to ever] be no possibil.ty of nervousness, and with arm on the top of a table, or dresser with are of real value. Many years of practical “r” too soon, with the tongue curled back verve and brilliancy. Then with the ap¬ As an added stimulus to endeavor plan terial it furnishc* for pupils' n a piece so far below his ability so that the hand projecting over the edge, then experience. Wrii against the roof of the mouth. plause of 'the audience ringing in his ears a series of musical services. Have post there would be no possibility of a break¬ let him swing the hand to and fro without Some of the younger singers who have he would forget his torments of a half EMMONS HOWARD cards, leaflets or folders announcing the down. Success is a wonderful tonic for moving his arm, and he will soon get not been taught to phrase, will have that hour before, and think nothing about bis services and circulate them. the mind and the nervous' system, and an idea of the movement. A better plan efficiency companion fault of breathing in the By W. S. B. MATHEWS Your choir should grow ii vow to never appear in public again—un¬ still is for him to hold his right arm just middle of a word—the singing of two collection of raays for young teachers, the nervous player who is successful with and its ideals become higher in propor¬ til the next time, when he would go above the wrist with his left hand, and separate phrases in one breath. very easy pieces before very small audi¬ tion to your own ideals and efforts to through the same experience as before. practice swinging the hand from the wrist, Steere Organs In short sentences like “Lord, our God,” ences will soon find it easy to nerve him¬ reach them. While there are some few people who as if bowing the violin. Having acquired or the repetition of a word like “Lord, self for appearing before larger audi¬ Seem to be so constitutionally nervous that the movement let him take the violin WIDENING THE BOUNDARIES. Lord, Lord,” it is sometimes well to in¬ ences with more difficult music. The start MUSICAL ESSAYS they never succeed in throwing it off so and try to use the same movement in Second hand organs for sale terrupt the tone by a moment of silence in public playing might also be made as Specifications and prices on request. Give the choir singers something to IN ART. CULTURE AND EDUCATION as to make success in public violin play- bowing. I remember'learning the wrist attain—something that is just a little be¬ at each comma, without interrupting the hn Encyclopedia of Ecuc.tior.l ” a member of an orchestra. From this J. W. STEERE & SON ORGAN CO. Thought. A Comperdium for ihg possible, the cause of the failure of stroke when I was a boy by getting some time of the piece to make it dramatic the step is easy to solo playing. Springfield, Mass. Established 1867 yond them; and sometimes try it out; at of my companions to hold my arm just _ _„_.0 or impressive, or to avoid a stuttering the vast majority comes from two causes, a service. I do not mean sing anything above the wrist while I was practicing time and notes but I effect. Also at the end of a section, or selected from images of Til* Etu* lack of preparation, and lack of experi¬ incorrectly THE USE OF STIMULANTS. wrist bowing. The teacher should set THE “GEM” refer to something which can only be at a great climax at the end of a piece- ence. Most amateurs, and some profes¬ Price, $2.00 There is another remedy for nervous¬ apart a portion of each lesson for instruc¬ given with best effect through having as ’n Kremser’s Prayer of Thanksgiving sional violin players, choose pieces that tion in this all important movement of Church Organ Pedal many more voices of the right kind and (Netherland Folk Song), a most stirring CHATS WITH MUSIC STUDENTS are too difficult for them when they ap¬ ness which .is mentioned only to advise the hand from the wrist, holding the Attachment for Pianos much more rehearsing than a choir could effect is obtained, after having the whole Or Talk, About Music and Music Ufc pear in public. Nothing makes the player strongly against its use, and that is the pupil’s arm, and guiding the hand. When Enjoy Organ Practice In Your Own Home possibly give. If you are ambitious; or verse sung in unison, with the exception if THOMAS TAPPER so nervous as the consciousness that he is use of stimulants in any form before the pupil first attempt's the wrist stroke, INFORMATION UPON REQUEST happen to be progressive in doing things of the last sentence—Lord make us Free_ fjoing to attempt something which he may playing. The use for this purpose of which should more properly be called the SYRACUSE CHURCH ORGAN CO. out of the beaten paths you will suffer by inserting notes from the accompani- not be able to get through with. A piece liquor and various specifics which affect “hand stroke” for it is really the move¬ SYRACUSE, N. Y. the criticism of some of the influential nient so as to have eight parts for the fob public performance should be really the nervous system, such as various bro¬ ment of the hand from the wrist, he church members, and sometimes that of voices and then separate each word like easy for the performer, and one which mides, winep of cocoa, preparations con¬ will find it extremely difficult to make the minister for attempting things “be- Lord—Make—Us—Free, each word liav- has been worked out to the last technical taining chloral, etc., is far more common any movement at all, as his hand seems yond the choir” as they express it. They 'ng a full measure (34) anc] getting a detail. When this has been done, the than is generally known. Soloists will to be locked and incapable of making Beginners’ Pipe do not realize the benefit it is to a choir full breath and the full power of the violinist, conscious that his task is an often carry a tiny .bottle containing a any lateral movement. If he will but and incidentally to a church to do this lungs. It is like playing chords on full THE MUSIC LIFE AND HOWTO easy _ one, will approach it without any single dose of some preparation of the persevere he will soon be able to make ohee in a while. It gives the choir a °fgan in which a new accent or added SUCCEED IN IT misgivings. kind which they will take directly before Organ Book a very short wrist stroke which will surprising poise in its ordinary work. I effect can only be obtained by a moment By THOMAS TAPPER playing or singing. Some will even take gradually grow by persistent practice New Violin By GEORGE E. WHITING would not convey the impression that all of silence separating the chords A companion volume to the "Club HOW EXPERIENCE HELPS. a strong dose of liquor. I know of a difficult music is worthy of-study. Much Be master of vour rVir,;- . Music Students." It point, out the W » until the feat is finally accomplished. success to teacher, ami .tudents In art bfe The second way to combat stage ner¬ concert ’cellist who is at times so much Music On Sale PRICE - $1.00 that is very, difficult is not worth the but not in an autocratic w^v To some pupils the idea of this stroke Prlca. *1.50 vousness is to get as much experience as under the influence of liquor when he comes with scarcely an effort and to lave vour name entered for the receiv- time spent on it, and thl most simple a spirit of good fellowship A"courag‘ possible. Almost anyone is excessively plays that he will sometimes make re¬ This volume is destined to become a standard things are oftentimes the most beautiful, ments of relaxation and ta1W„ others its acquirement is extremely diffi¬ nM0LaT FW/ma11 PuaCkag? of new music BUSINESS MANUAL FOR MUSIC nervous the first time he appears in pub¬ marks to the people in the front row. cult. If a pupil has no teacher or a ON SALE during the professional season Provided the church can afford it, co- music is being ffistrffiutei or tb' lic in any capacily. The raw youth when no guarantee as to amount to be keptl TEACHERS The use of stimulants in any form be¬ teacher who does not understand how struction on the pianoforte. The exercises progress operate with the minister in having a together. Let them tret , gathered he faces an audience at school, before discount is the best obtainable; the onlv by easy stages through the keys, tending from the By G. C. BENDER fore a public performance is the greatest to teach this important bit of technic, printed calendar for every Sunday. Have out of a rehearsal as nns -Ti 1 ,) casure which he has to deliver his first recita¬ responsibility the small amount of cost very beginning to develop the true^ organ style. The arerage mtisic teacher blunder* mistake a violinist could possibly make. it would be an excellent idea for him age; returns of unused music to be made' the titles and authors of the selections them feel that thev • . e' an<* have or the other in the bM‘4nfs**j5 tion, stammers and s'utters, forgets his Such things give at best a false courage. to take even a single lesso.n, if he cannot both for organ and choir in it. The when they miss a reh01158 \ go°d time lines and very often has to sit down in Jail* in Keeping aecmint*. He i* «*>*, They affect the nervous system injuri¬ afford more, from a first rate violin m. "" “a,h' organist is likely to prepare better music they work earnestly Jhq ’ . SCC that the advantage* of the norial ddf of disgrace. Yet this same youth may de¬ ously, and confuse the intellect, and teacher, who could give him an idea of Thousands of teachers receive piano when he knows the names of the pieces Sutnrect *1 ’ . e at w°rk. velop into a pulpit or political orator of nusic from us in this way; they say it is really make it impossible for the per¬ how to go about the acquirement of wrist go in print. , they gle thechQl T™ C?mmitte«* that the utmost finish and eloquence. It is most convenient to have 8 or 10 new former to do his best. Among European -bowing. Wrist bowing should be mas¬ If possible, have the words of the an- a year to which 3, recePtion about once keeping at it, and constant experience in compositions coming along from time to musicians, where a certain amount of tered at the point, at the frog,-and in thems printed, as they help a congrega- an escort.W"Hanv!aC+Lm!!rb.- *"ay bring imblic speaking which accomplishes the time. We send piano, vocal, octavo drinking is an all but universal custom, the middle of the bow. Wrist bowing violin and organ music this way; any tipn to get the spirit of the piece. No wife there A Ur, o- '."‘Ulster and hi, result. Demosthenes, the greatest Gre¬ it is an unwritten law that the drinking at the frog is very difficult for the be¬ all to responsible persons. ’ Theo. Presser Co., Philadelphia, Pa. matter how well trained the singers may mittee and anv W"'eS of the com¬ cian orator, was a “joke” when he first should be done after and not before the be, the elongation of the vowels on long the church vou P c ' °r mernbers ginner, since the little finger has to THEO. PRESSER CO., Philadelphia, p. i lease mention THE ETUDE v J u see ut to invite. Theo. Presser Co., PHiladelphi* Pl * *mu- odvftrt.iRfira. Please mention THE ETUDy v -en - vF—~ our advertisers. aidre88^ 385 THE ETUDE 384 THE ETUDE ANSWERS TO CORRESPONDENTS in tune. Players with very thick fingers At a recent public appearance of this counterbalance the weight of the entire ON VIOLIN MATTERS. often have to use special finger¬ —before you stick of the bow when playing in this orchestra, two movements of a symphony ings for certain passages in the very by Haydn were played, a Preludium by Commencement Subscriber—Without seeing the pupil, position. The late S. E. Jacobsohn, one it is impossible to say definitely what size high positions. Jarnefelt, L’Ancien Regime by Saint- and purchase any piano of the greatest violin teachers in America, violin would be best for him. As a rule B. J.—You will find the following pieces George, and the accompanying parts to a be sure to read “ The Pith of the Piano Problem had his pupils practice the second etude an eight-year-old pupil with short fingers useful at your present state of advance¬ the 32-page booklet which we are prepared to send piano concerto by Beethoven, the solo free without obligation to all readers of “The in Kreutzer (the famous bowing exercise) would require a half size violin. ment: Sixth Air VariS by De Beriot; Etude” who may be contemplating the purchase persistently at the frog of the bow entirely piano being played by one of the young theory explained to piano Exhibition Music Kuiawiak by Wieniawski; La Zingara by R. L. K.—1. In the case of a left- of a piano. with the wrist, until they had thoroughly lady viola players of the orchestra. Ibis STUDENTS Moffat; Sohn der Haide by Kelar Bela; :he important things to lo handed violin player, the sound post must mastered it, and he claimed that this was ptogram certainly furnishes a refres i g Humoresque by Dvorak; Souvenir by be placed on the left and the bass bar on one of the most important aids to good PRACTICAL LESSONS IN HARMONY Drdla; Tarantelle, Un Soir a Portici by contrast to those of so many. °f ™r_ the right. The E string is changed over bowing. American school orchestras, with their By HUGH A. CLARKE, Mu*. Doc. Papini; First Concerto by Accolay; Air on the left, and the G on the right, with Wrist bowing should be practiced first liberal supply of two-steps, popular med Price, 50 cents. Postpaid TWO-fiART SONGS varie by Rode; Faust Fantasia by Alard. the A next to the E and the D next to on the open strings, and then the prac¬ leys, sets of waltzes and theatre orches¬ The work is intended as an aid to Abt, F. When the Fragrant Roses P. B.—A broken chord on the violin is the teacher in imparting to the pupil the G, so that the strings reading from tice of the scales might be taken up, one where all the notes composing it can¬ tra stuff generally. . the principles of harmony In the easiest left to right will be E, A, D, G. The playing each note of the scale eight or This high school orchestra numbers m and quickest possible manner. Blue Bells King not be made to sound exactly at the same These easily understood explanations violin would not sound well if the strings sixteen times in sixteenth notes, entirely its ranks four sisters, two of whom play worked out In Interesting pieces to time, owing to the nature of the instru¬ Last weekthat foot had were* changed without changing the rela¬ with the wrist. Many excellent studies the violin, and the other two viola and > played oon the keyboard, and In ana¬ ment. For instance in the following lyzing•zing music.musi Berger, P. Out With the Tide- tive positions of the bass bar and sound- corns. But the owner for wrist bowing are found in the stand¬ violoncello respectively. These sisters “ “ The pawn of May_ “ The Piano of Permanent Tone” post, since the heavy pressure of the E read of Blue=jay. ard etudes Nos. 19 and 26 in the Kayser have formed a quartet and are olten A SYSTEM OF TEACHING Lidgey, ~C. ~A. string requires a post to support it. 2. She applied it one night and chas?‘aWhy makesue?'an important'purch^e without Studies. heard in string quartet work. HARMONY His Lass. knowing for yourself just what you are doing? “Ths The second study of Kreutzer is also Such organizations as these are won¬ Mendelssohn. I Waited for It would, of course, be possible to play the pain instantly stopped. In Pith” tells you. It gives TESTS by which you can THE STANDARD TEXT-BOOK OF to a limited extent without making any judge the quality of different pianos. invaluable for this purpose. The study derful uplifts in the musical progress of MUSICAL THEORY Marzials, Th. Eventide. 