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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
7-1-1910 Volume 28, Number 07 (July 1910) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 28, Number 07 (July 1910)." , (1910). https://digitalcommons.gardner-webb.edu/etude/560
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JULY 1910
SEETH0V1 AbbeGELlNEK MoIaHT BEETHOVEN AND MOZART Baroness DOROTHEA MOZART'S WIFE Princess ERDODY
S'Year
THEO. PRESSER CO THE ETUDE Intermediate Studies LEADING TO VELOCITY PLAY¬ ING AND MUSICIANSHIP New Publications MELODIC STUDIES -— FOR EQUALIZATION OF THE HANDS Premiums and Special Offers By ARNOLDO SARTORIO Easy Engelmann Album Op. 853 Price, SI.00 Nature Studies Musical Thoughts lor Third grade studies of unusual excel¬ of Interest to Our Readers A Song Cycle for the Ten lence, suitable for a variety of pur¬ A MONTHLY JOURNAL FOR THE MUSICIAN, THE little Tots FOR THE PIANO poses ; independence of hands, equal¬ MUSIC STUDENT, AND ALL MUSIC LOVERS. School Months ity, velocity, endurance, style. The School Songs forVoice or Piano Price, 50 Cents composer is a European writer and ^Edited by JAMES FRANCIS COOKE Words and Music teacher of established reputation and THE WORLD’S GREAT BOOKS By FRANK L. BRISTOW By L. A BUGBEE Twenty-six of Mr. Engelmann’s very best popularity. Each study introduces an and most popular teaching pieces of easy equal amount of work for either hand, All Should Be in the Library of Every Home Price, 50 Cents based on the same technical figure. All Price, SO Cents grade collected into an attractive and sub¬ of the studies are melodious and inter¬ Liberal premiums and cash deductions arc allowed for These ten songs are intended for the stantial volume. No better recreation esting to play, tending to lighten the obtaining subscriptions. THE LIST „ rt{t school months from September to June, in¬ pieces can be found for pupils working In Oliver Twist.Chas. Dickens A set of twenty-five charming little songs the first and second grades. All young labors both of the teacher and pupil. The Premium Ulter clusive. Each month has its appropriate for home, school or kindergarten use. The The studies are well contrasted In ma¬ REMITTANCES should be made by post-office or express Great Expectations.Chas. Dickens soug, bright, characteristic and original. composer Is a well-known specialist in work players like these pieces, and are willing terial, and are arranged in progressive money orders, bunk cbeck or draft, or registered The composer, who Is an acknowledged au- with children. The songs are tuneful and to work at them. The pieces are of vari¬ order. A valuable addition to the cur- letter. United States postage stamps are always Old Curiosity Shop.. Chas. Dmkens We will send ONE of pleasing, suited to the compass of the ous styles and are arranged progressively. " ' 'ermediate studies. received for cash. Money sent ln letters Is dan¬ Hard Times.Chas. Dickens ume as one of his best works. Each song child voice, and the verses are bright and They consist of the various dance forms, gerous, and we are not responsible for its safe Is a gem. melodious and singable. Many catchy, varied in style and character. The reveries, songs without words and charac¬ Mill on the Floss.George Eliot these books postpaid For of the songs may be used as action songs. piano part Is well-made and easy to play, teristic pieces. SIX MELODIOUS STUDY PIECES DISCONTINUANCE—If lull the Jonm Adam Bede. ... George Eliot • . All will be liked by students. The piano and as it carries the melody throughout, Romola. ... George Eliot every new subscriber sent accompaniments are well written and dc- each of the pieces is thus rendered avail¬ By CARL HEINRICH DORING cjdedly rhythmic, affording good support to able as an instrument number. This is one Silas Marner.George Eliot . 1 oresent sub- of the best original collections of children’s Op. 306 Price, 80 Cents Crade IV Kenilworth.Sir Walter Scott to us W a Present suo Presser’s First Blank Pleasing In melody and rich in har¬ mony, and of real developing value for Ivanhoe.Sir Walter Scott scriber to THE ETUDE. taste as well as for technic. The left will 1 «■v lehmayer. They are based on the assump- *lself easily to velocity plav- A Day of Summer Music..Harriet M. Brower pieces of music at the cost of about one-half cent each. This is in addition to the inspira¬ reference; it may be placed on the music intermediate grades, lying chiefly in the ™ Teacher’s Round Table.A7. J. Corey rack and used in conjunction with the tion that the development of the fourth Not their least value is in their tion and the interest which is awakened by the reading of THE ETUDE pages. Let hymnal the anthem and the voluntary. first position and not going beyond the and fifth fingers should not only equal, hut tendency to refine taste and develop £ Voice Department.Karleton Hackett The book is in compact form, carefully a'r- third position. There are in all twenty-one if possible exceed, that of the second and keener appreciation of what is best in Violin Department.R. Braine every teacher consider this offer, 25 cents cash for any three of the Summer issues. It will pieces, in various styles well contrasted. third fingers. In accomplishing this purpose music. Pupils will find the short hints ranged and Indexed, so that anv required The pieces are either original or specially Organ Department.E. E. Truette pay to recommend its acceptance. Interlude or modulation may lie readily arranged; none are to be found In any other the third and fourth fingers are chiefly ex¬ m the annotations of much practical Children’s Department.H. Elwood turned to. It does away absolutely with ercised together. These exercises may be iliS ■ e ten studies are compressed Publisher’s Notes. the necessity of improvisation. Used in con¬ collections. All the numbers are melodious • used in connection with any system of tech¬ "KM” {;wenty-two pages, thus suffl- junction with any harmony text-book it none ?Fki drY or technical. They will prove nic, and if practiced industriously and in clently short to ensure thoroughness. World of Music. furnishes excellent material for the study acceptable alike to the teacher and student accordance with the directions of the au¬ New Publications . of musical analysis. 3 for1 recreation°and ^ thor, they cannot fail to accomplish the Wit, Humor and Anecdote. THE BEST MAGAZINE BARGAINS desired results. VELOCITY STUDIES Answers to Questions.Louis C. Bison FOR CABINET ORGAN OR PIANO Testimonials. IN PRESS By THEODORE PRESSER A Children's Alusicale Club..Robert E. Innis ■ FOR SALE AT LOW ADVANCE PRI( CES Price, SI.00 Crade ll-lll MUSIC. SOLID COMFORT HAMMOCKS SEND FOR BULLETIN These studies are in the fire-finger, Petit scene de ballet.L. Schutt '"S'jesT.ra'rs”"'7 TONE PICTURES, OP. 191, bv Josef Low SINGERS’ REPERTOIRE (35 Songs for Fleetfnot.TV. R0ife , No. 1 is a cl- se canvas weave hammock in checkered twill stripe, has ornamental wood bar at THE STANDARD YOUNG FOLKS’ His: Medium Voice). the notes lying choeasilyV!i andunder motive the handsforms, Fairy Tain (4 bands)_W. C. E. Secboeck TORY OF MUSIC by J. Francis Cooke OCTAVE VELOCITY (24 Studies for the the figures coming within the octave’ Banner of Victory (4 hands)..../•’ von Blon ■ T& I-fuSS P " Giv“ ru~» MISTAKES AND DISPUTED POINTS IN Pianoforte). Rogers. A M,nSIAVtSS MANUAL FOB MUSIC MUSIC TEACHING by L. C Elson the technical melodic and harmonic Gavotte in B Minor.L. Sassberq ■ TEACHERS. G. C. Bender STUDIES FOR THE LEFT HAND ALONE SONG STORIES (Vocal or Instrumental). ho we ve!*6 ln f n r ln €qu,al mimbers, all. At Twilight.A. O. T. Astenius ■ PRONOUNCING DICTIONARY OF MU¬ Berkedal-Barford. Rowe. ™luable material Srherztno. Op. 21, No. 6.0. Karganofi • SICAL TERMS by H. N. Redman. PLAY TIME AND STORY TIME (12 Funeral March.P. Tschaikowsky RECITAL ALBUM FOR THE PIANO Piano Pieces for Young Players). faSili «readinS and a more seven yearly . bscnptions to THE ETUDE. When ordering state if you prefer Red Blue or MUSICAL GAMES AND PUZZLES bv LEFT HAND RECREATION ALBUM! Ire fnlll Thes» studies “Of" »*> Eves.II. Nrcke ■ Green stripe design. Spreader, valance and throw-back upholstered pillow with^ach hammock. Daniel Bloomfield. y Swift. as to to the piano student A Little Stranger.Geo. L. Spaulding ■ “For further inforn ,orsa,n pupil, and they are of On the Stage.//. Engelmann nation about New Works In Press see Publisher’s Notes” ^®?tional value to the organ pupil, Dance of the Crickets (Violin and Piano). Add 25 , to all of these offers for each Canadian subscription cfuiiidhlfle!d.helP ln a Lltherto puo": r „ . M. Greenwald Romance in E Flat (ripe Organ). Send fm :plete_ premium lists, illustrated, including music and books, music cabinets, book- m T. n. Williams ses ladies’ desk and 1 numerable things of value and it Indian War Dance.. s.p. Brounoft :o music teachers and music lovers. SubjectSublet® to a "iS’k liberal We , SlSheetn* upon Music e*am!nation Discount Cotne. Holy Spirit (Vocal).T. Lieurance ■ But What Must It Be to Be There (Vocal). THEO. PRESSER, Philadelphia, Pa. . _ „ __ G. N. Rockwell ■ SEND ALL REMITTANCES TO Theodore Presser If Only Thou Art True (Vocal). 0. C. Robinson ■ THEODORE PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. G Built especially for people of high R artistic discrimination who appreciate STRICH&ZEIDLERlSj J the difference between good and best NEW YORK CITY P Your correspondence solicited mention THE ETUDE when addressing our advertisers.- THE ETUDE 435 THE ETUDE “The House That Helps the Teacher” LATEST TERSE FACTS for W. H. WILLIS & CO. SUMMER READING PUPILS’ RECITAL MUSIC CINCINNATI, OHIO. CHICAGO, ILL Peters’ Modern Pianoforte Method, £ye^-r“; 4 HANDS—6 HANDS—8 HANDS MAGAZINE BUSY TEACHERS while not designed as a “Self Instructor” comes - nearer making such a feat possible than any book yet published. Most carefully fingered and con¬ sistently graded. Heavy paper binding in cloth FOUR HANDS so 60 back. Introductory price, 60c. tonnected with the composer or BARGAINS IT IS NOT POSSIBLE TO OVERESTIMATE afdToPaSbetter the value of having on hand a stock of music The Beginner, it#'3K& anSUfor 2.00 ^ ;$ (on sale) consisting of the best pieces for OR LAOItV WORLD t F WITH THE ETUDE >$1 instruction and recreation, as large as the number of pupils demands, added to monthly, by packages of new music or for special Exercises in Scales and Arpeggios- needs as they arise. Settlement once a year. SIX HANDS Dominant Seventh Arpeggios with TO CATER SUCCESSFULLY to the needs and rv»™-/tc r*f the Diminished Seventh, /$3.00 exhauj • ’ Durably desires of a clientage of educators requires, heavy paper. Introductory price, 67c. peculiar conditions and advantages possessed Selected Studies $1.85 best pedagogic materials, carefully graded; These by but few houses. studies are a part of the regular curriculum of the Cincinnati Conservatory of Music. Introductory THE HOUSE OF THEO. PRESSER has an experi¬ price, each volume, 38c. ence of over twenty-five years as publishers, Studies for the Acquirement of Sight Singing by A. J. Gantvoort. Director of the Cincinnati based on an intimate knowledge of the needs College of Music. Ex-president M. T. N. A. Book 1 Diatonic Studies. Introductory, 57c. EIGHT HANDS of the profession, the result of actual work. Book 2 Interval Studies. “ 7Sc. Basis:—’A large well selected stock of the publications of all houses, American and Foreign <1 constantly added to, by the best of the new 4 HANDS—6 HANDS—8 HANDS of all publishers. DO IT NOW The Child's Song Garden A constantly increasing catalog of original beautiful songs with ranges easily sung by any publications* of great educational value which will the most beautiful words of Stevenson, Riley, Field. Dickens and many others. sMiiLJi i$4.00 be found in the studio of almost every music Beautifully bound in full buckram, with fitting White-Smith Music Publishing Co. illustrations by Dixie Selden. Price, $1.00 teacher. One of our publications, “ Mathews’ OUR CATALOGUE CONTAINS MANY HELPS TO Standard Graded Course,” enjoys the unique dis¬ THE TEACHER AND STUDENT. tinction of having been imitated and paralleled to •^-COMPLETE CATALOGUES ON APPLICATION a greater extent than any other educational work HARMONY TEXT BOOKS HARMONY BLANK BOOKS ever published. JIT A force of 150 efficient employees, drilled and trained for our own particular business; That over 80 per cent, of our employees of ten years ago are still with us and 67 per cent, of five years ago, are significant facts. E SIGNER i$2.25 .‘wJrs.'sra ft »" \ JTT Publications for particular purposes selected EAetude i$;°g0 from the catalogs of the world, made into con¬ A. 0. COMINGS & SON, Publishers ail Music Healers, OBERLIN, 0. venient lists and sold as though our own pub¬ r OF REVIEWS/S4.50 lication, at large discounts, is a sample of up-to-date service furnished in one particular. TO WHICH WE ADD Large Discounts, the same upon “On Sale” as MUSICAL KINDERGARTEN METHOD upon regular orders. For the Nursery and the Class Room Liberal Terms and Courteous Treatment. Promptness in Filling Orders. TCHELLOR and CHAS. W. LANDON Accounts Solicited with any responsible pro¬ fessional musician. Satisfaction Absolutely Guaranteed. Catalogs, special lists, our system of dealing, information on every sub ject connected with music, free for the asking. Large or small orders receive exactly the same attention. “ On Sale ” packages sent cheerfully, even though regula orders or renewals of “ On Sale ” packages are sent through the local dealer. Headquarters for Everything Needed in the Teacher’s Work THEO. PRESSER CO. THEETUDE 1712 CHESTNUT ST. :: PHILADELPHIA, PA.