48 hours all the corns came out. changes in the instrument, but it would Write for this booklet if you contemplate, even re- might be taken at first with each note a city and of a nation, and while the Warner, H. E. Blow, Balmy Bre And those corns will never come By HUGH A. CLARKE, Mu*. Doc. be extremely inconvenient, as it is neces¬ pianof’ You wifi fin/it notat all dryP or technical, but played four times, as in the following: United States has many artistic high back. live and interesting. school and amateur orchestras, there »s , Chas, r/ut. sary to have the E and A strings on the If all the strings were on a level, and When you write we shall consider it a favor if you will Allegro. in several Important particular*. The Mel side of the bow arm. Any good violin the top of the bridge formed a straight for many more. mention the make and age of your present piano (if you The most Important step 1* the _ maker could make the changes for you. line, all the notes could be made to sound That’s the story folks have told have one) so that we can classify your inquiry and carding of figured ba**. In place < THREE-PART SONGS; Female Voices about sixty million corns. And tens take proper care of it. Writing for this booklet does J. H. M.—1. Many different courses simultaneously. As it is, however, the not put you under the slightest obligation. Write WONDERFUL PROGRESS. Abt, F. Twilislit.( of thousands tell it every day. Goate, W. B. could be mapped out for violin study. strings of the violin are not on the same The development of the violin art in Some of them used to pare corns, Then each note might be played twice, For the first time the subject of h Me... The following might meet your needs, in level, the bridge is curved, with the level the United States and Canada is proceed¬ modulation Is treated In a clear, easily and Plow merely to relieve. Some of them and finally the exercise played as written. n the Wave, the following order: Hermann or Hoh- of the E and G strings below those of tried the old-time treatments until ing by leaps and bounds. The number of comprehensible way. Vincent, C. Scol hapsody, on For wrist bowing in crossing strings, For Class or Self-instruction, Pries, $1.25 mann Schools, Book 1; Kayser, Book 1; the A and D. The chord is therefore they gave up in disgust. violinists in proportion to the population i melodies. . Nos. 21 and 22 in the Mjpas Special Key to Harmony-Price, 50 cents Hermann School, Book 2 (for position “broken,” and is produced by a slightly Now never again will they suffer Studies, Op. 36, Book 1, are invaluable is constantly increasing,. the increase be¬ FOUR-PART SONGS; Female Voices work); Kayser, Books 2 and 3; Mazas, rounded motion of the bow, the lower from corns. When one appears. The Musical Leader These are to be played entirely with the ing caused to a great extent by the rapid STUDENTS’ HARMONY Special Studies; Kreutzer, Etudes (about notes in such chords being struck first. Blue-jay goes on it. growth of symphony orchestras, which The effect is similar to arpeggiated chords Published Weekly, $2.50 a Year wrist stroke, with the forearm perfectly By ORLANDO A. MANSFIELD, Mus. Doc. Burgmueller—Smith. Spanish Sere- twenty-five of the easier studies); Mazas, There is no more pain. The corn not only furnish employment to a large Bound in Cloth, Price $1.25 Brilliant Studies; the more difficult on the piano. is forgotten. In two days they lift Ten weeks* trial subscription, fifty cents quiet. The first bar follows: Key to Students’ Harmony—Price, 75centi number of professional and semi-profes¬ Foster—Smith.'' My oid ' Ken tuck 4 studies of Kreutzer; Fiorillo, Caprices; it out. No soreness, no pain, no The Recognized Authority on all Musical A book which measurably contradict* trouble. Matters for the Central and Western States sional violinists, but interest and educate the assertion that harmony cannot ' Rode, Caprices. Many works besides SLIDING UP TO PITCH AND ITS learned without a master. Each chc... those named could be studied, such as That sounds too good to be true. 1 n conjunction with ETUDE, advantageous the public in violin playing. Not only is Is explained and Illustrated by simple Lrr. Smith). When Love REMEDY. But remember, please, that a million CLUB OFFER: the organization of symphony orchestras four-part examples, followed by Illustra¬ the Sevick School of Violin Technics, tions from standard works. Then the One of the most distressing, faults, es¬ corns a month are ended in this Musical Leader, regular price ( Club Price going on in the large cities, but many of which comes in four parts. You will Blue-jay way. use of the chord In harmonizing melo¬ have to adapt this great mass of material pecially in the earlier stages of violin $2.SO for year. $9 Cft the smaller cities and towns are falling dics Is clearly shown. playing, is the habit which some pupils Why don’t you let it put an end And ETUDE, regular price, to the needs of your various pupils. Vio¬ to yours? $1.50 for year ... I FOR BOTH HIGH SCHOOL ORCHESTRAS. in line, and supporting orchestras for the have of placing the finger too flat or sharp HARMONY AND COMPOSITION Vincent—Smith. Blow, Soft Winds. lin teachers of experience rarely use an While the number of high school and performance of art iriusic of the highest Gabussi—Smith. The Fisherman. . entire work, taking the studies in regular on the string, and then sliding up or down Address THE MUSICAL LEADER By W. T. GIFFE, Sired, W. G. Good Night, Beloved. McCormick Building, Chicago other public school orchestras in the class. Smith, W. G. If I But Knew. rotation, from cover to cover. It is often to the true tone. This is a most pernicious SIMPLE, ORIGINAL, COMPREHENSIVE habit, and is often done by the player United States has increased to a remark¬ For example, a few years ago the pres¬ Price. $1.00 Poster—Smith. My Old Kentucky necessary to skip about a bit in the same Blue-jay able extent within the past few years, ent site of Calgary, now a booming town A late text-book by an American a Lady, set of studies or method, or from book without being conscious that he is doing the proportion of American schools which in the Canadian northwest, was a desolate American students. A delight for _ n Band. it. It gives the intonation a sloppy, amateur harmonist and composer. Every Tours—Smith. S to book, so as to build up the technic For Corns , ha>k such orchestras is not nearly so plain, and the only music to be heard step plain and sure. The Illustrations Night. of the pupil as easily and gradually as muddy effect which is extremely disagree¬ Your Music Is Torn! able. Especially annoying is this habit in large as in England. Almost every good- there was the howl of an occasional wolf, are simple and concise. Smith, P. J. Tom, Tom the Piper’s possible. 2. Bowing studies should be IS and 25 cents—at Druggists It will Tipke One Minute to Both the syllable and letter consti sized town and even village in Great tlon of chords are taught. The cb Brackett, F. H.' ‘Vocal March! Away! practiced from the first. You will find the case of the tones in the higher posi¬ Repair it by Using and the moaning of the wind. Now the Bauer & Black, Chicago and New York Britain has its school and other amateur examples are set In phrases, shos in the 41st and 65th study in the Her¬ tions on the E string, and it is in these people of that progressive town have proper approach and progression, t Sired, 'w! G.' ' Whit Could k'FaAfiir that the habit is most frequently met. Makers of Physicians' Supplies Multum-in-Parvo Binding Tape orchestras, and these give a wonderful raised a guarantee fund, and have or¬ forming good taate and habit In Do . .15 mann Violin School, Book 1st, and the 6-j-eril roll of white linen or lO.ynrd impetus to the study of the violin, and learner. 1st and 11th Etudes in the Kayser Sliding around on these tones makes vio¬ roll of paper, £5 cents each, postpaid. ganized a full-fledged symphony orches¬ to the building up of business for the FOUR-PART CHORUSES; Mixed Voices Studies, Book 1, a great variety of bow¬ lin playing degenerate into caterwauling, tra of 55 players, with a complete sym¬ THE FIRST YEAR IN THEORY Kathbun, F. G. Bells of Dreamland. and is suggestive of feline concerts on violin teacher. These school orchestras Knyvett, W. The Bells of St. ing exercises for the pupil in the first also create a musical atmosphere in the phony orchestration, under the direction By O. R. SKINNER Michael’s Tower. position. When the pupil has mastered yard fences in the moonlight. There is no [f your music dealer does not carry it, send to of Max Weil. The director seems to Cowen, F. H. Bridal Chorus (from excuse for it either, since, if the pupil’s town, which makes it possible to have vio¬ Price, 75 cent! “The Rose Maiden”) . the second and third positions, the fam¬ Theo. Presser Co., Philadelphia, Pa. lin recitals by eminent violinists. have been able to obtain players on the One of the best text-books for the Demarest, C. Bugle Song. ous bowing study, No. 2 in Kreutzer, can ear is sufficiently keen to know what the beginner In theoretical study. Donizetti. O, Columbia, We Hail right tone is, he can learn to place his As typical of the work which is being wind instruments which are often diffi¬ By means of writing and ear-train Thee . be taken up. This can be bowed in an finger at the proper point to produce it, Philadelphia, Pa. done by these school orchestras, the high cult to get outside of the large cities, and lng exercises the student is taught ti DeReef, R. E. Come to the Gay immense number of ways. There are also know the Intervals, scales, key relations Feast of Song. if he will but practice in the proper school orchestra at Bromley in England a full quota of the following instruments staff notation, all common chord* and Wagner. Hail I Bright Abode (from many other excellent exercises in Kreut¬ manner. may be cited as one of the most success¬ are represented: violins, violas, violon¬ the dominant seventh chord; also f” zer of bowing. 3. The second book of various cadences. kail f. The violin teacher should combat this ful. The instrumentation is exclusively cellos, basses, harp, flutes, piccolo, oboes, A student mastering this work ne With the Hermann School has admirable Pennsylvania of strings, and the orchestra is instructed Song Resound . failing by every means within his power. English horn, clarinets, bass clarinet, bas¬ no book on ear training, since by t studies for beginning the study of the and directed by a woman, Miss Gwynne method he learns to know the cho Faning, Eaton. The Miller’s Wooing third position. 4. Flageolet tones on the One of the best means of overcoming it is Music Lithographing soons, horns, trumpets, trombones, tuba and progressions by sound as well as (a choral ballad) . Kimpton. The. works studied are of a Gounod, C. Soldier’s Chorus (from violin are harmonics. 5. Tencrcsza sig¬ to practice scales, making rests between tympani and drums. This speaks won¬ “Faust”) . Company high order, even the easier symphonies nifies that a passage is to be played ten¬ the notes as in the following: ders for the state of musidal advance- Molloy, J. L. Song of the Triton. . 114 N. 13th St.. Philadelphia, Pa. being studied. The orchestra numbers PRACTICAL HARMONY ON A Faning, Eaton. Song of the Vikings. derly or delicately. 6.' You will find Dr. ment in a town on the very frontiers of Finsuti, C. Spring Song. 28 players, divided as follows: Fifteen FRENCH BASIS Parker, H. Who Knows What the Clarke’s Pronouncing Dictionary an ex¬ violins (first and second), six violas, six civilization. Music Engravers and Printers By HOMER NORRIS cellent musical dictionary. No student violoncellos, and one double bass. The The orchestra is enjoying its first sea In the French system all dissonant of music should be without a dictionary, Estimates promptly furnished to composers and orchestra consists exclusively of past and son during 1913-14, and is filing well pa" harmonies are reducible to simple domi¬ since if he looks up the meaning of each Ublishers on Sheet Music, Music Books, Band, present high school pupils and meets nant harmony. A glance at Ihe Ivchestra and Octavo Music, etc. HIGH GRADE romzed. Young People's Matinees are mlnous excerpts which Mr. Norris word in the text, he will soon find him¬ VORK AT REASONABLE^PRICES. Copyrights only once a week in the hall of the school given at intervals, and one concert con¬ Introduced from manv source* to prow self a well-informed musician. Starting on one tone, the player should Quick Relief for Sufferers from for a rehearsal of from one hour to an Ms statements seems nbsolutelv con sisted of a Wagner centenarv. Analytic vlnclng. Even the "Altered Chord! G. F.—To judge from the outline trac¬ concentrate his mind on the correct pitch hour and a half. I— rationally ns slmplt ing of your fingers which you send, I of the next note following, and then place Pr°v.rrlma T pamPhlet form have been OPERETTA FOR YOUNG FOLK plusic Cypoqrapby in all its Branches What strikes the American reader in published for distribution to the ami do not think that the slight bend of the his finger. If the tone produced is too the instrumentation of this orchestra is HYMN AND TUNE BOOK PLATES ' ence, together with a book of program two parts. Part I deals only with «#• second finger would interfere with the high or too low, instead of sliding to the BUNIONS the fact that any high school should be sonanee—trlad harmonv. development of your left-hand technic, true one, he should go back to the first able to secure from its own membership I art II deals with dissonance, begit- SONG CYCLE FOR CHILDREN’S VOICES ! g Dudley T. Limerick Mtg with dlntorlc seventh chords. provided the finger is supple, and has not note and try it over, until he succeeds in no less than six violas, and six violoncel¬ leading systematically along *n ** SPRINGTIME—Words and music by GOSPEL SONG PLATES widening path which brings the student been made stiff by any injury or rheu¬ placing each succeeding finger on the true los. In most American high schools it to the most pronounced chromatic matic trouble. 2. Violinists with thick would be impossible to secure a single tone. With this method the fingers will No. io 8. Kicks Street, Philadelphia ternnee of our time. fingers having very broad tips, often viola or violoncello in its membership, at in time become trained to find the true Str"" “ch Price of eac s.H-00 have difficulty in executing rapid pas¬ least of sufficient proficiency to cope with stopping place, just as the vocal cords be¬ sages in the high positions where the the difficulties of symphonies and pieces come trained to the proper tenseness for tones lie so close together, especially Corrections and Arrangements of good character for string orchestra. any given note. Pupils practice scales, where chromatics occur. One finger of Musical Manuscripts This gives striking testimony to the in¬ and everything else for that matter, too L«4 often has to be slipped back or forward, terest which is taken by the young people fast. Very slow practice, so that the mind Many Years’ Experience Reasonable Prices Siegfried, the Preislied from X THEO. PRESSER CO. when going.up or down in scale passages of Great Britain in the study of string has time to think of what is next to he A. W. BORST, 1505 Arch St., Phila., Pa. ter singer, Trdume from rJZ M*,S~ Philadelphia, Pa. before the next finger can be placed on instruments. Isolde. 0m 1 rtsta>i and THEODORE PRESSE1 done, is the secret of acquiring correct WRITE FOR SUMMER CHALLENGE CATALOGUE Deuart the correct point to make the next note technic on any instrument. ment “Y”. SIEGEL COOPER & CO., CHICAGO. ®Part* riease mention THE ETUDE v 1712 Chestnut Street. Phil.del Please mention THE ETUDE wlien addr’el^ our advertisers. & 387 386 THE ETUDE THE ETUDE

A MAYDAY BIRTHDAY CHASE IN ATTENTION! *1 musicland. Forget yourself and do one thing at a In order to play this game it is neces¬ New Songs time. sary to procure the pictures of the co By MARY TURNER SALTER Lord Chesterfield said: “There is time posers whose birthdays come in May. enough for everything in the course of The following is a partial list: An Aoril Message - $0 511 the day, if you do but one thing at a Publisher’s Notes For high or medium roin time; but there is not time enough in Brahms, 1833. A Department of Information Regarding New Adolf Henselt, 1814. A Rose and a Dream 50 the year if you try to do two things at a Massenet, 1842. For medium or high eoice time.” Try this little recipe for forget¬ Educational Musical Works Sir A-rthur Sullivan, 1842. fulness of self. Instead of saying, “Oh, Gabriel Faure, 1845. Tonight .50 what will they think of me?” just say Stephen Heller, 1815. over and over, “I can give them pleas¬ Michael Balfe, 1808. ure.” Then fix your whole mind upon May 18. Karl Goldmark, 1832. favorable recognition. “An April Message”?! the pleasure you are giving. In a short mSMSZ GREAT COMPOSERS AS TEACH¬ often a single lesson lasted several hours. May 22. Richard Wagner, 1813. time, if you persist in this, you will feel ERS. “Play as you feel and you will always ' t'he'waS and\harm “a * ■>m NEW WORKS. Music that has been purchased regu¬ May 27. Joachim Raff, 1822 |nger«,i whae^^onig^t^JendOtKil'm™^ bashfulness and self-consciousness van¬ larly from us by special order, with no BEETHOVEN. play well,” was a maxim of his. Advance of Publication Offers— May 30. Ignaz Moscheles, 17V*. featured*byPthe noted Baritfne, ishing like two naughty imps. May, 1914. special mention of ON SALE, cannot be ac¬ Imagine if you can going to Beethoven Chopin was extremely particular about Cut the pictures diagonally into t Now for a little drill in attention. It Regular Offer cepted for return except by special per¬ for a music lesson—it makes heart the position of the hand. He prepared CLAYTON F. SUMMY CO. Price Price the hand with infinite care, and in order pieces, put these pieces into separate is better to try this in a class or with mission. beat faster to write about it. First we Publishers Musical Playing Cards .50 .25 Return prepaid all ON SALE music some friend. Take, a familiar object, Ten Five-Note Recreations—Mrs. would have to hunt about Vienna to find give ,he hand an easy, gracefulI po.i- envelope. 64 E. Van Buren St., Chicago, Ill, C. W. Krogmann . 1.00 .30 unused and not desired and credit will Dealers in Music of the Better Clan he asked the pupil to throw it lightly room. the piano for instance, and write down Very Easiest Pieces for Four Hands .50 .20 be deducted from your account at ex¬ “ They* re so Dainty A fter our teacher’s new address for he changed The envelopes should First Parlor Album for tbe Piano¬ his quarters so frequently that no one. on the keyboard in such manner that start the chase. ---- - . what you see—study its shape, color, size forte .50 .20 actly the same discounts as when orig- bear the dates only. After the chase Eating Heavy Candies” not even his very best friends, could keep the five fingers rested on the notes, E and all the thousand little peculiarities New Album for Violin and Piano.. .60 .20 ended each player calls for the date Attractive Compositions Chopin’s Polonaises .76 .30 Always have Necco ot Hub Wafers to serve track of him. If we were lucky enough F sharp, G sharp, A sharp and B; this about the piano. Make a game of it if New Reed Organ Volume.50 .25 Particular care should be taken to find the one he holds. your afternoon callers. to 'locate the new lodging, we would be he considered the normal position. He corresponding G. FERRATA you like, it will be a surprise to see how Pleasant Hours, Eight Instructive the cheapest method of transportation for Never an occasion oi (lining, whether the feast correspond- Four Hand Pieces, Op. 1042, Sar- making the returns. Parcel Post can now 1— simple or —*- —1— *' -,..i:-i.tf..i ushered into a disordered room; no doubt instructed the pupil to commence the When tne^ boo st<^ rapidly all of you will increase your torio . 1.00 .20 wonderful ing dates) are comPlete the players Nocturne powers of observation. You will ac¬ Rose Maiden, Cowen .75 .25 be used and your postoffice will give in¬ we would find a desk strewn with manu- exercises staccato; this (A Night on the Island of Amalai formation as to ho.w much a certain num¬ open the envelopes and match the pieces quire the “knack” of attending and re¬ Wagner-Liszt Album . 1.00 .35 scripts and the remains of a cold lunch, means of overcoming heaviness ana * , ,5^— one who, can name the For Piano Solo (4-5th grade) . . ,40* Education of the Music Teacher— ber of pounds will cost to Philadelphia. Necco Wafers boots and debris on the floor, and a dusty clumsiness. And if you were a pupil of toge* eJ‘_^ ^ Choptnesque in its richness of color i ’ membering and this will put a keen edge Thos. Tapper . 1.50 .60 Another method is Section D rates by greatest number of composers from New Anthem Collection .25 .13 Glazed Paper Wrapper piano heaped high with letters and papers. Chopin you would be urged to hear good upon all the faculties; the “great” men Italian Overtures for Four Hands.. .75 .26 prepaid express, 2 ounces for one cent, their pictures wins the game. A more careless, untidy man there never singing, and you would have vocal les¬ Night and theCurtainsDrawn in all the walks of life have developed minimum 15 cents. attention to a wonderful degree, many of If ON SALE music that you desire Hub Wafers was, and notwithstanding the unbearable sons as well. “You must sing if you - Song for medium voice ... New Music Transparent Paper Wrapper confusion, the master never missed an them get results “intuitively,” the truth to return has been received by you since wish to play,” he would say, and you STORY OF DAVID PLAYING FOR for the Summer September, 1913, and some of that music always please, because they’re so deliciously opportunity to talk about his would have to study Bach very diligently SAUL. is by concentrated attention they are able The regular teaching season packages will be of use during the next season’s good—and so healthful. Havethemonthetable to see to the center of a subject, observe for an exquisite tidbit between meals. You’ll ness and love of order, for Chopin was devoted to Bach’s music; - J. FISCHER & BRO. of “New Music” are discontinued in the work, special conditions Jry - which this be pleased with the wide variety of flavors. Very likely he would be ot spring, but- for the convenience of the two weeks before a concert he would shut BY charles v 7, 8 and 11, Bible House, New York it from all sides in the shortest possible music can be kept another season can be Almost any well-appointed one could prevail upon him space of time. many teachers and singers who continue obtained by correspondence. confectioner carries them. , kimself UP and play nothing but Bach— their work or who follow musical pur¬ teaching engagements, riot even his good Here is a second exercise not unlike the The most important direction of all is that was his preparation. We can do There was once a king named Saul suits more particularly in summer than that the name and address of the sender NEW ENGLAND CONFECTIONERY CO. friend Madame Breuning, who scolded first. The leader writes a certain musical n 1 She usually j better than to heed his advice. who had been so wicked it made hir in winter, we send out new music ON be placed on the outside of every pack¬ gaveeup°whhadsigh and "the remarlT“He wa7s Practice Bach,” he said, “This will very unhappy. Finally he grew to be NEW COMPOSITIONS phrase upon the staff (use chart paper) SALE at regular intervals during those age returned. Thousands of packages is again in his raptus.” If by chance be your best means to make progress. insane at times, and his friends feared For Piano By J. R. MORRIS with the proper key and time signature; months, not, however, without a written are being returned at the same time and at first try only short, two-measure request; so we invite all interested teach¬ credit cannot be given unless the name the master happened to be at home, most - he was, not going to get well. God put Swing Song - Grade ers or singers to notify us at once or as phrases. The class is given a hasty and address of the sender is on every likely he would be out of temper, for he' GAMF FOP nu'T m? it into their thoughts to send for David An Evening Song - “ soon as convenient if “NEW MUSIC ON package. hated the drudgery of teaching, and regu- ANOTHER GAME FOR OUT-OF- tc come and sing for the king. David At Eventide - “ glance of this and then required to write SALE” is desired during the summer A statement of our patron’s total ac¬ lar lessons were a horror to him. The DOORS, was a good lad. God loved him and Berceuse - - - “ down what they have observed. months. This will be divided into the count will be sent after the returns have Originators teaching of theory was especially distaste- Guests may be seated on the porch or had given to him a wonderful gift, a tal¬ Melody in A Flat - “ By persisting in this day after day, by usual classifications : Piano, voice, violin been made and with the value of those of Necco Sweets Prelude - - - • “ ful, because he always had to prepare a b™. Slips bearing the name of some ent for making beautiful music. David increasing the length of phrase one can and piano, organ, octavo, and will con¬ returns deducted; wait for that state¬ theory lesson. technical exercise are passed and each sist of teaching and recital pieces, songs, ment. had music in his heart and could charm These are all excellent piano in time “take in” a line at a glance. We would be sure to have a hard time Suest asked to perform the exercise in PRICE, 20c. EACH; S R $1M. POSTPAID even the birds and animals. When David For the teacher these small assortments of it for Beethoven was most conscien- pantomime while the others guess what THE INTERESTING TEST OF A LITTLE Music reached Saul’s tent, he saw the poor king Th7c"Cl Special Pitt of novelties are of immediate and prac¬ tious about his instructions. Just fancy [t represents, as trills, octaves, five finger FRENCH BOY. tical value and go far to facilitate the ON SALE having our fingers rapped for using in- exercises, scales, arpeggios, et This and longed to help him, so he determined H. S. GORDON, Facial Beauty Culture Those with poor attention or deficient selection of suitable material to be used The “ON SALE PLAN” originated by correct <»»«ring-.h,. I, wh.t tappe.cd slips t0 make the sweetest music he could. He in teaching. The packages may be dis¬ Each took his harp and began to play and sing. this house, and maintained with substan¬ to one of his titled pupils—Archduke of famous composers. _ memory will be interested in the follow¬ continued at any time and any of the ies to convey the composer’s David -120 PIECES 20c.Postpaid tial success for oyer thirty years, has Rudolph’s knuckles came under the ruler shepherd lad, so he first ing story of a little French boy. The music not used is returnable for credit. proven itself to be one of the greatest the others by using for such a trifle! But after all don’t word played the tune he always played to his father would lay down a domino—a A postal card request will suffice to place helps ever offered to the music teaching any teacher’s name on the list. you think Beethoven r *’ sheep when he wanted them to come to TS COLUMBIA COLLECTION three-four, for example, and require the profession; through this plan it is pos¬ fingering will upset a perfectly simple the fold. Then he played the tune that boy to tell him the combined number sible for any teacher to keep on hand a Weber—Oberon; Wagner—Ring. piece; it will tie up the easiest scale; it made the birds fly after him; but Saul at once, without permitting him to count New Octavo liberal supply of teaching pieces, studies, etc., and still be under no obligation to will cause more trouble in passage work did not seem to hear. Music Catalog the spots. Then another domino, a four- pay for any of the music except what is About the time this issue appears from than incorrect reading; it will throw you David did not despair but kept on play¬ five would be added to this. “That makes actually used, provided it is returned in out quicker than anything else, and it’s ing until at last Saul began to show signs press, we will have ready a new Classi¬ sixteen,” cried the boy. Two dominos fied Catalog of Octavo Music of even good order at the season’s close. This one of the things we are most careless of awakening life. Then David sang of ?