mention THE ETUDE when addressin 436 THE E T DDE ETVDE JULY, 1910 VOL. XXVIII. NO. 7
What is the matter. Fra Elbertus? Has some one been picking flaws with your excellent and brilliant pamphlets upon music and musician;? If this is the case, do not forget that some of the greatest of our authors have made some very amusing blunders in musical terminology. Inci¬ It seems to be very aifficult to satisfy some of our readers in the dentally, it would be interesting to find out just what Fra Elbertus matter of a patriotic interest in American musical affairs. Time and means by “Lessons in vocal harmony.” again we have given space to worthy musical objects in America, but as a matter of fact patriotism can enter very little in a musical educa¬ tional journal like The Etude, appealing as it does to an audience of Two Kinds of Progress music lovers world-wide in its dimensions. The Etude stands for the best in musical education and in musical art. When we are convinced that some American devises teaching methods of a superior order, com¬ In his day, Louis Kohler (approximate pronunciation, Kay-ler) was poses a piece which deserves to be ranked as a masterpiece, or achieves called the “heir of Czerny.” The great musicians who knew him thought success as a singertor as a performer we want our praise to be unbounded. that he was one of the greatest of all teachers of his time. The names We do not desire to praise them merely because they are Americans, of Kohler’s own teachers would be known by but. few of the readers of but because their work entitles them to international recognition. The Etude. He did not depend upon their reputation for his own results. At the recent performances of an opera by an American composer He thought his-own ideas and made his own methods. Among other things in Berlin there were pronounced pro-American demonstrations in the Kohler found that a carefully selected and intelligently graded set of audience, which we are told was composed of many citizens of the interesting studies provided the teacher with an economical and excellent United States. German critics in most of the papers tell us that this method, of ensuring regular progress. It is possible that in some few demonstration was unworthy of the piece. If this was the case, the instances this course of studies might not have been just the thing for some- mistaken patriotism of our friends was an injury to American art. The particular pupil, but Kohler and many others found that it was far better work of our musicians must stand the severest test in the world before to have some such course than to let the pupil drift ahead without a real it will bring the fullest fame to American musical art. guide. The success of the Kohler books exposed their shortcomings and When a Mason, a Sherwood, a MacDowell, a Paine, an Eddy, a limitations. They were not exactly-suited to American conditions, and they MacMillen, a Spalding or a Nordica goes abroad and the world unani¬ did not reach high enough to encompass the ambitions of students of to-day. mously acknpwledges the artistic worth of their musical efforts we are The outcome of this was the “Graded Course.” Teachers innumerable have only too glad to prod ouV editorial eagle until it does the proper amount abandoned the old-fashioned, slipshod methods for the “Graded Course” of screaming. Incidentally, let us quote another passage from some idea. . Some teachers do not use all the studies, hut since these courses remarks made by Josef Hofmann in The Ladies’ Home Journal: have in most cases been selected by musical educators of experience and Americans should take cognizai not stood still In music nny mere tb. ability, the teacher will find that they may be adapted to particular cases STANDARD WORKS FOR USE IN SUMMER SCHOOLS has recorded an advancing step in , with little effort. No matter what other studies you may use, it is a fine Special Courses for Teachers compare the Europe of to-day with the_of fifty_ j, plan to retain the “Graded Course” as the backbone of your work. , And Training niTo. n ” astonishingly large number of clever-r and capab dans in America, and, as witlTgood “physicians -rwyers. theh „_ usually stands in Inverse proportion to the amou their advertising. It is these worthy tenehers for whose sa'te the superstition o' ‘stuuylrg FOR PRIMARY COURSES nn1f°aw«ula foVTorn. What Uncle Ram has. in'the field of'. STUDIES FOR THE INTERMEDiAT d.wtlv prnd"CPfl b° has acquired bv the natural law of attraction “Americanitis and Music” ADAMS, MRS. CROSBY now tnat so many talented and learned instructors, both native am uurune ivie THE PUPIL’S LIBRARY "" „they snould^be given a fair opportunity to finish a pupil’ J?' pu*|lne Melodies. Complete .10 (First series) . 7g it, instead of seeing him, half-done Op. 14. 1lone one Stories.Slori. • .40 grades" In the April issue of The Etude there appeared a remarkable sym¬ m poser has furnished music CHRISTENSEN, OVE posium, to which several of the most renowned teachers, virtuosos and pleasure an > pr.flt. Tn.' very simple 3 Eludes for the left hand alone. .60 lynes, frank viueu wan so ery si“’p^e m®ihd>i«8 p°IcreofchildiSIs'mrisfc.111084 SuCce'slul com- singers of our day contributed. They had been asked to indicate what EGGELING, GEORG Key Circle Exercise*. onifdren!"®Up^"i atlSVf” THE PUPIL’S FIRST ETUDE ALBUM Three Books, each. seemed to them the most serious faults in our American musical educa¬ 62 Easiest Pianoforte Studies.73 medPfn^d,i?,iS,eI,,0ydi°U9 °c,ave eorniffvm yii!l!e"d.e;1 for tc'hnical train I r tion systems. It is a splendid thing to know our faults, and only our FAELTEN, CARL 111 the form■ of• attfaVtn? best friends have the bravery to tell us about them. Better still than 10 Easiest Pieces, by J. S. Bach.. 163 rhyhini Sn' "Te S“'ented "fj|M oi octave Study* 10nS’ embraciug every species aa'S;te Elbert Hubbard, whose individuality is so pronounced and whose knowing them is to acknowledge them frankly, fairly and honestly. trades 0: __ GlIRLITT, CORNELIUS EGGELING, GEORG pen is so gymnastic that he has made for himself more friends and Excuses, especially self-excuses, are worse than useless. As Shake¬ TAPPER, THOMAS ssss speare puts it, “Patches put upon a little breech, discredit more in hid¬ 0 A Funding,V'f ) Pianoforte. more enemies than any one of our ninety million citizens, has recently Sight Reading and Memory Lessons .73 Sc,.a tor descriptive circular. been finding fault with musicians for not tolerating the layman’s criti¬ ing c 5 the fault.” One of the faults, which most of the contributors to The ideal begin] ..75 E wellFaesWmPLrl0rAmer-!.are theic who do not covet honest appreciation as difficult to ' 6 cn*,c,sJn- The technical side of music, however is so d fficuit to comprehend that the musician is as quick to ridicule the When 1 v2in: jwwner with a a body. blunder,ng and amateur critic as is the plumber willing to smile at Ee e have relaxed the muscles at will we maveneilv and peaceful in spirit. The bodily conditionis tthe b hurry when w sx ’h° h,‘brousl" ■bou, ■ s"»“ "w. ? th* nervous system; ™rk°ng» 439 THE ETUDE 438 THE ETUDE progress toward a mastery of expression- Fidd, to¬ musical surgeons. gether with Mendelssohn and Chopin, he wdl also hqld later on as the fountain heads for the study of ffitef- Laloy claims that music, like other arts, ‘s jn*f ^ ;n by the rejection of abstract rule Debussy does m by MAGGIE WHEELEB BOSS. pretation in pianoforte playing. I would not consider music what Mallarme and Whistler do in their a a young pianist’s course of study complete, did it not We are told to wait for grace to understand and Have you ever met the musical surgeon? 11* include some of the Field Nocturnes. /. if we do not get this, we must give up the quest student who is so entirely obsessed with the an- “The study of Schumann should be put off until a rather late date, largely on account of the rhythmic altogether. ' are alyzing mania that every composition which fall, The Development of Musical Taste difficulties which this composer offers to the young The orchestral readings are to be direct, w under the fingers becomes a subject for vivisection An Interview with the Eminent Viennese Composer student. There is danger of the pupil’s normal sense told, and not too emphatic. The melody is The creature who holds perpetual clinics for dis¬ given only slight relief, or the works will fall »to EDUARD SCHUTT of rhythm being very much unsteadied by the synco¬ In the Journal of the International Music Society secting musical compositions, and who becomes so pations, often quite complicated, which are met with the “affectations of the Romantic school like be completely absorbed in form and structure that (he Secured expressly for “The Etude" by EDWIN HUGHES. A new composition of is an unsigned article on Music and the Channel Pas¬ mann.” This is certainly killing two birds with one at every step in Schumann. sage. The barrier formed by that unruly body of stone. Wagner and Schumann! How many others esthetic and artistic elements are ignored or over Eduard Schiitt appears in this issue “In regard to technical development, I should advise water was a considerable one except in the last cen¬ must we* put on the shelf for the sake of Debussy. looked. Such people lose the power to feel the Czerny, Cramer and Clementi as the daily bread for tury, and it took some time for musical influences to Would it not be more economical to put him on the beauty and melody of a musical work. In the wild the student. One must spend many conscientious hours reach England from abroad. In the Middle Ages, shelf? . , search for subject and answer, theme, episode, coda, over these etudes, if one looks forward to one day Continental Europe was the loser, for counterpoint cer¬ It is quite true that Debussy is the Whistler ot cadence, period, or key-relationship, they remind one attaining a solid piano technic which can always bp tainly had its origin in England. The earlier school, music. But is that such a great distinction? Ernest of the excited “knife-mad” surgeons, always on the depended upon. Czerny, the first of the three, is to •culminating in songs like the famous “Sumer is icumen Newman, in a recent article on the subject, observed lookout for a new subject to investigate, hoping [Editor's Note—No composer of high class salon < the pianist what Concone is to the vocalist and what in,” and the later school, of Dunstable, both antedated with much wisdom that the greatest men in any art thereby to find some unusual condition of organism ,re widely admired and played than, Eduard Schdtt Kreuzer and Rodin are to the violinist. In a con¬ the beginning of the Flemish school, and even the deal with the simple, every-day things of life. It or physical structure. Such students may be mas versation in Paris recently with Mme. Samaroff, the is only the second and third raters who strive for French school of Jean de Muris and his predecessors ters of technic and faultless executants, but nobody subject of daily technical study for the public player what is new and startling. Wagner was an excep¬ was merely a reflection of the older English qrt. really enjoys hearing them play. They don’t get came up—for the pianist whose time for technical work tion to this rule, but Debussy can hardly be called “Adolf Henselt is a composer whose works are is limited on account of traveling* etc. Mme. Samaroff But in later times England lost her leadership, and into your heart. You may admire the display of Eduard Schutt is personally the genial and de¬ so. His piano works gain applause because in these most unjustly neglected by modern pianists. He asked me what I would advise in such a case as the looked to the continent for guidance. In the 17th musical fireworks, but you would not ask such peo- lightful man that one would expect to meet in the he put much musical beauty. He is an apostle of is accused of having become old-fashioned, and yet century we find Pelham Humphreys sent to France by composer of those charming works for the piano¬ delicacy, but that without beauty will not succeed. pie to play to you when your heart was heavy, or his etude ‘If I Were a Bird’ must still be looked Charles II, to bring back an account of opera and forte which have been such a source of real delight His new harmonic system is accepted by very few, your brain weary. on as one of the most grateful numbers in piano¬ ballet as exemplified by Lully. This had its influence to piano-players, in many lands. By nature one of and his works charm most when they use the old one. Of course, every teacher and every serious stu¬ forte literature, and his ‘Berceuse’ often finds place on Purcell, whose operas contain so much good music. the sons of sunshine, and possessed of an entirely His “vague titillations of sound” (Niecks) have not dent should know the elements of musical form, in the concert programs of no less a pianist than A little earlier, Froberger made the trip from Ger¬ too modest impression of his own position in the terity. abolished the beauty of the “Feuerzauber,” the grand¬ much as all intelligent people should understand Moriz Rosenthal. “The Czerny Finger Dexterity studies can be used many to England. He met with shipwreck and rob¬ eur of the “Walkiirenritt,” or the deep earnestness music-world of to-day, he is the very personification the rudimentary principles of physiology. But as even with pupils who are not technically very far ad¬ bery, but the passage evidently impressed him aside of Schumann’s fourth symphony. In Debussy we miss of the German word “Liebenswiirdigkeit" (geniality). it is not conducive to good health to think over vanced. The first and second studies in the first book from this, for in one of his tone-pictures he intro¬ all the beauty of figure treatment, all the glory of With his wealth of ideas on the whole range of mu¬ much of the physical