^"SSSS£ Cash Price, 20c! at a time was the second day’s task, the plan in many teachers’ minds is associated about. I’m sure if we learned nothing more practical use than the last catalog the joys of living—how Saul had been next day three, the next four, and so on we sent out to the users of church music only with the fall and winter months, but else from Beethoven’s lesson, this one in actual operation the plan is continu¬ blessed with many gifts. He reminded Walter Jacobs, * Boston, Mas until the boy was able to give the total on our books. This catalog, in addition thing of correct fingering would be worth ous and it is just as easy to, benefit by Saul of his loving father and mother. number of spots on twelve dominos after to the particular classification, making the a whole set of rapped knuckle joints. book almost a hand book of material to it in summer as in winter; this feature mbr°f hnrS’ ,Wlfu Md Sons’ he reminded a single glance. This is attention in of the “ON SALE PLAN” is of special* him of his boyhood days and how he KIESUNG’S TEACHING PIECES be used for every purpose, will contain CHOPIN. real earnest and shows what practice will a complete list by composers of all music value to teachers whose musical work is had come from the country to be on do—if you try this, remember to begin published by this house in octavo form. confined to the vacation months from Suppose we were taking lessons of June to September and who are so situ¬ kings throne. Then David told of the at the beginning, the very simplest things Send for a copy. Chopin. If we were not prepared we great good Saul could do if he followed ated as to have no easy access to a KATHRYN MURRAY would be very nervous at the approach must be done first. music store. A package of “ON SALE” Dept. 95, 209 State Street, Chicago Return of Music music at this season supplemented by the of the lesson hour, for Chopin was in¬ We have all noticed an old whist The First Woman to Teach Scientific Facial Exercise tolerant of a lazy, shiftless pupiL His K1ESL1NG, Composer, 103S Gates Ai player’s power of remembering every On Sale, and Settlement “Summer Novelties” (mentioned in an¬ other paragraph), will save the vacation quarters would be in the most aristocratic card in the pack, whether they have been Not a small proportion- of our busi¬ , Klng faul placed his hand teacher a vast amount of worry and de¬ section of Paris, the rooms would be ar¬ David’s played, by whom and under what cir¬ ness includes the keeping on hand in the OUTLINES, QUESTIONS, ANSWERS music teacher’s studio or in the music lay. Try it. tistically appointed with beautiful hang¬ he would cumstances. Chess players have the same school of a large assortment of sheet Klingf orm ings and inlaid floors. There would be s 7,d oy !hi" music and music book publications for no noise in the neighborhood, no smoke s™rih,, xnsr For Clubs, Teachers and Schools game in attention at every lesson and in Parcel Post HIP REDUCER given him all the pleasure? t 'T-]° had Plan of Study on Musical History use during the teaching year. We call nor bad smells; the music room would every practice hour, if they will make a Printed Matter had endowed him with ma of. llfe a»d Many Subjects and Nationality this ON SALE music. Hand knit ALL ELASTIC have a fine outlook over a large garden. habit of noticing the tertipo, the key sig¬ restore him to heahh nT glfts could We consider the summer months the The new regulations which went into garment, strong and dur¬ Then again it would be difficult for us nature, the time signature, beginning tone end of the teaching year. Some schools effect March 16th, and now being used able, massages continually to secure a lesson appointment because ^ this, and th,hseoi wafGoH6 ^ or chord, expression mark's, general stop earlier, some teachers never stop by us for a number of weeks, are quite while wearing. Compresses he gave usually only four lessons a day, regained his health, gav^ DaS ' ^U' rhythm, the trend of the melody, the their teaching work. With the statement satisfactory. The Parcel Post system has the hips to the requirements at his table, made hi™ ° d a P,ace ‘' " and dress. Worn never more than five, and he accepted bass, the rests (count them out), phras¬ of account sent out on June 1st of each reduced the rate of postage to a large • • - . or under corset. armies, and gave him Captain over his year, complete directions with regard to talented pupils only. So you see we BUY ENTERTAINMENTS ing, etc., etc. proportion of our patrons. There are, Made to slip on or lace. , „ ters for a °"e his daugh- the return of ON SALE music and the of course, other advantages, particularly “KLINGFORM” in would not be so very desirable if we a violin- David became king. ™any years Help. " a This can not be done at once, but like settlement of the balance is included, but with regard to the size of packages, which - ' three grades. No’s were not talented and industrious. j.. 2 and 3. Sold by the leading Pond Mother—Shhh ! I e still. Tommy, of the Psalms of the nn6 nearly all the little French boy, take two things for we find that during May of each year a all have the advantage of. We are train¬ j Corset dealers, or sent direct Chopin was as punctual as the clock and thaatrtOI ^ism ai virtuoso violinist. each day. Shut out every thought but J Write for information and prices' ' lie, I fin ught he was an these are the grandest swe?6’ Sonie of number of our patrons desire to make ing a department particularly for the pur¬ never missed a lesson appointment and Angora. the piece in hand, close your eyes and their returns so a few directions at this pose of selecting that method of trans¬ helpful -poems ever written a"d most 7 UPRITE MFG. CO. time may be of value. portation, express or parcel post, which- - 1 CINCINNATI, O. Please mention THE^ETUDE when addressing Pleaae mention THE ETUDE wh“ ^ 389 388 THE ETUDE THE ETUDE students carfhot fail to enjoy. Many of and flats, these cards would form a ever will be the cheapest method. We By C. W. Krogmann these pieces are suitable for recital work. unique sort of amusement for musical can guarantee our patrons that we shall For introdilctofy purposes the special people. use the cheapest and best method of This is a set of genuine first grail, price for this volume will be 20 cents, We have in mind the issuing of such A Christmas Letter transportation in every instance. pieces to be published m one volume i„ postpaid. a set of playing cards. If there is enough There is one point, however, in which From Dealer Straight to You Without these pieces each hand is within the com demand for them they will be manufac¬ Philadelphia, December 25th, 1913 our patrons can cooperate to advantage pass of five notes. The pieces are all Wagner-Liszt Album tured in exactly the same form as is used Emerson Piano Company to both ourselves and themselves. Out¬ the easier keys. All are tuneful and witk in all playing cards, the same excellent Waste of Money, Time,“Nerves” or Labor much variety in rhythm and general treat for the Pianoforte Gentlemen:-—I am writing these few side of the immense volume of Parcel material, the same excellent printing, the lines on my own account and for no other Post business which has almost swamped ment. As is desirable in the case of fir,! This new volume of the Presser Col¬ face cards to have the portraits of mas¬ FIRST THE CARAVAN, swaying camels struggling under grade pieces, each number is accomnan;e; purpose but to tell you something about the Postoffice throughout the whole lection is now well advanced in prepara¬ ters used on them. one of your pianos, viz.: As I have been United States, we understand that new loads of rugs from China, tea from Japan, silks, opium and ivory. by appropriate text which may be sum tion. It contains all the most popular of It will be possible to play ?ny game 3 helping to keep repairing and tuning pianos for the last systems are being installed of greater or ad libitum. 8 Liszt’s famous transcriptions from the of cards with this pack. In atknnce of few, Max Reger is the High fifteen years I have come across some very less efficiency. Some of these systems THEN THE ARGOSY, sailing through the blue Medi- For introductory1 purposes in advance Wagner operas. All the pieces have been publication the price will be 25 cents, is work, he has emphatically old pianos and I Was given one of your may be good, others may not; the great terranean, laden to the water with precious metals, priceless pot- of publication the price for this volume carefully edited and all necessary phras¬ postpaid. proved mat the art of counterpoint and pianos about five weeks ago to restring disadvantage of both, the increased vol¬ will be 35 cents per copy, postpaid. c fugue is by no means a dead letter, but that tery, perfumed raiment, cinnamon and coffee. ing, fingering, etc., added. It is one of it may be utilized in t ‘'injunction with mod¬ and put in playing condition. When I ume of business and the use of some of ern ideas upon harmony very happily. Reger these new systems, is delay. When one the best books extant for advanced play¬ looked at the instrument it was nothing THEN THE STAGE COACH, rumbling after foam Piano Music for THE GIFT OF WRITING OPERAS. has been called the modern Bach with justice, but a mass of rust and mould, and it was of our patrons receives a bill dated April ers and concert or recital work. for his work shows much of the poiyphomc covered horses, tearing along with its load of trunks and bundles, Six and Eight Hands The special introductory price for this ease that distinguished the music of that hard to say what was the matter with it; 10th, that means positively that their A glance at the list of operas presented master, whilst it has something of its spirit package was placed in the Postoffice on at the furious rate of eight miles an hour. At this season of the year teachers and work in advance of publication is 35 so I had it moved to my shop. I took in the great opera houses of the world too. It is generally based upon abstract the action out and found that all the felts, April 10th or April 9th and if too much schools are preparing for commencement cents, postpaid. reveals one curious circumstance. Very ideas and lardy draws its inspirations from THEN STEAM, ELECTRICITY AND NOW THE and final exhibition contests. For this without. It may not storm the judgment, springs and so forth were very nearly as time has elapsed without the receipt of many of the opera composers are chiefly that package, we are very glad to get PARCELS POST, the last steps in reducing time, labor, cost purpose ensemble piano music for vari hut its appeal is more subtle and lingering good as new. All of the bushings were fine, Very First Pieces than much of the music that does. It has and I only had to put in new center pins the complaint and to do the best we can and inconvenience between the buyer and the seller. ous combinations is always in demand famed for their operatic works and have no high lights and no opulent warmth of and hammer springs. The hammers were with regard to it; but we would ask our We are exceedingly well equipped for for Pour Hands but slender fame in other lines of musi¬ color, but is fabricated out of tones of cool patrons to also complain to the Postoffice Do you comprehend what the Parcels Post is now doing This volume, which is now in prepara¬ cal composition. and delicate grey. It depicts the depths fine after they were filed up and the ac¬ supplying such demand as we have had rather than the tumults of the soul and its tion is as good as new. The wrest plank department, either to their own Postoffice for millions?—what it may do for you? tion, is1 intended to supply a very gen¬ The great outstanding names in opera in our catalogue, including standard emotion Is subdued'rather than stressful; pins were in fine condition,—only had to or to Washington direct. In this way works and recent additions, a large num¬ eral demand for a collection of four hand in this day are those of Wagner, Verdi, it has however considerable beauty and much For instance, some merchant puts his business offer in your clearness of outline. Iteger knows what he. take the rust off. The wrest plank has the efficacy of new systems will be much ber of brilliant and telling pieces in all pieces which may be used for pupils of Puccini and Massenet. Few works of wishes to say and he says it with ease. One more promptly discovered and the Post- hands in this issue of THE ETUDE. You may never see him not a split in it, and the sounding board grades of difficulty for six hands at one the elementary grades. In some of the these composers other than their operas does not feel that, with him, music is too only had one seam open. office department want to know the bad and he may never see you, but the very fact that this offer has piano, eight hands at one piano, two feeble to give his conception birth, as Dau.e pieces both the primo and secundo parts have reached more, than transient success. once felt with regard to words. His is not I wished to write this as this piano has side even perhaps more than they do the passed THE ETUDE advertising censorship informs you that it pianos four hands, two pianos eight hands lie in Grade 1 and in no case would either a soul that gropes among the shadows for good side of any of their new systems. Wagner’s Kaisermarsch and a few of his a date on it of 1880, and the number is is worthy of your attention. You sit down a few moments, and even for twelve hands. Many of part go beyond Grade 2. The pieces are dim illusory things and then tries to trans¬ 32182; and as it is now finished it has a these pieces are so arranged that even in all tuneful and attractive, many of them pieces written in his surprisingly unso¬ form. them into a concrete form. His music Mail Order write a little note, enclose it with the amount of money re¬ is hardly ever vague or recondite in its tone equal to the best made to-day. the hands of pupils of the most modest being absolutely new—either written or phisticated youth are occasionally heard, quality. Occasionally, in his This is a voluntary recommendation, Music Supplies quired and “before you know it” one of your government’s attainment they create an excellent effect arranged for this volume. but none of these pass the mark he set . _s of a_ . lmt ) n his piano music. This is n as I am so pleased with the result that I In these days of fast mail and express messengers brings it direct to your door. Thus THE ETUDE Teachers who are in search of pieces of For introductory purposes the special in his first masterly works, The Flying could not resist to write and let you know service few people indeed are unaware of puts you in touch with buying opportunities all . over the this nature, should by all means avail price for this volume will be 20 cents, Dutchman, Lohengrin and Tannhauser. about it, as it came up beyond expecta¬ the advantages .and conveniences associ¬ themselves of the privilege of our On postpaid. country, representing the evolution of a system of buying and Verdi’s Mansoni Requiem, although long “beauty recol- tions. I hope I get some more Emersons, ated with ordering supplies of all kinds Sale Department. See list in this issue selling that has been slowly worked out along lines wholly to popular in Italy and America, was at - _ -„-... George Lowe in and I can certainly say a good word for by mail. With the expansion of the Musical Opinion (London.) them. I beg to remain, your advantage, “The Rose Maiden.” first thought too stagey to please German “Parcel Post” service a greater variety New Anthem (Signed) W. H. CROSSLEY, of merchandise than ever before is now By Cowen and English audiences. Leandro Cam- Verdi and the Dissatisfied Critic. Collection 632 N. 56th Street readily transported from factory and Try purchasing through any advertisement in this issue. This