being, even so it is dangerous are particularly excellent for establishing firm finger¬ duced a musical description of the channel voyage. •development, all the charm of well-wrought counter¬ sical development, pedagogical and otherwise, it is only to artistic interpretation to overdo this phase of crossing movements. As a young man in Vienna I In the next century we see Handel and Haydn visit¬ point. Debussy is an exponent of elfin moods or necessary to touch the trigger with a few suggestive ing England, and exerting a notable influence. But dainty pictures, and he can no more abolish Wagner music study. The work becomes too mechanical, words to bring forth an animated elaboration of the used these two studies almost invariably with pupils whom I had at that time. after them English music fell into a vein of weak than the moon can abolish the sun. Still less can and the sense of imagination is lost. topic. ,, . sentimentality and stayed there for nearly a century. he abolish Schumann, who worked in a different field : While studying English literature I became so “The first and the principal thing,” he said, in “In Paris at the present time a great deal of stress It was really the invention of the steamboat that while the glory of Bach's polyphony would almost enslaved in the process of criticising and analyzing regard to the development of a sound musical taste is laid on the studies of Herz. What Czerny is to brought England into closer touch with continental make a true musician forget altogether the faint musi¬ that I lost the power of enjoying a story. While among piano-students, “is that the ear be properly Vienna, Herz is to Paris to-day. His piano etudes music. Incidentally, the credit for this is properly cal sighs of the “Afternoon of a Faun.” searching for form and structure, the connotation trained. The student must frequently attend good are excellent, and have been recently newly revised for given to William Symington. He had a double boat, of words, the grammatical order of sentences, and concerts. By careful listening to performances by use at the Paris Conservatory. with paddle-wheel in the middle, running on a Scotch MUSICAL NOVELTIES. the mass and proportion of paragraphs I forgot the best artists the taste for musical phrasing can “Many teachers try to make the more musical etudes of Haberbier, Jensen and others take the place of the canal as early as 1790. In 1801 he patented the pis¬ Novelties in Germany are numerous. To begin everything else. The characters became objects of be formed as in no other way. technical studies which I have named above. In my ton rod, traveling in a straight line on rollers, and with, there is the program of the annual Tonkiinstler- critical analysis, not real, living, breathing people, “Unfortunately musical taste among students is opinion this is a mistake, although the works of these in the next year he used it on the stern-wheel steamer fest. This includes a third piano concerto by Hans as they should be for true story interest. The de¬ only too often led astray in our times by the ultra¬ composers have their place as a preparation for the “Charlotte Dundas.” Fulton’s work on the Seine took Huber, Karl Weigl’s second symphony, a Rffimsodie scriptive parts became themes for critical study, and modern tendencies in the art. When a child is brought up in the concert-hall on a diet of Richard romanticists, Haberbier being preferable to Jensen. place in 1803, and his steamer on the Hudson began for piano and orchestra by Bela Bartok, Kloses the pure beauties of the scenes, as mental picture!, running in 1807. Wallfahrt nach Kevlaar,” songs with orchestra by Strauss, Debussy, Max Reger and such composers, were lost. In fact, the “word," “sentence” and THEORETICAL STUDIES. With the advent of the steamboat, composers could Hausegger and Lies, and an oratorio-setting of the it is naturally an enormously difficult proposition to “paragraph” bugbear developed into a fearful mon¬ “Too often with piano students the study of the come and go in quick time, and concert performers sixth chapter of Revelations, by Walter Braunfels. establish a healthy taste for Bach, Mozart and strosity, assuming the proportions of a literary theoretical side of their art is put off entirely too could reach the country easily. Weber, Mendelssohn New chamber music for the occasion consists of a Haydn. I must admit that I myself when young piano quartet by Reger, string quartets by Suter and Frankenstein, pursuing me wherever I strayed in long. I believe that the study of harmony and counter¬ and Wagner came in quick succession. Weber was had a great love for the modern composers and a Kodaly, a piano trio by Robert Heger. a violin sonata the fields of prose, and robbing me of all pleasure far greater desire to work at Schumann and Chopin point should be begun much earlier than is usually the killed by the climate, to be sure, and Mendelssohn was by Emil Frey, and a sonata for violin alone by Julius and relish in the tale. It was only after some years than the classicists. In fact a real liking for the case, and, in opposition to the general practise, that always seasick, and it was a sailing vessel and not a of struggle with myself to forget the principles of classical composers among young students in our these two branches of musical theory should be taken steamer that inspired Wagner’s “Flying Dutchman,” Erich Wolfgang Korngold is the full name of the rhetoric that genuine zest in reading returned. I day must, to a large extent, be brought about arti¬ up simultaneously. Thus the pupil gets a proper under¬ but the watery road was now easy to travel, and Eng¬ Austrian musical prodigy, who is now twelve years had to learn to forget what I had learned, and iu ficially. The well-trained teacher will know how standing of the fact that harmonic progression and land’s music soon became cosmopolitan. Our own old. His pantomime, “Der Schneemann ” was re ike manner I would advise the music student to to go about the matter. contrapuntal leading of the voices, (‘Stimmfiihrung’), country, too. was made musical by the steamboat, which cently given for charity, through the agency of the learn all he can of music structure, and then to go hand in hand.” made it possible for soloists and opera companies to Austrian Prime Minister. Its originality and matur forget all about it after a piece has been thor- THE VALUE OF CONCERTS. Schutt is very much wide-awake to the advances of visit us and civilize us. jty were remarkable. It is claimed that another prod¬ oaghly studied and the interpretative stage has been “When young students go to a ‘lieder’ concert musical composition in the hands of the modern com¬ igy has been found in Dippo d’Autolo, of Bologna reached. When a piece has been thus mastered the it is an excellent plan to have them read over the poser, but not always entirely agreed to the direction Among new operas are Novak’s “Tempes*” "(on a Player should think solely of the beauty of the texts of the songs which they are to hear, before and character these advances are taking, as the fol¬ Claude Debussy,” by Louis Laloy, is a complete poem by Cech, not Shakespeare), Bittner’s “Vlus-'kant” me ody, and the richness and beaut v of the accom¬ going to the concert-hall. This puts their interest lowing interesting remarks from him show: and interesting biography. It seems that Debussy was (very natural in action) Thierfelder’s “Do-fn-inr” paniment, rather than of its structure. on edge for what they are about to hear, and, what Eduard Schutt. “The modern pianoforte composer, that is, the com¬ and Gorter’s “Siisse Gift.” Goldmark is at work not a prodigy. His parents intended to make him a is more important, awakens a desire to see just how poser who does not belong to the ultra-secessionistk on a new romantic opera. Felix Gotthelf’s “Mahad sailor, but when he was ten years old a lady friend, the composer is going to handle his subject. In this school, is taking a line of developments which I may eva has made a profound impression. It is an Indian “Heller and Henselt I would recommend to all who had studied with Chopin, saw that he had tal¬ AUBER’S two famous operas. way the student is on the right road toward the describe thus: he endeavors to combine harmonic ec¬ legend of a god, Mahadeva, who must live on earth piano students as stepping-stones to Chopin, just as ent, and began to give him lessons. Later, at the building in his own personality of a musical and centricities, (if I may use the expression), with nov¬ and be made immortal again through love. The opera people know that the composer of Fn I would advise Clementi and Hummel as a prepara¬ Conservatoire, he showed an immediate fondness for artistic ideal. Dwwo/o wrote nearly fifty other works which en- tion for Mendelssohn, and through him, for Bach. elties in technical execution. The qualffy of the a chord system of his own. “I do not understand your abounds m effective scenes and excellent tone-painting “One great mistake that nearly all piano teachers Wemgartner is writing a svmphony and a „ ™ musical ideas which one finds in the musical composi¬ harmony,” he' said, “but I do understand mine.” In °vy'dcUCC,ess \n their day. but which arc now rarely make is that of allowing their pupils to begin too “The Clementi sonatas will of course occupy some concerto. In the Berlin Royal Library hav- been tion of the day is not a very exalted one, except Franck’s course of improvisation, he grew tired of that but * . u^cr was a most prolific composer, soon with the study of Chopin and Schumann. With part of the student years of every young pianist, and found parts of an unknown symphony by Mozart dat !th a wnter» as Grove's Dictionary expresses among the Slavic composers, such as Rachmaninoff, master’s ceaseless command to modulate, and he did the average talented pupil these composers should after these, the Hummel Concerto in A minor and so only when he chose. mg apparently from his Italian tour in I77o on, Scriabine, Novak and others. The secessionistic the tn,i=^e-mS ack t'le ^rm 8ra.sP which enables not be touched until the fourteenth or fifteenth year. his sonata for four hands (original), in A flat major At first Debussy was an ardent Wagnerite. Then A symphony by Rudolf Looks made a great Lr? writers of pianoforte music, as Debussy and Ravel, comnonen!311 by J* distinct grouping of individual How many composers of most charming works for will form important steps in the further develop¬ seek more for atmosphere, mood-pictures, than for real be became a devotee of the Russian school. Accord- whTt se 8’ t0 blend into a harmonious whole the pianoforte are neglected now-a-days on account ment of his taste. Of these two works of Hummel, ing to Laloy. he left the “mists of Walhalla and the musical ideas. Take for example, Debussy’s ‘Jardins hold nfC?LS m-°St, contradictory, yet without losing an ill-considered haste to begin that piece of Chopin the concerto and the sonata for four hands, I can¬ Grad” for the mosaics of Russian music, urged by bis dans, la Pluie’ (‘Gardens in the Rain’). Here one ric lc the jingle parts of the organism." Mu- or Schumann, and before the student is half ripe not speak too highly. The former is of course well- own precision and clearness. Laloy adds, “The charm has a very atmospheric piece of mood-writing, but not Masanirl7^ lncbned to look upon Auher’s’ opera for the task before him! of Wagner is broken for us also. This is the price forces, was pnatlv aonlauded same known; the latter much less. From the study of a single phrase of which one can say, ‘Here is a known wo ',eing.so 'a* neater than his best- this sonata young students will advance a goodly musical idea.’ we have had to nay for the renaissa-c“, not only of hardly cn 1 Dravolo, that the two works are STEPPING STONES TO THE GREAT COMPOSERS. our own (French'! music, but. as Nietsche foresaw, distance on the road to an appreciation of the fine “When I think of what aspects the musical taste of WamutV/n Pafab e' Wagner was known to admire of all music.” This is sad, if true. “When I mention the name of Stephen Heller, points of pianoforte composition. to-day is taking on, I feel impelled to lay down the Whh a r TV much- The plot of the opera deals Debussy lived in Russia for a while, and was espe¬ I speak of a man whose works hold a place very pen once and for all. There is such a spirit among WORKS OFTEN NEGLECTED. cially impressed by the Gypsy bands around Moscow. one occasTn un’ and its Performance was upon near to my heart. For me he is a classicist of the led to Hrf, ” followed by ricts in Belgium, which the music public at large of wanting to pretend to un¬ Their improvisations may have moulded his own fre“- very first rank. If I were asked to name the two “I might also mention, as valuable teaching material, derstand the works of the most highly ‘advanced’ mod¬ dom of style: for his style is certainly free, and has other occasion^%DUtCl1 °Ut °f the cm,ntry Up°“ composers whose works have had the most influence the works of three composers who were quite in vogue ern writers that the composer who seeks for develop¬ countries -c l, nS \ts Performance was forbidden in brought symbolism and impressionism into music in a on my own compositions, I should say at once. in the 6o’s, 70’s and 8o’s; namely, Schulhof, Spindler ment along rational lines must needs have some very high degree. His whole-tone scale is sometimes made have an iuT ^ tbe »"«»°ritie* feared that it would ‘Chopin and Heller.’ Heller’s etudes and preludes and Ravina, whose pianoforte compositions do not de¬ nra;,”» ^•0tRrVsei?Tet” wf gT' inv th" "ce?d,arv effect. Auber died in Paris dur- depressing moments at times. Persons with practically incomplete, as in the Chinese “Pagodes” and sometimes are to me wonderful in their originality and charm, serve the neglect which they now-a-days receive. no musical understanding will grow wildly enthusi¬ of ‘ Bernard^ Zv-eers ^ and it is said revolution known as the Commune, and in the masterly way in which the musical ideas all trace of any definite scale is lacking. Disso¬ “As the student comes further on his way, the Schu¬ astic at a concert over some ear-racking composition Cuba now enters th‘ listsU ‘7 ^ reminiscent. sown by Masa«,lh tfle seeds of the revolution were are handled and developed, even in these smaller nances are treated as consonances, and left unresolved. bert Sonatas, particularly the one in A minor, and the which conveys no rational ideas whatsoever to the Sanchez Fuentes, will be given at L^anr03*’’ cording to ° and °ther seditious works. Ac- pieces. Field Nocturnes will form indispensable steps in his through fear Cher's death was hastened educated musical mind.” t the consequences of the revolution. THE ETUDE 441 440 Stilted lytic in “canon” form, where the voices follow hand and finger gymnastics, which makes we,k and answer each other as if in a dialogue. It is s While Schiitt does not seek to condemn the ex¬ HOW WORKERS MAY KEEP THEIR HANDS muscles strong, flabby ones firm and stiff one, brief touch of sentiment, old-fashioned in its expre*^ treme modern tendencies in music as a whole, he still IN PLAYING CONDITION. supple. Jackson’s “Finger Gymnastics" is a iit„e has a most pronouncd antipathy to much of the output sion but genuine. A hint of a stolen exchange of book which gives valuable directions. After |cani. warmer looks and words between the bride and groom of the school. Reger and the later Richard Strauss Y FANNIE GILBERT. ing the movements they must be put in practice at he hates like the proverbial poison, believing that Ger¬ every spare moment till the hands respond by man music closed with the exit of Wagner. For the Debussy compositions he has more sympathy, and “How can I keep my hands in condition to play becoming strong, supple and active. Then do not speaks of the wonderful charm of some of the latter’s when I have the roughest kind of work to do.' leave off, thinking the victory won, but use them orchestral compositions, such as L’Aprcs-midi d un How many men and women who.have to toil with every day if possible, especially after doing anv “DOUMKA,” BY TSCHAIKOWSKY. faurt; Recognizing the fact that Debussy paints his their hands have asked this question! The house¬ work that leaves the hands tired and stiff. If 0ne As a piano composer Tschaikowsky is, comparatively . pianistic mood-pictures with a very impressionistic wife who found so much joy in the study of music is sufficiently interested to think of it, there can speaking, “an unknown quantity” to the majority of crush, he also finds many of his piano compositions in her girlhood is loath to give it up now that the always be found time for these exercises, for the American music teachers, partly because of the weirdly interesting when one bears this idea in mind. duties of the household make the necessity for hands we have always with us and odd moments can fantastic, ultra Russian character of his pianoforte The exchange of ideas on modern composers natu¬ variety and amusement in her life more keen. Lack be utilized. The teacher who first gave me these works, which are not very numerous, partly because, rally brought the subject around to Schiitt himself. of time and stiffened finger-joints are obstacles, of exercises was a very busy man. He told me he according to his own admission, they are not strictly He takes an entirely too modest view of his own posi¬ course, but what are obstacles but incentives to found time for them while on the train or in the what the German call “Clavier-massig,” that is tion among modern piano composers, and of the real success for the one who is really in downright waiting-room, and remarked, “I suppose folks think adapted to the piano. Yet there are some among musical worth of his compositions. Finally persuaded 1 am crazy, but that does not hurt me.” He con¬ earnest? Discouragement won’t help. You must them, which, in spite of this strong foreign flavor say something about his own Gei.teskinder sidered them so important that he was willing to find a remedy, and there are few things in life for habit of the olden days, including a revival of the and his naive disregard of pianistic limitations, are ( Brain Children”), and his ideas as to their interpreta- use the only time available. When undertaking the “RUSTLE OF SPRING,” BY CH. SINDING. which Nature has not provided a remedy. old rude games—trials of strength and various strikingly interesting and in the modern frantic scram¬ . tion, the author had the pleasure of hearing him play conquest of any difficulty we cannot afford to let Music is not an avocation solely for the use of It is a recognized fact that all composers, not less classically antique forms of amusement of the rural ble for novelties it is a wonder that they are so a number of his best known works, together with some ourselves be hindered by trifles that are of no real people of leisure, as was formerly supposed. Its than authors, are materially influenced in tempera¬ largely neglected. To this class belongs “Doumka, later opus numbers, and one or two compositions at consequence. sort. chief use is for the worker, and the worker often ment, habit of thought, general style, and choice ot In this music Grieg has not only expressed the prim¬ a thought. It is descriptive only in the strictly sym¬ present m the making. From the latter it can only be The tapping exercises are also very useful, and subject, by their geographical and climatic surround¬ itive, whole-hearted gayety and fantastic pranks of bolic sense, expressing grave—in fact, deeply gloomy said that Schiitt’s muse does not seem to have de¬ gets more enjoyment from his music than the pro¬ more of a substitute for practice for those whose serted him in the slightest since he brought him the fessional musician. In my own experience I have ings as well as by their racial heredity. the festival, but has introduced several realistic sug¬ reflection and the profound, intensely melancholy emo¬ time is limited, since they can be used anywhere at This is especially true of the Scandinavian com¬ ideas for his Carnaval Mignon, Thhne Vane, for the found that one may do housework, and sewing and gestions to heighten the illusion and maintain the tions arising from it odd moments. The body is often tired when the posers, probably because of the strikingly prominent various other things that are supposed to stiffen a It is a thought—or rather a series of thoughts con¬ M?gn'onne ^ bicn~aimie and the rippling Etude fingers are not specially so, and it is often a rest to and individual characteristics of their native land, with cerned with that most serious and solemn as well woman’s hands, and at the same time be able to practice these various exercises, trying to discover its rugged, yet fascinating scenery, its wild rock- Schutt’s playing is marked by a perfectly adequate advance in musical work. as most painful of all subjects with which the human how many different trills, turns and difficult figures ribbed. snow covered mountains, its smiling valleys, mind can grapple—the ultimate finality—death. In technical equipment, and a grace and charm in tone It did not take me long to discover that my chief and touch that perfectly suit the style of his dainty one can practice on table or chair arm in addition its sombre pine forests, its flashing, tumbling streams, addition to the vast significance,_ the _ vague terrors, difficulty was really in my hands. Flow to over¬ creations for the piano. to the regular tapping of each finger separately and and its broken irregular coast line, white with the the awesome majesty of the subject in the abstract, come it, that was the question. How could I com¬ “My compositions are conceived for the intimacy alternately. flying foam of restless breakers, its sharp contrasts it introduces, and dwells upon, the more specific idea bine the broom-stick and the dish-pan with scales of the salon. Like myself, they are not at home before I have found an electric battery very useful. of frozen winter midnight and fervid, glowing, sum¬ and more personal mood of a rustic funeral scene, in the large public! and arpeggios? It is-simply impossible to play well Electricity is well known to be very beneficial for mer days—all of which cannot fail of their effect on all its sorrowful details. _ _ , ElUde M'Znonne 1 ]>ke played at a lively if the hands are not in right condition. If the tired, stiff muscles, but perhaps not many have the imagination. The principal theme—slow, impressive, intense, muscles are weak, the joints stiff, the skin rough tempo, very smoothly, and with not too much tone in thought how useful it is to the amateur pianist. The Such environment and conditions have helped to give mournful, in its constant monotonous reiteration, rep¬ and inelastic, fluency and delicacy are seemingly out the melody The latter must sing and still not make first time one tries it the effect seems like magic, to the ancient mythology and to the more recent art resents the death song, or chant, of the mourners gen¬ itself too obtrusive. of the question. products of the Northland their peculiarly original the fingers feel so light and strong and supple. The erally in use among all races from the early Greeks— “Tendre Aveu is a little more difficult in regard to stamp. They are, in part at least, responsible for the The remedies I found for the-.conditions I have use of electricity also prevents any si i tin css of the and, probably, long prior to their time—up to a com¬ interpretation. Technically it offers no trouble except peculiar unusual type of genius of such men as Ibsen, described were: Proper care of ffhe hands; pro¬ muscles and joints after a hard day’s work, which paratively recent epoch, and still in vogue in the rural for a few measures on the second page. I see vou Bjornson, Grieg and Sinding. vision against needless accidents to the hands, and is a great item to the worker. A small battery is districts of Russia—a sort of dirge sung sometimes wish me to speak of the Canzonctta, too But why say In these Northern latitudes the Spring comes swiftly, systematic, rational exercise. I sincerelv believe not expensive, and one has only to try it to be con- by the friends of the deceased, sometimes by profes¬ anything more of these two; they are quite unpreten¬ that this combination will overcome all kinds of vinced of its usefulness. suddenly, with an impetuous rush. The ardent blus¬ tious little pieces, you know! sional mourners, specially trained for that purpose, obstacles of the sort I have described, and none but tering south-wind sweeps triumphantly over the icy “In regard to the Reverie, I must admit to you that battlements of the frost-king’s defences, breaking, at but always expressing the mood of the time and the he or she who is obliged to do the most severe occasion, now tearfully plaintive, now passionately since hearing it played in London in an arrangement a touch, the fetters of the mountain torrents, waking kind of work need give up musical study if the THE PROPER USE OF THE SOFT PEDAL, despairing, but suggesting always by its persistent itera¬ ntnn t"’ c.en°vand piano 1 do ,10t Iike * at 111 for advice I give is followed.. the flowers from their long winter sleep and arousing P'a"°, d^nC ,.Y?U fi.nd two voices running almost nature, with his jubilant voice, to prepare for her tion the endless hopelessness of the dread event. entirely through this piece, a characteristic to be found BY GEORGE HAHN. The steady, solemn march of the procession is indi¬ ACCIDENTS. bridal with the coming Spring. This ever-recurring in many of my compositions. I always feci the need cated throughout the composition, symbolically signi¬ Workers are especially liable to accidents. When phenomenon, in past centuries, gave rise to the beau¬ ,0f *18 extent of contrapuntal expression. thJllP » has,becn term«d by some “the soul of tiful allegorical legend of the Sleeping Beauty, that ficant of the relentless tread of that inexorable fate lhe Carnaval Mignon has been played often in 1 began to play and-learned to love it, I came to which plays so important a part in the beliefs and wher tb ’ yCt P,ayCrs advance ,o the point -enchanted lady in the dread castle of sleep, guarded 3 hT?ur °fTa,n accident that would injure mv conceptions of the Sclaves. The work closes with a RyfuBe,r,tha Marx and the Iate Clothilde Klee- We nLmh m'«ht. reaIiz«-’ possibiliiics. A by her stern jailor^ representing the Northland in its berg. Both these excellent pianists, together with hands, and then I learned to be -very careful and to sudden, startling crash of heavy harmonies like the soff JXZ? ^ u P,a.n,sts depend too little upon the winter trance under the spell of Jack Frost while her avoid accidents. Amateurs are scarcely able to rescuing lover—the Fairy Prince, who wakes her with clanging to of the door of a tomb—harsh, metallic as wheTit ca V:t0id 2? ‘hat ,thCy Were aWs «ghteTied touch Sh'n ! bClief th3t ,hcy ca" -Wove their 1™' ° thls "umber, on acount of the Sere¬ carry accident insurance, but by using care and fore a kiss to life and love was the Spring. His impa¬ it shuts forever upon hope and effort, joy and love. nade. This little piece is made up of two themes con- practice Fe * '*? USC' S°me emPIo>' •» oil)’ for tient approach, accompanied by rushing winds, and The scene is autumn, cold and brown and bare, trapuntally employed. A little tricky it is if one is dtlf 0r C3n 1inSUfe °UrS£lVeS agahlSt ordinary ffiey can I™. P'ayers ever -aster touch so that 6ms. One can leafn to avoid putting the fino-ers rustling leaves, the ripple of glad waters and the with no hint of promise, no touch of color anywhere. not quite sure of the notes. It requires an’ extraord where the hammer, the can-opener, the machine pedal in cIh W'thout the occasional help of the soft The mood is. the blackest that can be expressed in nary independence of the two hands. The entire group murmur of welcoming forests, is represented in this needle or kindred household weapons of destruction The sofl J°t I>r°dUCC de,icate and subtle effects. composition; which is justly one of the most popular music—a mighty tragedy in tone. of pieces composing the Carnaval must be played with can do damage. By taking thought we can add to c«I w lPfieda ’S 3 Sh°rt. road «o a sharp, dear- -of recent works for the piano. It literally imitates lime y Wh’uh the French cal1 'raiment.’ In the-safety and usefulness of our hands. tone is blurred' r It*"6' Whcn thc production of the gusty rush of spring-winds, the chatter of way¬ “TROIKA EN TRAINEAUX,” BY TSCHAIKOWSKY. n«mbfs- as m the Polichinclle, the impor- for the use of th de"!:)t1es a Iack of ProPer regard ward brooks, the all-pervading stir and rustle, and Mr. Edward Baxter Perry. This odd, jolly, half facetious bit of descriptive “Of0 bt,leJhythm mVSt receive due attention. PROPER CARE. Uf the Strauss waltz paraphrases, that on the this respect he V • WhCn ® pia"ist errs in murmur which tell of the quickening of new life writing for the pianoforte shows us the composer Talcing care of the hands means, first, consider¬ in a light, playful mood very unusual with him, and Kunstlcrleben Walser is my favorite. Also it seems tion of the soft pedal^ rh'T'r' r°f thc. appHca' throughout all nature, the thrilling of her pulses at artistic verities of the tone picture, as for example, to please pianists better than any of the others as it ing their welfare, then acting accordingly We c-m ciation of the use '.aCtk of ar"s,lc aPPre' the revivifying kiss of Spring while the warm emo¬ the sound of drum and fife recurrent and unmis¬ it forms the strongest possible contrast to the work just described. appears more often on concert programs.” L ,raKe.0Ur W°r! Utld°ne for the sake of our indifference toward th PCda Kcnera,,y denotes tional character of the melody, and the rich, sensuous takable, and the peculiar droning bass and whining In conclusion the author was curious to know the The soft MdaTwf.* rcsfol'tces of thc instrument, harmonies with their constantly recurring sevenths melody characteristic of the bagpipe—that most dis¬ The troika is a Russian vehicle used in the rural W!-y the k<* of D major seems to exert such S',hbr.:,v” ,rn ,o -w. ing rapidly sne* ^te" USefuI as a -«ns of produc- and ninths and frequent suspensions, suggest the vague, tinctively rustic instrument. districts. It has two wheels, a rude open body and | The skin should be kept as soft and smooth as half mystical, half passionate longings, the indefinable By the way, it is a mistake to identify the bag¬ no springs. It is usually harnessed with three horses , the n,?.*?- f°r the con,P°ser- Schiitt laughed when where sonorous ^hold00"*^5? nfter '°ud Passa®es' the question was put, and said: poss.b'e, since a hard, rough skin hinders the tonal effects nr . rds are followed by subdued unrest, the subtle blending of joy and sadness which pipe exclusively with the Scottish clans and their abreast, the middle one wearing a string of bells activity of the muscles. This can be Hnn„ k 1 wake and stir and swell and surge in the human heart music. True, the Scots used the bagpipe in war and similar to our sleigh bells. They are generally driven ' mentio by a gentle answer^A a.stronK Pcriod is followed at the voice of spring. tecting the hands with rubber or mnZ l,Pr<" be very effective!, ' A vlgorous forte passage may peace as their favorite, and almost their only instru¬ at a furious gallop over the interminable stretches of when doing rough or outdoor work, especial/* the soft pedal 7 COntrasted by intelligent use of ment of camp and field, as the harp was that of the rough country road, with much shouting and cracking r^t^rp2S’’which have become popuiar cold or windy weather. By using a good col “THE WEDDING DAY,” BY GRIEG. ladies’ bower, but the “ancient and honorable” bagpipe of the cruel whip, the drivers sparing neither them¬ . r."ent.ion.ed tbe Etude Mignonne, Au Ruisseau A This composition, m Grieg’s most characteristic vein, in some of its many modifications and under different selves nor their teams, the bells marking their pace la bien-aimee and the Canzonetta. cream to soften the skin and counteract the effec hy a too cone.’l, toucb should never be jeopardized of weather and water the pianist mav , was written for the anniversary celebration of his names, was familiarly used by all the Teutonic races, with wild clangor and clash. >• the s.™",although, seem to h? 3re qU’te Hght’ tbis Particular key do»s own wedding day which took place at his country home including the Scandinavians, and, to some extent, by In winter the wheels are removed from the troika discard it when it’h °re shou,d ,}c no attempt to occurs ,o ,m. T T**10" f°T me! 0ften a Melody among the mountains, fantastically named Troldhaugen, the Latins, especially in southern Italy and islands and the body is fastened upon a sort of sledge, making dued effects quicklvn ? "cccssary to attain sub- “ S. » ■ the street- and when I go to the peculiarities of our hands and our situation in . which means home or stronghold of the Trolls—the of the Mediterranean. Hence the monotonous drone are able to soften y very skilful performers a kind of sleigh or traineau. Hence the title thl kev oPn 0pr'u't SCemS to fal1 ciuite naturally into and learn to make the best of both The " Gnomes of the Norseland. The composition is in the of the bagpipe, simulated in constantly reiterated fifths without the ^ tones the piano suddenly “Troika en Traineaux” meaning in its winter guise. Tf • u. the soft nedil march form, with strongly marked rhythms, weird, in the bass as an accompaniment for country dances In this music the melody simulates a Russian folk¬ o°frthhehh°^ehnld °fte" h3Ve directions for thenar' suggestive harmonies and simple, but original melodies. of all lands, is common and legitimate. song simple, catching, rollicking; supposed to be sung our ted! S ^ USeful when ada^l to when the*resources° iay.do"n definite rules as to It simulates the music at an old-time, rustic festival The central idea of this wedding day music is the by the Russian peasant driver, much in the mood of Ployed, in vL° o? b_°f ‘he,.soft -dal may be em- among the rugged, robustly hilarious northern races— march of the assembled guests to the place of meet¬ exercise. Schumann’s Happy Farmer, while the horses swing the individual must that the temperament of rough as their mountains, wild as their tempestuous ing where a plentiful rustic feast is spread under the piano-playing is n f°e !aken 'nto account, but when seas, boisterous as their winter winds, yet wholesome, trees and where the games are to take place, the music along at a lively pace and the cumbersome troika, on a clangy bangy effcctoW.t8’ 3n,d -do.es not Posfess kindly and given to harmless, if rather rude, merry¬ growing louder and more spirited and impetuous as its rude runners, rocks and bumps and slews down the me,me^hSefor^? theiefore f workI thlngto excess. wh,ch To remains me the dear whole to ditions. Brain workers do not use the hanH on" composition can h*H . '^e. sublimlty of no great making. they approach their destination, ending in an excited icy, rutty road, the driver evidently in haste to reach day only exists for the purpose of setting me in a sounds merged e* w"en >s not a medley of Grieg, who was a typical Norseman at heart, was burst of rollicking hilarity as some of the more lusty the place of some rustic merry making and jovially produced is the esc °ne another; when the music Wagn?r°°d “ work *s Possible.”-fflcW deeply interested in all the ancient myths, traditions youths break rank and join in a mad race for the hilarious in anticipation of the frolic to come. to be stiff from cramped position efr strah/f i^6™ the charm of constln^ of.sweetness, and possesses and customs of his country and these intimate home- goal. continued work. The rem^y for all TemrcimZ —then one can r j”. variety, and does not weary In the latter part the sound of the merry hells is festivals at his country-seat on his wedding anniver¬ Before this final clamorous outburst, however, there distinctly imitated. The whole thing is a musical jest, being used to thelra / THE ETUDE 447 THE MOTHER’S DUTY TO THE PUPIL. 446 THE ETUDE BY ANNIE GLENN CROWE. V TO PRESERVE THESE PORTRAIT-BIOGRAPHIES ^ Whether the mother has had the advantages of a HOW musical training or not, she should realize that her n the Hy-sneei 01 « - trait3 This is the tilth set ot picture-Diograpn Cut out the pictures, followinging outline01 on the reverse of this page. Paste them on margin in a scrap-book, or on the^° and Separate portraits. This is the fifth intelligent care and supervision of the pupil’s.practice rd for class, club,mu, oior sciiootschool work.non.k. A. similar couecnoncollection couiacould omyonly beDe omaineaobtained Dyby purenasmgpurchasing aevcraiseveral e»^MPSll!oksexpensive books of Sullivan,Sullivan, Liza Lehmann, Vieuxtemps, Ef“cE, g Scgr, periods are highly essential to the pupil’s success. in the new series, which commencedd 'nn January, and included portraits and life-storjpslife-stories of HofmannHofmann, Anton Rubinstein,Rubinstein von , VlfeSmrfana.3a|fe> Smetana, Marchesi.Marchesi, Hans Sitt, Corey, Mahler.a . T g, Wagner, Dancla, Gad-ki, Johann Strauss, Paganini, Bach, Paderewski, Foote, Bloomfield-Zeisler, Max Reger, Sauer, Mend n' If readers of The Etude who teach would send a bert. Holmes and Dreyschock. The series published last year is now obtainable in book-form. Selections From Articles Worth Re-reading copy of this issue with the following suggestions marked to the mothers of their pupils, I am sure that The Best from "The Etude” of 1885-1886 the results obtained from the work of the pupils will THEODORE SPIERING. be greatly increased. Spiering was born at St. Louis, Mo., At the suggestion of an eminent critio. Tub Etddb will u...... RAFAEL JOSEFFY. FRANCOIS FREDERIC CHOPIN. ai>l>cur selection* from articles in past years. Our purpose is to extract the brightest ideas and most valuable tl The mother’s principal duty in this connection is in 1871, and showed aptitude for the tram issues ot the Journal which, owing to the limited circulation in the early days of the publication, could n to support the teacher and see that his directions are Joseffy was born at Hungfalu, Hun- (Sho'-pang, last syllable nasal.) Chopin was born at Zelazowa Wola, violin at an early age. His first teacher sibly hare been seen by more than a very small portion of the great audience to which The Etude now appeals. intelligently carried out. Some mothers imagine that gary, July 3, 1852. Like most musi- near Warsaw, Poland, March 1, 1809, was his father, but in 1886 he was sent it is their duty to act as sort’ of an assistant teacher. cians, he showed his talent earlv in MR. W. S. B. MATHEWS ON “THE TEACHER’S and died in Paris, October 17, 1849. His to Henry Schradieck in Cincinnati* to that effect. Any fair-minded person must ac¬ This is by no means what the teacher wants. The life, and commenced his studies on the OBLIGATION.” teachers were Adalbert Zwyny and Eis¬ Ohio. He remained there until 1888, knowledge at once that not only pianism, but the teacher is always annoyed if his directions are not pianoforte in his eighth year. He i ner, and quite early in life Chopin made when he went to Berlin and studied at In order to develop higher musicianship in mus e, art of piano building have made immense strides carried out definitely and faithfully. If the mother studied in Budapest, and with Wenzel & it clear that he was a genius. After the Royal High School under Dr. it is necessary to teach the pupil what to hear and in the last fifty years, and that a return to the touch engages a teacher, she does so with the supposition at Leipsic, going on to Berlin, where c . making a 'tour of the chief European Joachim. He had considerable experi¬ of our forefathers is practically an admission that to to build up within the pupil the elementary processes that the teacher is thoroughly capable of conducting he studied with Tausig for two years. cities, achieving a notable success in ence in concert work while in Ger¬ leading to the perception of those musical percep¬ the clavichord and the old-fashioned piano is bet¬ the musical education of her child. Some mothers go Vienna, Chopin went to Paris in 1831, many, but in 1892, armed with a letter In 1870 he became a pupil of Franz z tions which form the basis of all advanced musical ter than our modern grand or upright. How in¬ so far as to contradict the directions given by the 1 where, contrary to his expectations, he of recommendation from Dr. Joachim, sipid, indeed, would the old-fashioned pearly touch Liszt in Weimar, where he spent two effort. The teacher’s work is to do the following teacher to the pupil. Others imply, while speaking in remained for the greater part of his he returned to America, and became a sound in the broad, manly compositions of Bee¬ summers. He made his first public ap¬ three things: the hearing of the pupil, that the teacher’s way of' life, leaving it only in vain searches member of the Thomas Orchestra in thoven, Schumann, aye, and even Bach, or in the pearance in Berlin, 1872, and was 1 1. To form the habit of accurate study, without doing things is a little different from the way in which for health. It was the Paris of the Chicago. While in Chicago he founded much-abused Liszt repertoire. The “scratch with markedly successful. A tour through .5 which the student will never comprehend the works the mother would have done the same thing. “Little second Empire, and Chopin was not the Spiering