beautiful cantata has attained such panari, the noted conductor and violin¬ Concerning Verdi’s best opera, Alda, The advertiser pays and pays well for the opportunity of telling This new addition to our series of an¬ Pougin relates an amusing anecdote: farm direct to the home; consequently, a permanent place in the repertoires of ist (brother of the Giuseppe Campanari A man named Bertani wrote to Verdi that Thirty-four years hence the pianos many people are now enjoying a kind of you about his wares. He must “make good” by gaining your them books is well on in preparation choral societies the world over that we the baritone and former ’cellist in the he had traveled especially from Reggio to We hope to make it the best of the series! built by the Emerson Piano Co. service formerly unknown to any extent regular custom; and that very fact is your safeguard. When¬ have found it advisable to bring it out Boston Symphony Orchestra) knew j,ear his new opera ; that he did in 1914 will give an equally This is a very high standard to set as not^ike* n , and so wont again in the hope except to persons who ordered and re¬ ever an advertisement in THE ETUDE has caused you to com¬ in our own edition, and while it is in Verdi well. He told the writer that of being b etter pleased the second time, but good account of themselves ceived comparatively small articles by each one of the preceding volumes has the course of editing, engraving, etc., we Verdi himself thought his string quartet — — same result; hence he concluded mail. Our patrons, however, have always municate with the advertiser, please give THE ETUDE credit. been a decided success and all the vol¬ shall continue to accept advance-of-publi- that “when it has filled the house two' or his greatest musical work and took in¬ Emerson Piano Company had the benefit of a special rate of post¬ umes are in active demand. All the an¬ cation orders at the introductory rate of three times it will be banished to the dust tense interest in hearing it. The critics, of the archives." But his experiments had age on printed matter, and owing to the thems to be used in this collection ate 25 cents each for single copies—one copy cost him thirty-two francs, for railway Wished 1849 Boston, Mass. excellent service given by the mails they new and original and are not to be found at this price to each patron desiring it; alas, considered the quartet mediocre. fare, tickets, and “a detestable supper at were able to get music supplies quickly in other volumes. All will be of inter¬ Away from the footlights the music of the station." He asked Verdi to refund this New Department of Special after publication the price will be 75 cents sum. The composer, having a sense of and safely long before the parcel post Interest to Etude Readers what the actual title of that work is go¬ mediate difficulty suitable to the average subject only to the usual professional and Puccini is practically unknown, although humor and plenty of money, took the matter From Us to You, at Factory Price opened up still greater possibilities in that quartet or chorus choir. in good part, and asked his publisher to Not one musician in a thousand has an ing to be. For instance, we have called quantity discounts. Musical directors not his graduating essay at the Conservatory direction. But it is one thing to get 1 he special introductory price for this send Signor Bertani a check. Only for opportunity to look over the new music the work which has just appeared entitled already acquainted with this work should of Milan was a symphonic caprice for thirty francs, however, as he drew the line good mail service and another to get work in advance of publication will he that is coming from the presses Of pub¬ “Standard Vocalist,” the New Vocal Al¬ take advantage of the introductory price orchestra. Of late years he has pro¬ at the supper: “He might have taken his orders filled satisfactorily, and it is in bum in these special offers; we have 13 cents per copy, postpaid. delivered—25 cents cash with order, or meal at home.” The man also had to sign lishers every month. There are dozens duced nothing which has attracted wide just this particular thing that the house called the work which is now entitled 25 cents and postage if- charged. an agreement never to attend another Verdi of “Theo. Presser” has always excelled. of novelties appearing all the time, which musical attention except his operas. Mas¬ opera unless he was willing to assume all would have more immediate acceptance •The Standard Organist,” the New Pipe Pleasant Hours for Four the risks and expenses.—Evening Post (New This house has made a daily study of Organ Album. Our patrons who have senet was really quite a versatile com¬ York). filling mail orders covering a period of if the musical public only knew about Hands. By A. Sartorio New Album for them. The musician naturally wants to received these excellent volumes will poser. He was an able pianist in his over thirty years, •' and while we learn kindly take notice. . Tlli,s work is now ready, but the special Violin and Piano younger years, in fact he carried off the The Start of a Noted Composer. something new nearly every day (for the know about the new works of his favorite introductory offer will be continued dur¬ composer or about new pieces for his We are withdrawing from special offers This is another addition to our series first prize at the Paris Conservatoire. work of no two days is exactly alike), ing the current month. This volume con¬ of volumes printed from especially laree positions. I had been visiting at my grand¬ we learned the essential things long ago special needs. We shall endeavor, for a this month five works which have been His sacred choral works have'attracted father’s farm in Maine, one summer, and time at least, to bring some of these new tains original pieces for four hands, nol plates.. It will contain pieces for violin when I reached home, I told my mother and have never forgotten them; briefly aVt !°7 price for the last few arrangements; pieces all lying within the wide attention as have many of his songs. that I had “made" three waltzes. She pieces worthy of mention to the atten¬ months. That low introductory price is and piano suitable for players of inter¬ C501*tti$b Washington, N. J. stated, they are PROMPTNESS, AC¬ second and third grades, with the parts mediate grade. All bright and effective Some of his orchestral works have many did not believe it at first, as there was no' CURACY and COURTESY; with these tion of our readers. We are striving to now withdrawn; the regular professional admirers. Nevertheless it is as a com¬ piano within miles of the farm. I explained pick the best—to do this sorting for you. i 1 ,*wo Players of about equal diffi¬ pieces in which the violin part has been that I had written them in my head, and always in mind we go about each day’s rates_ will hereafter be charged. Anyone poser of operas that he seems destined The information pertaining to this new desiring these works ON SALE can have culty. We recommend this volume to the carefully fingered, phrased, etc. The proved it by playing them on her piano. work, and the splendid and continuous attention 0f all teachers. pieces are chiefly new and original with to go down to fame. Donizetti, Bellini. . .‘tray the limitations of l, growth of our business proves that our music will he printed in a special depart¬ them subject to return. The works are perience. ‘Mamma’s Waltz,” the “Snowflake ment to be called “The Best of the New as follows: Six Sonatinas for the The special introductory price is 30 a sprinkling of standard numbers espe¬ Meyerbeer, Marschner, Lortzing, Leon¬ Waltz,” anand tnethe third, the “Marlborough patrons appreciate and have confidence in cents, postpaid. cially arranged and edited. Waltz,” because ... our system. Of course, the one impor¬ Music.” Be on the outlook for it. The Pianoforte, Op. 36,” dementi; “Twelve cavallo, Mascagni, Gluck, Offenbach, Marlborough Street! first insertion occurred on page 243 of For introductory purposes the special Thomas, Charpentier, Spontini, Rossini No more was made of tant thing is to be able to supply what is mfiSSOnSartono5 Sonata Italian Overtures of education not to discuss before me ml are known wherever music is taught and '“v special otter on this new colt those of Handel, whose operas are now our miscellaneous stock representing the for Four Hands precocity; no one was permitted to make mi tion. This volume contains pieces whi unknown, Mozart, whose talents seemed accomplishments appear to me anything publishers of America and Europe is one One of the most important forthcoming of the expected, or normal. When I was are suitable for either church or hott This will be positively the last month in well nigh limitless, and Weber who laid from which all manner of music supplies additions to the “Presser Collection” is which this work will be sold at the re¬ my sixth year, I went to play with the c ,\°.r .^aching purposes or recital wo the foundation of modern music drama, dren of a friend of the family. When I may be obtained. our new edition of Chopin’s famous While they are primarily for the r( duced price in advance of publication. back I related that I had been urged to play and Richard Strauss a modern peak so To teachers our terms and discounts Polonaises—“Heroic Hymns of Battle” as organ, all may he used for the pipe org Ihere are all the popular overtures of for the mother of the family, are the extreme of liberality, and for Mr. Huneker calls them. This volume of but without pedals. These are not pia Kossmi in this volume, any one of which lofty that few of us can see the summit. manded yoU ^bat did you play?” de- prompt, careful and complete order filling Chopin should be in the library of every ratsicorh°rng-asSc°a^ Pieces but are in real organ style. Th< will cost more in sheet form than the Saint-Saens, Gounod and Debussy have “Beethm' our service is not excelled anywhere. serious student of piano music. Our edi¬ 1 M Wa'tz.” I answered aoJ ^ {harpnideeado? how to gi ''ill be about 50 pieces in the volm price at which we are' offering the entire all possessed diversified gifts, although promptly, “hut the piano ’was out 0j order, Teachers and schools who have not tion will be printed from new and clearly mother. It was a half-tc e lower than ours. which will contain some 150 pages. v°h>rne- There are some ten overtures different in their interpretative methods. It sounded all wrong.” hitherto become acquainted with us are engraved plates on high grade paper and which are now .offered for 25 cents, post¬ My mother invited to write for catalogs and terms. securely bound in a flexible but tough - J °,r .introductory purposes v All have produced operas which have met “You did not paid, an exceptionally low price for such with wide favor. Nevertheless, it must finish it?” paper cover. book to help teachers toPmakeSrhi: s per copy P< “Oh, yes,” I replied. “But I had to more productive “ e tlle pa?dth'S W°rk f°r CentS pe a valuable collection of four-hand music. be obvious that most of the great opera $600 Prize Offer After publication the regular price will ' he edition is being prepared with the ' right’’” 1L ° a !lalf'::oni’ higher to bring it Piano Compositions be 75 cents, but all advance orders will more profitable. ’ greatest care and will be added to the writers have virtually made a specialty Easy Parlor Album My fether had been talking of Clara ' As previously announced, this contest be filled at 30 cents per copy, postpaid, to press. There are L readl “resser Collection. of opera writing. Lomse Kellogg, and I remembered my atten- is now closed. The result will be an¬ if cash is sent in advance; postage addi¬ may make a different £8SSage for the Pianoforte fion bmng caught by his saying that she had tional on charge orders. absolute pitch—that she could give or recog- nounced just as soon as possible, but an career. Mr. Tapper has a l9™ Musical nize any note away from the instrument. extraordinarily large number _ of manu¬ The overture which I sent has just Mv father rebuked me for pertness when rjuura;, cqar tar Advance of Publication Ssm, ’A i„_ : mini iruui wr Playing Cards I turned and said, “Oh, that’s nothing. Any- 1,1 Sold by-leadinguiuKisoca. sue dox enoug scripts has beeft received and it will take targe plates. It will contain ms been performed at Vienna. I was over¬ I for 24 hours. Sl.Oy box for cxrmivoyasw'. , f Offers Withdrawn body can do that. I can do that.” some little time to do full justice to them Ss,r,a7? that to be found in our It has been suggested to us a numbt whelmed with praise for it; but what They continued the discussion. I was • The One Dependable Preventative all. All will receive careful scrutiny and When we announce some months in that if among our games w again reproved for interrupting. Then mv we shall be glad date of Put ..~cessbjl previous publication « are all human efforts compared with the “otJ>er, remembering, she said afterward, the the final judgment to be rendered will advance that we are preparing a certain order at a special „ Jeglster your ; Parlor Pieces.” AH these I ,lmcl“de a Pack of playing card works of the Great Master above the Npirit Waltz incident, suggested that they be impartial. We wish to thank all those work and offering to sell it at about the gular ordinary playing cards with tl would see if I knew what he was talking manner followed'bylhRt,pHce a ’ !,lle 'n the first or second grade excepnon that instead of hearts, di; clouds? We are all dwarfs, even the who are participants in the contest for cost of paper and printing to all those as the name of the volume indicates about. They made several experiments, and MOTHERSILL REMEDY CO., Detroit, Mich. their interest and for their contributions. who will purchase a copy in advance of years. The special Ji house fo monds, clubs and spades we use othc greatest upon this earth, beside the Om¬ it was discovered that I really did have, un¬ book is 60 cents advance price are suitable for home playing or fo characters such as notes, rests, sharp nipotent.—Beethoven. taught, absolute pitch.—Mrs. H- tt. a hr?2£n JAI1 ,he "umbers arc extr Beach, in the Mother’s Magazine. and pleasing; such pieces as] Please mention THE ETUDE when addressir our advertisers.

392 THE ETUDE THE ETUDE 393 REQUISITES FOR NEW PUBLICATIONS MUSIC TEACHER TWO PIANOS EIGHT HANDS ERS, S 1.00. C ms OOOK is a i oniD(.,„S the latest and best ideas upon themS.i"''llB 1«> Elementary Piano Technics, methods of compelling your proles Two-Fart Hymns in Honor of The Standard Vocalist to yield you a larger income. ™?*«k1'''1 Op. 19 the Blessed Virgin Mary 50 Fine Songs for 50 Cents CSe?ton.ASOe tSfet'rii ®°°K' E.

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The Eclectic Course of Graded Operatic Four-Hand mmms's ,sH£ra'-« Studies in Piano Playim Album By J. M. BLOSE TK'ffiPaR.’l.a- FOR THE PIANOFORTE Great Pianists on Piano Playing By JAMES FRANCIS COOKE

Two Part Songs FOR WOMEN’S VOICES New Rhymes and Tunes for Little Pianists Chaminade Album FOR THE PIANOFORTE wmmass lW.T-.-rf r.-- ds«sr=ss|-* ^SGrhV0"^™ The Vocal Instructor .mama €2!r “fir It"-"5 B

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The Charm of the Piano Practical Ideas for Developing the Left Hand Theo. Presser Co. The favorite instrument with the the player so delightfully. Moreover, the Special Notices Publications musician any time during the last five organ belongs to big buildings. Its asso- Issued May, 1914 Stt”" 7“ "trJr.s?'“p»b.ic -“• bcrmon,, that be cp Snd in any imten- “““"n'onS, “if" th«V.“"no‘rai,~c- S ■=“T bT re;t ion with the outside world-ssss This> coTr^pom^ ,

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THEO. PRESSER CO., Philadelphia, Pa. 397 THE ETUDE 396 THE ETUDE Directory of Summer Schools Directory of Summer (Schools