String Quartet, which a tune at the end of it,” as the tone of the spinet various European capitals followed, and pitchers have big ears,” and the child who once learns the least distinguished of a remarkable made prolonged tours through the of Bach, Beethoven or any other master, nor ap¬ was designated, needed no doubt a dainty little these only served to confirm the ver¬ a that her mother has lost the fullest confidence in the group of personalities which included United States and Canada. In 1898 preciate the spiritual beauties of the work. push with the finger-tips, but who could play that .2 teacher never thereafter has the same respect for the dict of Berlin. In 1879 he came to ■5 Cherubini, Bellini, Meyerbeer, Franz Spiering became instructor of the 2. To develop technic, which includes not only way on a modern instrument in modern composi¬ teacher’s instruction. Naturally the pupil is more in¬ America, where he has been abnormally Liszt and Mendelssohn. This notable violin in the Chicago Conservatory, at digital fluency, but also expressive touch, accentua¬ tions? No; the truth of the matter is our old fogy 1 fluenced by the mother than by the teacher. The successful. His New York debut was circle also included George Sand, the the time Godowski was head of the tion and tonal differentiation, so that the individual friend (if he will pardon the expression) can’t keep woman who brought Chopin so much parents who feel the necessity for criticising the made with an orchestra under Dr. Dam- « piano department. The following year, beauty of different ideas may be clearly indicated. pace with the times, and, failing to do so, falls back happiness and so much misery. Chopin teacher’s work should do it at a time and place secur rosch. Grove’s dictionary says of Jos¬ however, he became director of the 3. To awaken, strengthen and diversify the musical on reminiscence and recrimination, hints at pearly I possessed a remarkable personality, from the hearing of the pupil. effy: “With advancing years his artis¬ Spiering Violin School, giving this up perceptions or inner consciousness of the pupil. scales, and tells us we don’t know how to play which seemed to fascinate people to an _ The. first duty in carrying out the teacher’s dirt- tic nature has ripened and deepened in 1902 to become head of the violin These three elements enter into the first few les¬ legato. Heaven save the mark; what, then, does he astonishing extent. He hated crowds, tions is to see that the pupil practices the full amount and he has put his transcendental 0 instructors at the Chicago Musical Col¬ sons of the beginner, and they constitute the finish¬ call legato? Not that hopping from key to key in loving only to play to a limited and ap¬ lege, and also one of the musical direc¬ of time prescribed by the teacher. How is the mother technical powers at the service of a s preciative audience. Field called him ing touches of the artist. the old-fashioned manner, letting the tor#, so. to tors. Spiering has made frequent jour¬ going to do this? If she sentences the pupil to just richer and mellower musical style. The p “a genius of the sick chamber,1’ and his speak, escape at each note. These so-called pearly neys over to Europe, and for a time so much work every day the naturally rebellious spirit breadth and catholicity of his taste and s life-long illness, poetic musical genius DR. WILLIAM MASON ON “THE IMPORTANCE scales, what are their aesthetic value in the grand settled in Berlin as a violin teacher. His of the child will arise and good results become impos¬ his wide sympathy with diverse schools and intense sympathy with the sorrows OF ACCENT IN PIANOFORTE STUDY.” compositions of our modern piabo masters, full of c sible. The mother who “lays down the law” is often have always been notable, and he play9 0 and aspirations of his native land served work has also won a considerable sonorous and many-colored chords? They are [Dr. William Mason, the author of “Touch and Technic,” responsible for the failure of the pupil. Children Mozart, Beethoven, Schubert, Schu¬ 1 to make of SChopin a musical wizard reputation for him in London. At pres¬ and the most noted of all American teachers of pianoforte, valueless, except where a certain kind of shading is ent he is concertmeister of the Phil¬ was born In 1829 and died In 1908. Ills assistance and resent being “bossed,” although they may be induced mann, Chopin, Liszt and Brahms with the like of which will never be seen Influence were of great value in helping The Etude to gain required. They may be pearls, but after all pearls equal devotion.” As a composer Joseffy on earth again. His nocturnes, ma¬ harmonic Orchestra in New York'. As recognition as a high-class, "cleau” and progressive musical are pale compared to rubies, and diamonds sparkle to do most anything if the mother approaches it in the has not written anything of lasting im¬ zurkas, impromptus, etudes, ballades and a teacher no less than as a virtuoso, educational paper. J more than either. I admit there is much banging right way. Theodore Spiering has won a very good portance. Pianists, however, are fond of piano pieces are unapproached in their Pianoforte passages may be comprised under the gen¬ nowadays, but it arises from the fact that the The teacher continually hears parents say, “I don’t his salon music of which The Mill and reputation, his teaching studies and. think my child is in the least bit musical because she class. His attempts in the larger musi¬ eral terms—scales, or so-called five-finger exercises; banger knows nothing about the abused pressure At the Spring are the best known ex¬ methods having all been highly en¬ never wants to practice.” Some of the most musical cal forms were less successful. arpeggios, or broken chords; and octaves, or wrist touch that seems so to have excited the ire of amples. (The Etude Gallery.) dorsed by both Fritz Krelsler and Henri children have an aversion to the restrictions of regular Marteau. (The Etude Gallery.) passages. Such exercises are common to all in¬ our old fogy friend. He even has the temerity to quote William Mason, an ardent exponent of the practice. Beethoven, Wagner and Schumann all ab¬ struction books and methods; they are used in all horred regular practice. Not one child in a thousand conservatories and schools, and the favorable opin¬ elastic pressure touch, and who even plays Mozart and Hummel with that very same touch. Color, in goes regularly to the piano of his own accord and prac¬ ENRICO CARUSO. JENNY LIND. ion as to their usefulness seems to be unanimous. (Kah-roo'-soh.) JACQUES (Originally Levi) a word, is the bane of the old school; they would tices precisely as the teacher would have him practice. If Jenny Lind was born at Stockholm, It will be readily seen that the application of rhyth¬ Caruso was born at Naples about OFFENBACH. ^play everything with the same unvarying touch. you are a player, think of your own experiences and October 6, 1820, and died at Malvern mic forms, including all varieties and degrees of feelings as a child. 1874. He was originally apprenticed (.Of'-fen-bahch, final ch guttural.) accent, to these various passages, will greatly en¬ 'Now, the modern touch, while quite as singing when Wells, England, November 2, 1887. She A fixed hour for practice encourages regularity. This to a mechanic, and while his mother Offenbach was born at Offenbach-on- hance the ,value and efficacy of their practice. If necessity requires it, is able to interpret every class received her first training at the Oper¬ should be made an “event” rather than a “torture.” was living he stuck to his trade, at the Main, June 21, 1819. He was the son exercises are properly practiced without any accent, of composition it meets with. Go play a Bach fugue atic School connected with the Stock¬ The mother should surround the practice hour with same time singing for his own edifica¬ of the cantor of the Jewish synagogue there will be quickly manifested an obvious increase or prelude with the pearly touch and then the elastic holm Court Theatre, where she made such an atmosphere of desirability and pleasure and tion. He earned his first salary as a at Cologne, but came to Paris in his in physical power and skill, but if accent is simul¬ pressure and see if the interpretation does not gain singer in a church choir at 20 cents her debut, in 1838. In 1841 she went anticipation that the little one will be eager for it. youth. In 1833 he studied the cello taneously applied, a habit of close attention to in¬ vastly. All compositions 'written for the piano a Sunday. On the death of his mother to Paris and studied under'Garcia. Suc¬ With young pupils the mother will find it a good under Vaslin at the Conservatoire, but flections and musical punctuation will also be culti¬ must not only sing but some must be declaimed so he gave up his mechanical studies, cess all over Europe and in England plan to remain in the room. She does not need to showed no taste for study. Next he vated, and this, combined with emphasis, will con¬ to speak. Where would be the pearly touch in against his father’s will, and earned a followed, such as has rarely been some dramatic episode from Schumann or Chopin? sit beside the instrument and continually prod the pupil ■!®c®Ple a member of the orchestra of tribute in an important degree to the attainment of living as best he could by his voice. achieved by any artist. In 1849, how¬ See how inadequate it is to express the ideas con¬ ahead. In fact, it is better if she speaks very little. the Opera-Comique, where he picked up musical expression. The word emphasis has just He had very few lessons, though Ver- ever, she retired from the operatic tained in the music. She should take an interest in the pupil’s scales and gine taught him for a time, until he a great deal of musical knowledge. He been used, and it is proper here to note briefly its stage, confining her attention to concert exercises, and lead the child to believe that there is was called out for military serv¬ wrote some songs at this time which different signification from that of the accent. The work. In 1850 she came to America, much to be accomplished in performing them nicely. ice. He made his operatic debut at brought him to public notice, and he latter is understood as applying to the stress placed ARPEGGIOS AND ELEMENTARY HARMONY. and remained in this country for two The child sitting alone in a room for a considerable the Teatro Nuovo, Naples, without a years. Her success here was over¬ became conductor at the Theatre Fran¬ upon the first part of the full musical measure, in great success, however, and it was not chise, and composed the Chanson de order to designate its proper position in the meas¬ BY A. A. STANLEY. time gets lonesome, while the very presence of the whelming. She returned to Europe in mother often dispels this feeling. Many children volun¬ until he appeared in Milan at the Tea¬ 1852 with a balance of $150,000, two- ortumo in Alfred de Musset s Chan- ure. Emphasis, on the other hand, may be defined tarily extend their practice time if the mother sits in tro Liroco, in 1898, that he achieved thirds of which she devoted to benevo¬ elier Offenbach was not a man of as transferred or displaced accent, for it may occur on (Professor of Music at the University of Michigan anything of a reputation. He was next lent institutions in Sweden. While in much learning, but he had a pretty wit. any part of the measure, and its peculiar province since 1888.) readin°°m q“iet,y engaged in sewing» crocheting or heard in South America, where he at Boston she married Otto Goldschmidt, He composed upwards of ninety pieces, is to aid in the attainment of emotional expression. once became a great favorite. A suc¬ who had acted as her accompanist mostly light operas in twenty-five All this may take a few hours from the mother’s life, cess in Puccini’s La Bohcme followed, but they simply add to the great gift of time, devo¬ After a long stay in Dresden, Germany’ yCar!' xi had a great of melody, MR. JAMES HUNEKER ON THE “MODERN SCHOOL and he was then offered a London en¬ tion and love which all true parents give so generously Jenny Lind-Goldschmidt returned to a notable example of which is the Bar- OF PIANO PLAYING.” “““ umiuawimiiig uiac a iriaq consists of ; gagement. His success at Covent Gar¬ London, and in 1883 taught singing at caroUe in Lcs Contes d’Hoffwann. This to their children. den was a triumph, which he duplicated Etude writtS!DLW ft on,e of the first contributions to The fundamental tone with its third and fifth, the dif the Royal College of Music. Her last e o y has become very popular of g™S„6 Wr,txV? ,Sjfof critic ana essayist, James Huneker.- „ —: -- '-w.iLiluuitr,, voluminously ferent positions are easy to comprehend, ’it seem: on his first appearance in New York noteworthy public appearance was at . Huneker contributed voluminously and gen- Were it not for in 1905. He was with the Metropolitan rll r revival ♦>'« opera. iniwenr0 ..Ithe ?earlyrI? issues of The Etude. **«-His -1. not unreasonable to suppose that it would, at this music, we might in these days the Rhenish Musical Festival, Dussel- oth» DucI,ess is perhaps the only forTheUl;,tra,m „fasciPa«nK style did much to win friendi stage, be comparatively easy to point out what i‘ say, the beautiful i<5 dead.—D’Israeli. Company in San Francisco at the time dorf, in her husband’s oratorio, Ruth s?der“ by cfmS8»l0Urnal- To-day Mr- Huneker is con- r />f hjs numerous works which is meant by an inversion of a chord, and teach a pupi of ,tfie earthquake. At the present time (1870). Perhaps the world never had g,ashed writer, H. 0n£ °,f outV,most vl'-ile and distin- Cafhso holds a unique position among 23 heard complete nowadays. He “Mezzotlnts ta Mud?