Some of America’s THE HELENE MAIGILLE Mr. Gustav L. Becker THE VIRGIL NEW YORK SCHOOL OF MUSIC AND ARTS Most Prominent Singers THE von ENDE AMERICAN SCHOOL are studying the new modern PIANO SCHOOL CO., 56-58 WEST 97th ST., NEW YORK CITY Summer Course method of voice culture at the SCHOOL OF MUSIC « 42 WEST 76th ST., NEW YORK HERWEGH von ENDE. Director OF BEL CANTO RALFE LEECH STERNER - - Director Progressive Piano Teachers N. Y. School of Music and Arts Manufacturers of //// ■•Reflecting the Highest Ideal, i„ (SCIENCE OF VOCAL ART) jV/Z Musical Education" Special Feature: Modem ^tum^Piano: Tone Placing-Diction-Style-Repertoire Greatest opportunity ever offered to students, teachers and The “Tek” Yv Distinguished Faculiu Includes: Summer Session pre-eminently for Teachers and professionals for summer study pleted and perfected by Mr. Becker. The latest Voice Building, Coaching, Concert, The Bergman Clavier udents not in New York during the regular season. Oratorios, Opera and Repertoire The Bergman 2 and 4 Octave The Summer Session of Seven methods of study. “A course worth the begins c i M THE CONGRESS OF AMERICAN MUSICIANS while. 9 * Advantages for early applicants, secur- instruments for travelers , July 31st, 1914 The Bergman Technic Table AND STUDENTS (Raised Keys) “. will be held at this school beginning June 1-15, July 6-15 and August The superiority of the vocal method is proved by the The Bergman Child’s Pedal absolutely intelligent by 1; special six and ten weeks’ courses, starting on these dates. Be¬ sides the regular lessons there will be daily lectures on all subjects MASTERFUL ADVANTAGES AFFORDED EXPLANATORY CATALOG Clarinet, Oboe, Bassoon, Trombone, Address the Secretary Flute, French Horn, Trumpet, Harp and and concerts by artists, students and teachers. Dormitories in Orcheatral Instruments taught by The Helene Maigille American School of Bel Canto Wednesday al 11.30 A. M. Soloist MenMember, of the N. V. Philhar- Carnegie Hall, New York, N. Y. school buildings. Delightfully situated between Central Park and yarding and Day Students Phone JUNE 24th to JULY 30th 1914 Orchestra. the Hudson River. No charge for teacher’s certificates and diplo¬ DORMITORY-CULTURAL ADVANTAGES Send for booklet and other printed For Inf on mas. Send for booklet and .other printed matter. Also terms, VIRGIL PIANO CONSERVATORY 44 West 85th Street, New York including tuition, board, practicing, etc. Special Summer Courses (Virgil Method) DUDLEY BUCK Six Weeks Study in New York ElBE HUGH A. CLARKE, Mus. Doc. Foundational, Intermediate, Advanced Technic, Pedalling, Interpretation, Recitals The busy Artist and Teacher is offered Vo 1 | LESSONS BY MAIL the opportunity of taking a Condensed V) ^ Normal Correspondence Course FOR INFORMATION WRITE Musical Post Cards In Harmony, Counterpoint and Composition Teacher of , Course in Technic, Interpretation and O. CJmrtrt i2Trt44 F In Modern Ideas of Touch, Tech, MRS. A. M. VIRGIL, Director 42 West 76th Street, NEW YORK \ Pedagogical Methods at a school of V\ IJKMf JS l-U ll | Singing W acknowledged Prestige— \\\ ^ Pedal, Metronome, Hand Culture, 4632 Chester Ave., Philadelphia, Pa. and How to Teach Them :: Great Masters - 12 Modern Masters - 6 NEW VIRGIL Opera Composers - 6 Aeolian Hall, : New York City THE von ENDE SCHOOL OF MUSIC Learn Harmony and Composition Special Summer Course y\ €fl In a course of six weeks from June Directory of French Composers - 6 Yi 29th to August 8th. Under eminent Practice Clavier Opera Singers, Series - masters of music. A-E, each - - 6 Summer School Far superior in its latest construction to any Master Violinists - 6 other instrument for teaching and practice Conductors - - 6 zm \ <1 Concerts, Cultural Lectures and many Classes Weeks Courses ^ opportunities for musical improvement VIRGIL SCHOOL OF MUSIC (A are being arranged. appearing in The Etude is NEW SETS FOR 1914 For Teachers and FIVE WEEKS’ SUMMER SESSION i] jytguHt ^ Dormitory for young ladies. recognized as an authority Begins Saturday, June 2 7th Advanced Students BRUNO HUHN by music lovers and music For catalogue and prospectus address: J ; oenes A and D - - <1 For Summer Booklet write to The 231 W. 96, NEW YORK 6WITH OR WITHOUT BOARD B«! , Secretary of The von Ende School of -s^a°3b\ 6i : teachers. This Directory I^-' VIRGIL, Mudl.on Aa“.e™ndIS4th’sfreet NEW YORK Piano, Voice, Organ, Violin, Public School J Music, 44 West 85th St., New York City. \J\qse][=IO Style, Diction, Repertoire, etc. 50 cents per dozen postpaid is invariably referred to as Music, Normal Methods, Locke’s Primary to Vocalists a guidance in selecting a HISTORICAL POST CARDS Plan, etc. Certificates. Catalog. Teachers educated in Europe. WILL TEACH DURING THE SUMMER suitable summer class. ALBERT ROSS PARSONS LISZT—Six Cuds—The set. 15 cents The American Institute Students qualified WAGNER -Twelve Cards-The set. 30 cents concert pianist, and teachers. Recent notices of Mr. BEETHOVEN—Twelve Cards-30 cents „ , Marks’ Conservatory of Music Parsons’ pupils: GREAT COMPOSER POST CARDS-Fourt, of Applied Music of the Great Composers. Printed in nine cole SUMMER SCHOOL ns ■ fT™ b? “*b* unusual,Y sift'd pupils who owe their splendidid training to Paraona."- JOHN B. CALVERT, D.D., President (The Metropolitan College of Music) (Musical Leader). The playingof these by these pupils of Bach preludes and fugues and modem nieces was „„ 1 emu ^er sS>mPO*Cr * birthp,ace 00 card- OF SINGING OPERATIC POST CARDS 212 West 59th St., New York City THE HAGGERTY-SNELL’S SUMMER ■ School classes arena 1 muj, l nstan a SCHOOL OF VOCAL and PIANO MUSIC Special Summer Session, June 22nd to July 31st ,,™Apply for Perso,,al instruction to ALBERT ROSS PARSONS, STEINWAV hat t v, (9), The Ring (28). Deep Breathing, Physical Culture, Expression. Hall) for circular Si should write The Etude 14TH STREET, NEW YORK CfTY. 1INWAY HALL, 109 E. June 16th—August 16th. Mde. Haggerty-jSnell Vr,.°p«'1 in colors. Aida, Boh. Unusual advantages for teachers (near Boston), July 1—august 5. Private and Class for full information. Lessons. Opportunity for sea-bathing, excursions, etc. Mmtenmgers. PamfsJ. The Ring. Six sek dumb. $75 for the course.* Best board secured 29th Season Begins September 30th 611 PIERCE BLDG., COPLEY SQ. Copy and instructions BOSTON for the June issue should Send for circulars and catalogut KATE S. CHITTENDEN, Dean. reach the publishers before Burrowes Course °studyic SOIOI rourteen cards. Pc • with their birthplace, p.. ... „„,c May Sth. Kindergarten and Primary—Correspondence o’ .verse is a short hi «raphy of each mallet. A n UfCirrCTrD announces the Eighth Summer Course for Piano Teachers • ®ven. fr« • • • -•-’we Prize Can), a Steeles Personal Instruction with portraits of „ght composers, and blank I MK. K. VJI. W LluLj 1 LJK Annual Session of his Happy INapils-^tirfed Parents-Prosperous Teachers. Classes are doubled by use thi, method scnbmg name. The pnee, 50 cent, per set. Cranberry Piano School SUMMER INSTRUCTION SUMMER SCHOOL OF VOCAL MUSIC slnd apon receipt of pr> At Elmira, N. Y., July 6 to Aug. 29 (8 weeks) also descriptive^literature sent on appHLuon^to KATHARINE BURROWES aend for catalogue of Musical Pictm TEACHERS’ TRAINING COURSES PRIVATE AND CLASS The Normal Course covers the entire ground of Vocal Study by means Blank Program Forms D. 502 CARNEGIE HALL, NEW YORK CITY or TUfc.O. PRESSER CO. FAELTEN SYSTEM INSTRUCTION IN of lecture, class and private instruction Pleasant surroundings, modern O THINK MUSIC ’ Dept. D. 246 HIGHLAND AVE., HIGHLAND PARK, DETROIT, MICH. SINGING equipment. Write for Booklet A. Carnegie Hall, New York City 1712 Chestnut St.. Phllsdslphia, P BOOKLET CARNEGIE KALI., NEW YORK College of Fine Arts — Concert INSTITUTE OF MUSICAL ART ?0TL0F Syracuse University Crane Normal Institute of Music - FRANK DAMROSCH, Director ■ A Day in Flowerdom TRAINING SCHOOL FOR SUPERVISORS OF MUSIC—Both Sexes AN ENDO WED SCHOOL OF MUSIC •antages for the study of mi The opportunities of the Institute are intended only for students of natural ab.Uh, 1C Mub^-TL‘yJnr.^JYe: IRecttal work, and no others will be accepted. ** ** aa purpose to d Muarc by Geo. L. Spaulding methods^practice-feaciring. Graduates hold important positions in colleges, city and normal schools For catalogue and full information address Secretary, 120 Claremont Avenue, New York. POTSDAM, N. Y. entertainment^ fur both®#! ise, N. Y. “re Pto thtion wlH be a INTERNATIONA! musicalandedu- •mCIUNAllUlNAL cational agency the school of accompanying uTstta°tth<> 8rown-ipsP The first and only one of its kind in existence. Established 1899. HOME STUDY MAUD POWELL WOMAN VIOUN 1ST MRS. BABCOCK PUBLIC SCHOOL MUSIC and‘Si, an’ brt$ k)CTief i° «°- The short OFFERS Teaching Positions, Col¬ SUMMER SESSION for Teachers Opens June 15th as used in the Public Schools of Srv on/IeVef and a" leges, Conservatories, Schools. NewYorkCity. Eight years work. . WMTE T0MEdata 'conceSc Also Church and Concert Engagements BookieV’Accmnpanyin^ as an Art”maifel on request. Mrs. Marshall Elliott Stewart,Director (Isabel McCall j Harmony and other subjects. aSd theytextPr®Pa""'tb’n’aa' Suite 1141. Aeolian Hall, 29 West 42nd Street, New York Tsasltryant E. F. MARKS, 2 West 121st St., NEW YORK H. GODFREY TURNER, 1400 BROADWay ^ be prodneedt|iyraxfas^*Jmi^lI! CARNEGIE HALL, NEW YORK Please mention THE ETUDE when addressing our advertisers. theo.presser C0.,f 399 398 THE ETUDE THE ETUDE Directory of Summer Schools Directory of Summer Schools