™ cllopin. ’ “Melomaniacs.” to distinguish a chord in its fundamental position a sweeter singer than Jenny Lind nor died from gout of the Keart {n parjSi popularity] Modem Mllsic” and others, have a wide Music is never stationary; successive forms and operatic singers. It may be said, in one who gave so freely of her time, and to become acquainted with the inversion in- styles are only like so many resting places—like fact, that with many people to go to ance t0 ^itness t,le first perform- ability and money to the cause of char¬ stead of positions, as it is certainly logical to speak tents pitched and taken down again on the road to the opera means to go to hear Caruso. of f" Co"tfs d’Hofimann, which of the fingering of the arpeggio of C in the funda¬ ity. In England her name is revered — -- me writer in tne March isst He is at his best in Italian opera of bach gard6d 38 his chief work. Offen- mental position, and two inversions. We do not wish as one of the greatest figures of the acn was a composer who added much of the article entitled, “The Old School of Piar the modern kind, such as Madama But¬ to be assumed ignorant of the terminology used bj terfly and La Boheme. He would be Victorian era, while in this country A *:e„ Ra,e‘y oi nations. He visited aying. I don’t know the gentleman’s (or lady’* Never play a those who heard her and remember tell some of the most eminent pianists, but simply tc difficult piece because it is difficult; very much out of place in Wagner or name but I do know it is written in a very pr- you must attain us there have been none like her since. similar a*'n ^,s music is somewhat carry out a logical principle of development in the to what in all arts is recognized as Strauss opera. (The Etude Gallery.) altotrethpty e an!i.from a one-sided point of vie “Style.” (Tte Etude Gallery.) hSt fip° f Su,livan’ ‘hou*!’ altogether, notwithstanding the author’s disclaim! pupil, which shall imply a practical assimilation ol compose ”*Shed th* « & English certain facts m Harmony. Never tire of practicing—if you can help it take a holiday when you can afford it. THE ETUDE 449 THE ETUDE ANALYZING HYMN-TUNES. TT funps are generally easy to analyze because must be that in which the three elements of good THE SONG MASTERPIECES OF ROBERT best songs rather than the songs whose chief claim Hymn-tu S dosely and these words are form can be best maintained in combination. Some SCHUMANN. is that they are from the old Italian schools of they follow the j tQ a high degree. We as- consider that the Symphony holds this honored Carissime, Scarlatti, etc. I make it a special point to present as many songs as possible with English nearlythaTaSullivan’s setting of “Onward, Christian position, but modern composers have shown us that BY MME. JOHANNA GADSKI. the Symphonic Poem has also great possibilities, the words. The ’English language is not a difficult lan¬ Soldiers” is well-known to all, and will ask the fact of its being in one movement permitting of guage in which to sing and when the translation S1^r t’n refer to the same while we analyze it. It [The June Issue of The Etude was issued as a souvenir reader to which form three divisions great unity, without necessarily detracting from the centennial issue, commemorating the birth of Robert Schu¬ coincides with the original I can see no reason other two fundamentals. mann. The following Is from an interview secured espe¬ TSI measures each. A noted English theorist cially from Mme. Gadski, one of the most noted operatic why American readers who may not be familiar The treatment of a subject like Musical Form in and recital artists of to-day. The first part of this article with a foreign tongue should be denied the privi¬ has said that a passage of eight measures endmg a single article, must, as we remarked at the begin¬ was printed last month.] ... * full cadence, and divisible into at least two lege of understanding what the song is about. If Some Important Principles of Musical Form ning, be inevitably of a rather superficial descrip ¬ they do not understand, why sing words at all? " Is bf some sort' of middle cadence is called a tion. A brief reference to the underlying principles, “Critics seem to be agreed that Schumann’s talent Why not vocalize the melodies upon some vowel? sentence or period. Now this is generally accepted however, may enable a student to analyze and ob¬ By HERBERT J. WRIGHTSON gradually deteriorated as his mental disease increased. Songs, however, were meant to combine poetry and 1 true but we frequently apply the term sentence” serve for himself a practice which is of the utmost Consequently, with but few exceptions his best song music and unless the audience has the benefit of to eight-measure passages of music which do not importance in seeking to attain to any mastery of works are to be found among his early vocal com¬ [ Musical form has been ti understanding both, it has been defrauded of one autnor oj. conclude with a full cadence. An illustration of the subject. positions. I have tried repeatedly to bring forth principles in the,almost endless^literature of music, ine autmn.uj._i.__not yet taken up_ the of its chief delights. >e of help to studen some of the lesser known songs of Schumann and 3. Mathews, Goodrich this will be found in the SeC°nd Sentence °f the “Some German poems, however, are almost un¬ jwledge of the study t PLAYING THREE NOTES AGAINST TWO. have time and again devoted long periods to their and (loctschlus o translatable. It is for this reason that many of the study, but apparently the public by an unmistakable works of Lowe for instance, have never attained VARIETY AND SYMMETRY. indication of lack of approval will have none of The thorough treatment of the subject of Musical BY PERLEE V. JERVIS. wide popularity. The legends which Lowe em¬ No less important than unity in a musical com¬ them. Form might fill volumes, and only some of its ployed are often delightful, but the difficulties of position are the other two above-mentioned factors “Evidently, the songs by which Schumann is now principal features can be touched upon in an article Probably every teacher has his own method of solv¬ translation are such that the original meaning is of good musical form—symmetry and variety. The best known are his best works from the standpoint like the present. Our object shall be to select those ing this problem. The writer remembers reading a either marred or destroyed. The songs of or ballads latter seems to be somewhat contradictory of the of popular appreciation. Popular approval taken in that will be most useful to the ordinary music highly interesting article upon the subject by Mr. F. of Lowe without the words do not seem to grasp student who wishes to understand something more all-important unity we have been describing. For S. Law In The Etude for 1908. The following way is the aggregate is a mighty, determining factor. The if variety is carried to an extreme, for instance, by American audiences and singers find it a thankless of the construction of piano pieces, etc., met with a somewhat different manner of overcoming the same survival of the fittest applies to songs as well as to the continuous succession of different harmonies task to try to force them upon the public. in study. difficulty which the writer has successfully used with other things in life. This is particularly so in the and different melodies in a piece of music, it is “Although I am a German, I have been so long Musical form is, in general terms, simply the plan his pupils. In playing triplets against duplets it will be case of the four famous songs, ‘Die beiden Grenadiere,’ evident that unity will be sacrificed. It is here The four-measure sub-division of the sentence is in America that I feel it my duty to share in popu¬ upon which any particular piece of music is con¬ seen that the crux of the situation is found between ‘Widmung,’ ‘Der Nussbaum’ and ‘Ich grolle nicht,’ where our third quality—symmetry—assists, and called a phrase. In this hymn it will be seen that larizing the works of the many talented American structed. We may have a hundred different pieces the second and third notes of the triplet. As there is which never seem to diminish in popularity. binds all together in a harmonious whole. The each sentence is divisible into two phrases, there composers. I frequently place MacDowell’s beauti¬ of music all on one form. We all know that the no difficulty in bringing the first notes of each rhythm portions of a composition which are contrasted— being cadences at the end of each phrase, as well ful songs on my programs and the works of many number of sonatas in existence cannot be counted, together, they can be left out of the question in the SCHUMANN’S LOVE FOR THE ROMANTIC. that is, which produce variety—must be evenly bal¬ as at the sentence-endings, the former generally other American composers, including Mrs. H. H. A. and yet the first movement of the sonata repre¬ preliminary practice. The writer, therefore, has the anced by portions that convey the impression of weaker, the latter more. conclusive. The first sen¬ “Schumann’s fervid imagination readily led to a Beach, Sidney Homer, Frank Le Forge and others sents one particular form, with, of course, modifica¬ pupil beat this figure, Example I: unity, and thus we have a general effect that is tence ends with a full cadence in the key of the love for the romantic. His early fondness for the make fine concert numbers. It has seemed to me tions in individual cases. works of Jean Paul developed into a kind of life If the music student were to count the measures, symmetrical. For instance, we have a piece with dominant; the second, as we have remarked, has that America has a large future in the field of lyric tendency, which resulted in winning him the title in any piece he was playing, and notice the lengths a first part that is strongly homogeneous; unity pre¬ not a full cadence, but only a “half-close," this composition. American poets have long since won of the ‘Tone-Poet of Romanticism.’ Few of his of the different sections, melodies, etc., he would vails. Then follows a part which is contrasted with unfinished effect allowing of the third sentence their place in the international Hall of Fame. The songs, however, are really dramatic. ‘Waldesge- be struck by the fact that nine times out of ten the the first %art, and the unity of the whole piece seems being added more naturally. The end of this third lyrical spirit which they have expressed verbally sprach,’ which Robert Franz called a pianoforte length of any particular section was eight measures. to suffer by this addition, for we have two dis¬ sentence being the end of the piece, we find, of will surely be imbued in the music of American com¬ This exhibits one of the first characteristics of similar parts. But symmetry steps in and places a course, a full cadence. Before leaving this little piece with a voice part added, is probably the best posers. The opportunity is already here. Ameri¬ form—tjie division of music into sections of regular third part after the second, matching the first, and composition let us see to what degree our three The right hand beats the upper notes, the left the of Schumann’s dramatic-romantic songs. I have cans demand the best the world can produce. It length. If a piece of music went on continuously a satisfactory whole results. This might be repre¬ essentials of good form are fulfilled. It has unity lower. This, it will be seen, is a triplet, and should always found that audiences are very partial to this makes no difference what the nationality of the without any sort of division into sections, even sented thus: A + B-l-A. We call the first part A. in (a) tonality, by the strong predominance of at first be beaten as such, counting as indicated. song and it may be sung by a female voice as well composer. However, Aniericans are first of all patri¬ After a few minutes of $uch practice the teacher though the melody and harmony might be good, the the second B because it is different, and the third one key, and (b) in rhythm, by the regular four as the male voice. The .