WALTER SPRY LYCEUM ARTS Bernhardt Bronson BUSH TEMPLE CONSERVATORY Teacher of Singing MUSIC EDUCATION MUSIC SCHOOL CONSERVATORY Northwestern University CALVIN BRAINERD CADY Kenneth M. Bradley, President Mr. Bronson will conduct a special _ (Lecturer in Music, Teachers’ College, Fine Arts Building, Chicago N. Clark St. & Chicago Ave., Chicago Columbia University, New York). Summer Course for teachers from Summer School of Music June 22 to Aug. 1,1914 Summer Normal Course in Piano July 6th to August 10th, 1914 IN addition to expert private teaching 15 Claremont Ave., N. Y. SUMMER NORMAL COURSE 6 weeks, June 29 thru Aug. 7, under the in Piano, Organ, Violin or Voice the SUMMER SESSION direction of Edgar A. Brazelton. Planned with especial regard for FOR TEACHERS school offers a special course in Piano SUMMER NORMAL instruction in the training of the Teaching Methods which outlines def¬ Beginning June 29th, 1914 Beginning June 22 1914 Special Dramatic Course tongue and jaw. inite systems of instruction with copi¬ Write for detailed information. ous teaching material for both ele¬ Portland, Oregon June 24—July 29 Special Courses in under Elias Day, beginning July 6 for 4 WALTER SPRY, CLARENCE*EDDY,' WILLIAiS mentary and advanced pupils. A six Los Angeles, Calif. Aug. 3—Aug. 29 Expression Languages weeks and August 3 for four weeks. weeks course with 72 hours of in¬ KRAUSSVVILM0T LEM0NT and ALEXANDER For catalog address Secretary, Studios: 558 Jefferson St. Dramatic Art IMUOIL Public School Music struction in piano methods, harmony, Announct ft Application Box L, 523 Fine Arts Bldg., Chicago, Illinois Milwaukee, Wis. musical analysis and history of music Mm. . Justine Weg for twenty-five dollars. Private lessons Edgs extra. Evanston is the most beautiful rd Dvorak residential city in the West, on the COSMOPOLITAN SCHOOL OF mir- EFFA ELLIS shores of Lake Michigan a half-hour Centralizing from the heart of Chicago. MUSIC AND DRAMATIC ART Keyboard Harmony MRS. W. S. BRACKEN, President School o! Melody Building and Send for Summer Bullelin with full particulars to CHARLES W. CLARK Teaching System Secretary, School of Music :: EVANSTON, ILL. Music may be studied personally with SUMMER TERM JLY CONSERVATORY IN CHICAGO Gertrude Radle-Paradit Effa Ellis Perfield, the origina- Director in the following cities between June 29 to August 1 _and July 15—Los Angeles, San Edward H. Schwenker, Secretary Progressive, Scientific and Practical Diego, San Francisco, Honolulu, Methods Portland,Tacoma, Seattle, Spokane, Practical and Artistic in Theory and Application Ogden, Salt Lake, Denver, St. Louis Result* Positive ed pupils. “Progress” the 20th C( and Chicago. For exact dates, write fer been more thoroughly and pracl SEND FOR ART BOOKLET No. 8 n of Music Study for Beginnei EFFA ELLIS PERFIELD Caruthers School of Piano ANNA PARKER-SHUTTS, Secretary -sed by Leschciizky,Busoni, Carrcno, Gadski, De Pj Suite 612 Fine Art* Bldg. CHICAGO 205 Boston Store Bldg., Omaha, Neb. )r beginr truly normal idea is carried out. Normal train lers Portland, Oregon, A Summer School of Methods for Piano Teachers August 10th, New York, September 20th. Address k New York City. SUMMER NORMAL JUNE 29 to JULY 31, 1914 Mrs. Zay Rector Bevitt, Pacific Coast Representative of Mrs. Dunning, will condui PRESENTING A HAROLD HENRY Vocal Summer classes for teachers at San Diego, Cal., beginning April 20th, July 20th and October 19th, 1! Lectures given by Julia Lois Caruthers, Director t the SPECIAL COURSE Concert Pianist Address” Mrs! Zay Rjctor?Beritt', 3914 Third St’.? San Diego,' CalT rCCreatl°n IN' Classes in Technic, Ear Training and Harmony, and Children’s Dem¬ announces that he will teach until Institute Miss Mary C. Armstrong, who has scored phenomenal succes The Etude “HOW TO TEACH MUSIC from Rudiments onstration Classes given by Elizabeth Waldo McCrea. August 1, 1914 FOR VOCAL STUDENTS, authorized .teacher of teachers of the Dunning System, will open For terms and appointments address: PROFESSIONAL __in Asheville, N. C., on July 28th-under the same conditions as Mrs. to Master Works” Classes in the Teaching Material of Piano Literature given by Meda SINGERS and TEACHERS 5. Address, Miss Mary C. Armstrong, The Propylaerm, Indianapolis, Ind. Summer School Private Lessons, Lectures, Class Exercises HAROLD HENRY, 426 Fine Arts Bldg., Chicago Zarbell. These Classes include technical and interpretative >f Whitman Conservatory, Walla Walla, Wash., who has met with great suc- Conducted by Alexander Henneman of the Dunning System, will hold a normal training cla Directory President E. H. SCOTT analysis of the compositions played. Institute, Oklahoma City, Okla.,.. beginnir Ve first of June. For particulars e Musical Art Institute, Oklahoma City, Okla. Send for Western Conservatory Weekly Recitals and Lectures given by the Faculty and assisting affords Teachers, Schools and Synopsis Mailers Bldg;., :: Chicago artists. Conservatories the most eco¬ nomical and effective means of 724 FINE ARTS BUILDING % interesting thousands of stu¬ CHICAGO DIRECTORY dents who contemplate summer Faculty of International Reputation Henneman Hall, 3723 Olive St., St. Louis, Mo. Frederic W. Root All Departments Open Throughout the Summer The best results will be ob¬ OF SUMMER tained by using the largest AMERICAN CONSERVATORY Elocution—MUSIC—Languag 304 S. WABASH AVENUE possible space in the June issue, CHICAGO, ILLINOIS SCHOOLS SAINT LOUIS, MO. Also Special Summer Course in which will reach interested PUBLIC SCHOOL MUSIC readers at the psychological Offers modern courses in all departments of Music and Dramatic Art Superior NORMAL WORK The June issue of The Kroeger School of Music Location and surroundings ideal for Summer study moment—when they are most faculty of seventy-five. . Diplomas and Degrees. Many'free advantages ' V For Catalogue and Summer Circular Address concerned about location, date, Etude will reach sub¬ SUMMER NORMAL SESSION classes, tuition, etc. scribers at a time unusually E. R. KROEGER, Director MISS BERTHA BAUR, Directress, Highland Avenue and Oak St., Cincinnati, 0. of five weeks, from June 29th to Aug. 1st, 1914. Recitals, Lecture Courses hv emir,.,,* Teachers of Singing advantageous to interest Summer Term, Write the Advertising De¬ educators arranged for the special needs of teachers. Twenty-eighth Season. Catalog partment of THE ETUDE for On Alternate Days, July 6—27 and Summer Session prospectus mailed free. JOHN/. HA TTSTAED T President students contemplating June 1st to July 20th THE EXCEPTIONAL FACILITIES, COMPLETE ORGANIZATION AND COMPREHENSIVE COURSES full information. Summer study. MINNEAPOLIS SCHOOL OF MUSIC Mr. Root’s Normal Course, is MUSICAL ART BUILDING SEND FOR CIRCULAR Eighth St., S. ORATORY AND DRAMATIC ART THE RECOGNIZER LEADING INSTITUTION OF TIIE NORTHWEST THE COLUMBIA SCHOOL OFMUSIC Arrange to have your SPECIAL SUMMER SESSION OF SIX WEEKS, OPENS JUNE 16th Summer School Announce¬ FALL TERM OPENS TUESDAY, SEPTEMBER 1, 1914 haphazard, experimental, CLARE OSBORNE REED, Director E. R. KROEGER GOLD AND SILVER Announces SUMMER SESSION—ALL DEPARTMENTS—SPECIAL ADVANTACFS ment appear in the June FOREST PARK PIANO. Beginning Monday, June 22nd a issue, sending copy to the T.v'olceJsdthyea": Advertising Department is, Prep, and College of Music. MEDALS Send for Circular PIANO-VOICE-VIOLIN-THEORY-PUBLIC SCHOOL MUSIC before May Sth. SUMMER SCHOOL I MUSIC OPENS^JUNE 1st. Kimball Hall - Chicago atalog and Sp.cia, A„no~e„t address J. B. HALL. 509 WABASH AVE. CH.r'T£ Valparaiso University flSttl UNIVERSITY The University School of Music offers courses in Piano.Voice,^ Violin,^ a,Organ,!__ Organ, Theory and Public School Music. Students may attend the Mus^bchool and also take the regular work at the University. The Mary Wood Chase School of Musical Arfc THE EXPENSES AReVhV LOWEST “ " U“" MARY WOOD CHASE, Director 1 3.00 per ‘ 1 1 ~ 1 with Furnished Room, 31,80 to ?3.00 per week. MARKS’ Author of “Natural Laws in Piano Technic’ Hughey Color Music School mailed tree. Address Henry B. Brown, President, or C rP. Kinsey, Vice Presiden F. F. GUARD’S of the 42ND YEAR WILL OPEN SEPTEMBER 1914. WRITING BOOK Summer School—Third Season s^Tave''Weuk1in*ton ‘ Michigan. ' * ibining summer study ana recreation. For full partied !rtt*h‘ke’ Mich, James Millikin University is address Delightful MUSIC PUPILS’ LESSON BOOK PRICE, 15 CENTS E. H. LOGAN, Secretary, 630 Fine Arts Building, Decatur, Illinois, U. S. A. AND PRACTICE RECORD Summer Term opens June 1st DANA’S MUSICAL INSTITUTE PRICE, 10 CENTS Color Music Material and Books for Sale WARREN, OHIO Forty-fifth year.f Music taught in aH its branches. Lessons dailyand private. Fine dormitories for This little book is intended to cover .11 ^ during*y bookl5eePinK 0,1 the pan of tcacto years’* Supertor^adulty^^Ever^state and'country irTNorth^Amertc^patroni^Cathh'schrwyL^.’Fime^re^al SUMMER VOCAL STUDY hall with an orchestral concert and soloists every Wednesday night. Pupils may enter at any time. Send the teacher’s assignment * of work*at for 64-page catalogue blue book and historical sketch to WM. H. DANA, R.A.M,, Prest. ,hf of time practiced by tl* pupil, and the teachers ratine of the ]e*#n: This medal made of gold, roman finish, sh^emTsiae,SOac^^oritkrsP!nhf1^^ il pedagogy of substantial weight, engraved to order, fssuednd comPrehensive book of its kind ever 11 privileges, Special Low Rates for Beginners net, postpaid, #5.00. The same in silver, THEO. PRESSER CO., Philadelphia,Pa. Send for handsome Catalogue to the net, postpaid, #3.00. Beethoven.. Conservatory „ - s BROS. EPSTEIN THEO. PRESSER CO., Philadelphia.* Or.e of the oldest and best Music Schools in the United States N. W. Cor.Taylor and Oliv, Sts., St. Louis, Mo. Theo. Presser Co., Philadelphia, Pa. Please mention THE ETUDE when addressing our advertisers. 400 THE ETUDE Directory of Summer Schools

NORMAL COURSE A NEW AND WELL-PAID PROFESSION AND PRIVATE LESSONS in the beautiful TIROLEAN ALPS^near Italy and Is Open To Women Who Study THE FLETCHER MUSIC METHOD VICTOR HEINZE of Berlin The Summer School for Teachers ^rook?ine?BoJ8“Ln)

Harvey Worthington Loomis says: “How any music teacher could ever allow

Brenau College CONSERVATORY EVELYN FLETCHER COPP s, 31 Yor

Peabody Conservatory of Music

BRENAU, Box 97, m THIRD SUMMER SESSION JULY1T0 LESCHETIZKY’S SS EDWIN HUGHES as of Piano for the St

HEINZE SCHOOL OF Ml BRANDON INSTITUTE COMBS BROAD STREET CONSERVATORY

We develop your la the U. of Pa. Training courses:s lorfor Teachers,teachers, Public School Musi< DORMITORIES. A School of Inspiration, Enthusiasm," ' im, SuccessSucc and Loyalty ' CHARLES VEON, Pianist. GILBERT RAYNOLDS COMBS, Director, 1327-29-31 S. Broad St, Philadelphia STEREOPTICON LECTURE RECITALS Shenandoah “MOZART AND HIS MUSIC” Collegiate Institute or toVdenverPaeth'rCd to?urnish an cn,ire ptopj®. ■ and School of Music ■ rdvHfii?' . How to Conduct a Music School -of Stale N ■»i; School”■ California, Pa.

T“ Th?for - ““ “h~> °< Shepard Summer School, °TjG June, July and September (omitting August) BUSH TEMPLE 1914 SUMMER SCHOOL ™? E OW*Sn.1Mi Repetition Class ‘ Annual Five Weeks Summer Normal . . tinc,ludt :llu?trfted lessons in technique, interpretation, repertory ISABEL HUTCHESON, Director g|/ method’ class-instruction, etc. Write today for special circuit pllcablc to *l!ll ORADRslh*fESdtfor'Kit'of nUtat* Piano, Voice, Violin, Theory. Public School Music and Musical Kindergarten Course * Faelten Pianoforte School, Boston, Mass. JuljT 4th. Bush Temple, Dallas, Texas PIANO TUNING A School with ideals—and means to attain them. COURTRIGHT SYSTEM OF MUSICAL KINDERGARTEN Regulating and Repairing Atlanta Conservatory of Music The oldest, before the musical world. Teaches PIANO from the A Complete Course of Self-instruction Faculty of Artist-Recitalists. All departments art, SIGHT READING,"tRANS- complete. School Orchestra and Chorus. Public POSING, RHYTHM and EAR TRAINING. for the Professional or Amateur School Music. Oratory. Languages. By J. CREE FISCHER SUMMER SESSION BEGINS JUNE 8th, 1914 NORMAL COURSE BY CORRESPONDENCE Atlanta Conservatory of Music PRICE $1.75 Peachtree and Broad Streets, - Atlanta, Georgia of great practical value. Arranged : system guaranteeing results. IVr.te for /aW/c«Xrk,11\?6grEdUUW, Brid«no" V- l'a"---- -• iroughlyil% tratld'makiJf aboS°,,S • used for self- iinstruction, n s tm c t i on, ‘' cori«>r r espo, idem book in schools Southern University of Music Gerard-Thiers, Kurt Mueller, Directors SUMMER COURSES IN THE ART OF TEACHTNr wodrkr|IHl°fKT1 g^ns.,nWeefhi'rik 353 Peachtree Street, Atlanta, Georgia PIANO, VIOLIN, THEORY, FOR PROGRESSIVE TEACHERS musktians who'live in“EJ)**1 Sumrner TcjibS' tuueredand*theiiare'> ,V'S'**‘L *>5" Pro*' Rawin’ also bc"j Pr”f^ ■S?e Tag»5®asa! -,h* 5 to add t< F^ormatfou HAHN MUSIC SCH00L, 33,5 g ^ b?ordefrm leachi,1K hyk^tpi

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