‘Two Grenadiers’ is strictly a otic and the composer who produces real lyric A because it is like the first. This formula is full can then beat the entire triplet, Example II: piece would be extremely monotonous. It would pulses in a measure, and by the division throughout man’s song. ‘Ich Grolle Nicht,’ while sung mostly by masterpieces is not likely to be asked to wait for fame appear incoherent and meaningless, for the simple of symmetry, and at the same time contains both into four-measure sections by cadences. It has men may, like the ‘Erl-King’ of Schubert, be sung 1 - 3 and competence, as did Schubert and Schumann. reason that it would be without form. unity and variety. symmetry, its three sentences coinciding with the quite as successfully by women singers possessing the We have said that form was the plan upon which' qualities of depth and dramatic intensity. MUSICAL PUNCTUATION. formula A + B + A; and in so short a composition a piece of music was constructed. - In the considera¬ there is no scope for variety. J”3 3 Let us now for a little while look more closely tion of this general term we may, however, recog¬ The analysis of No. 22 of Mendelssohn’s “Lieder PECULIAR DIFFICULTIES IN INTERPRETING into the construction of music in detail, with regard nize several elements. The constituents of good ohne Worte” might now be made, as an example of SCHUMANN SONGS. -- JJ.D1 gitat Jjiamsi U1 Luru- to its form. It was remarked that eight-measure [_7 form in music may be said to be three: Unity, pean fame to come to this country, and he was known sections were very prevalent in music. The inquiry a piece in a rather larger form, but equally clear as “I have already mentioned the necessity for sim¬ Symmetry and Variety. to its plan. This also consists of three sentences, and after a few attempts most pupils, if they have any plicity in connection with the interpretation of the to have divided honors and opinions of the Old World naturally arises, “What makes the division into sec¬ time sense, find little difficulty in catching the rhythms, the second being slightly contrasted—at any rate, Schumann songs. I need not tell the readers of with Liszt himself. It is true, De Meyer had been here UNITY. tions? Is it an arbitrary cutting up of the piece and bringing in the second eighth of the duplet at in spirit—and the third a repetition of the first. A The Etude that the proper interpretation of these and had in turn astonished and charmed his audiences This is thei&Uality which makes it apparent that into eight-measure lengths, or is there something the proper time, particularly if the teacher beats a few short coda is added, taken from the material of the the second page of a piece of music, for example, in the music which makes the division apparent?” minutes with them. songs requires a much more extensive and difficult by his immense tours de force and his delicate touch, second sentence. The unity of this piece is con¬ belongs tc) the same piece as the first page. It is The answer is that the music is divided by its own If the pupil has no time sense “that is another story,” kind of preparatory work than the more showy while Gottschalk, fresh from his Parisian triumphs' evident that there are several reasons why we harmonic progressions, called cadences. A cadence spicuous in its prevailing rhythm and key, and con¬ as Kipling says, hf should not be given conflicting coloratura works which to the noyice often seem had also been heard and admired, but the colossal should know if, in a piece we were playing, we is that progression of chords which produces a tinued melody, holding the piece together like a rhythms till he can keep time in simple ones. Follow¬ vastly more difficult. The very simplicity of the reputation of Thalberg had worked up the pitch of came Upon a page that had been substituted from sense, more or less strong, qf conclusion. Cadences silver thread running through it'(in contrast to the ing this beating, the pupil may play at the piano the Schubert and Schumann songs makes them more expectancy to fever heat. It was not a trifling incident another piece, it might be in' a different key; it are to music what punctuation is to prose and thematic treatment referred to above, as producing scale of C in contrary motion (both thumbs starting difficult to sing properly than the works of writers of the day or week to go to one of these concerts, might be in different time; it might be composed poetry. Notice these lines; there is a comma at unity in the contrapuntal style). There is some on middle C), taking the right hand in triplets, the who adopted a somewhat more complicated style. but a much-coveted privilege eagerly sought for and of melody and harmony that were essentially dif¬ the end of the first and a period at the end of the contrast or variety in the second sentence, and the left in duplets, the right hand playing up three octaves, The smallest vocal discrepancies become apparent anticipated as a rare treat. At the matinees, always ferent. That is to say, there would be a want of second: entire form, A + B + A + B (coda), is very sym¬ tlm left down two and then back in the same way. at once and it is only by the most intense applica¬ largely attended by ladies, quite a social feature was metrical. unity in rhythm, tonality and melody. Come unto me, ye weary, This scale may be followed by the Chopin Nocturne, And I will give you rest. tion and great attention to detail that it is possible for added by the serving of tea and light confectionery Take a piece that is well constructed in these OTHER FORMS. Op. 9, No. 1, the cadenzas of which contain good prac¬ the singer to bring her art to a standard that will stand during the entr’actes. respects and you find a regularly prevailing rhythm, In the music to which they are set in the hymnal This method of analysis must be applied to all tice. In teaching fours against threes, the Chopin Im¬ the test of these simple, but very difficult works. Too “Thalberg was immensely successful, giving as many forms of music, small and great. The larger pieces the predominance of a certain tonality (key) and a from which we take the example there is an im¬ promptu, Op. 66, will be found an excellent study. much coloratura singing is liable to rob the voice of its as three concerts in a day, one in the morning and have naturally more scope for variety, and this connected and homogeneous melodic and harmonic perfect cadence corresponding to the comma, and Some years ago the writer made a discovery in teach¬ fullness and is not to be recommended as a pre¬ evening in New York and a third in the afternoon in shows itself in different ways. It is, in fact, the design. Unity has been well defined as the pre¬ a perfect full cadence—the distinct ending of the ing this piece which has saved his pupils a great deal Brooklyn. His repertoire consisted only of about various ways of combining our three ingredients, paration for the singer who would become a singer ponderance of a single idea. This is most strikingly musical sentence—corresponding to the period. nf perplexity. If the rhythm in the bass be altered twelve of his own fantasias, but these were played Unity, Symmetry and Variety, that produce the dif¬ of the modern art songs. This does not mean that manifested in the fugue—a kind of composition de¬ We do not mean to say that where there is a throughout the first movement, as shown in this ex¬ with absolute perfection. There is no doubt that the ferent set forms recognized by theorists. For in¬ scales, and arpeggios are to be avoided. In fact veloped principally from one theme, called the sub¬ comma in the text there is always an imperfect ample, there will be no difficulty in getting the hands great players of the last generation were much more stance, a piece on the form of A -j- B + A, of which together. Example III: the flexibility and control demanded of the singers ject (or sometimes the theme), which is treated cadence in the music to which it is set, or where perfect in technical finish than those of the present the first section is complete in itself, closing in the of art songs is quite as great as that required of again and again throughout the work, according to there is a period there is always a perfect cadence. tonic key; the second section is strongly contrasted, the coloratura singer. ‘ The student mjist have her time, who play everything from Bach to Liszt. Thalbero certain rules. In the time of Bach, when the fugue There is no exact relationship between the two, and was wise enough to avoid all compositions which he and the third a re'petition of the first, is called the full quota of vocal exercises before she should and contrapuntal music in general was at its height, yet it is evident that cadences form the punctua¬ telt did not belong to his peculiar genre; he did not ternary form. A good example of this is the sec¬ think of attempting the Schumann Lieder. the attainment of unity was more often sought by tion, so to speak, of music. There are several dif¬ encroach upon the classics, and consequently he never ond movement of Beethoven’s Sonata in G, Op. 79 this continual treatment of some theme than in any ferent kinds of cadences, the understanding of suffered any failures. He knew his limitations, but other way. Later on more stress was put upon con¬ which is necessary in analyzing musical form. Ihere are other forms, such as the “Sonata form” SCHUMANN’S POPULARITY IN AMERICA. which is the usual design of the first movement of He did not allow others to discover them. He was tinuity of melody and the predominance of some Their study belongs to the subject of harmony, a “Americans seem to be particularly fond of Schu¬ satisfied to be successful with his own compositions, particular tonality in the production of unity. Sonatas and other large works; the Rondo form, study which is of the utmost importance to every mann. When artists are engaged for concert per¬ wuci still remain the best operatic transcriptions Listen, for example, to the long-drawn-out melodies earnest music student. We will merely say here formances it is the custom in this country to present extant His perfect virtuosity was the result of un- of Beethoven. that the perfect full cadence is the progression from In these latter days we have again a school of * A ana so tortn, . I lUC ycvun optional programs to the managers of the local tinng labor Vincent Wallace once told me that he what is called the dominant chord—the chord on Now the peculiar thing about this alteration is that music in which thematic treatment abounds, Wag¬ rh*Jun1 of each, than in the form. concert enterprises. These managers represent all had heard him practice two bars of his Don Pasquale the fifth degree of the scale—to the tonic or key as e tempo is worked up, the pupil insensibly drops ner being its pioneer. There can be no doubt that he larger the work, as has been said, the greal possible kinds of taste. It is the experience of most bantasia m the octave variation on the Serenade for a chord, with the key-note in the highest part as nto the correct rhythms; in fact, it is very difficult, a high degree of unity is attained in a work in the possibility of variety. For example, the opf concert, artists that the Schumann selections are whole night, never leaving the piano until sunrise. well as in the bass. This is the cadence which . "ot lmP°ss'ble, to play any others. The same prin- which the same themes occur throughout, as in the s a musical form is capable of the greatest amoi almost invariably chosen. This is true of the West I gave my sympathy to Wallace, but I confess to usually ends a piece of music, as it is distinctly cip e may be applied to similar passages in other pieces. Wagner music-dramas. final in its effect. J variety, but on that account there is danger as well as of. the . South and East. One section of have enjoyed very keenly the result of the night’s work.” oss of unity. The most perfect musical \vc 1 chaps some other teacher has made this same dis¬ (From 5W Musical Recollections of Fifty Years covery, the writer claims no originality for it. the program is without exception djevoted to what they call classical songs and by this they mean the by Richard Hoffman. Copyright, 1910, by' Charles Scribner s Sons. Reprinted by permission.) THE ETUDE 451 THE ETUDE tributes three-fourths of her power to “going the 450 1 and down motions, lifting the fingers whole length” of every emotion to be depicted. cop, book. „nd gradually, as hi. curve, become free, "aMgh as Possible, and to come down on the right This singer “lets herself go” without restriction, as nign a p , no exertion whatever. flowing and perfect, the letters would be reduced even “adding an extra bit” for the sake of the benefit SPAtS*e second lesson she was required to do dm of the extra lethargic members of her audience. HIGH FINGER ACTION The rule I have found most successful IS the pat J niano keys, but dropping fingers so lightly "Soulless playing,” Miss Eissler says, “is much tern or first effort must be perfect but exaggerated °he keysP were not depressed in the least. At the talked of, but little understood. It is simply sound VERSUS LOW and then it must be diminished according to the third lesson she was made to do the same on the minus mind, or lack of a definite previously-con¬ ! Wa and on the piano, adding an imaginary weight law of proportion. ceived picture.” It is strange that so much effort of an ounce or less, which depressed the key only is given to matters of far less importance than this. By MADAME A. PUPIN COMPARISON WITH THE PIANO. a little but gave out no tone. In succeeding lessons OPINIONS OF EMINENT AUTHORITIES she was required to imagine more and more ounces This finger action is somewhat analogous to the LE8CHETIZKY. stroke of the hammer, as one would see it in a until at the eighth lesson she could produce a full upright piano. All the hammers are motionless and round tone without exertion, and had recovered the ON TOUCH Theodore Leschetizky, the eminent Viennese The phrase,. “What method do you teach?” has at the same distance from the strings; when the complete use of her arms and fingers. She became teacher, is especially Insistent upon “thought, passed into a proverb. Many well-known writers time for action comes the hammer is thrown quickly a successful teacher, and all her pupils were dis¬ Selected by FANNIE EDGAR THOMAS thought, thought,” in all tone formation and pro¬ have enveloped it in ridicule in their essays, and against the' string, with more or less force, as t ® tinguished for perfect execution and fine tone duction, and urges it even in practice of the sim¬ this because certain persons, not so very intelligent tone required is forte or piano. So the curved plest exercises. He claims that impression or quahty^ractice shouid have a definite aim, and the ALEXANDRE GUILMANT. on the subject of music, in seeking a teacher for finger is held motionless over the key, all the Angers with the dictates of thought and temperament, the most “color” can only be conveyed to others as long as underlying principles should be explained to pupils progressive artist cannot advance to a point where their children, have been sure to ask this question. at the same distance from the keys, until the right Alexandre Guilmant, the eminent French organist, it is actually felt by the performer. Susceptibility moment, when it falls or drops on the key with capable of understanding it, so that every student tone and touch are all he wishes them to be. One Not that they knew anything about different who is also an excellent pianist, has declared that tone to impression differs with individual cases, but can see clearly how and why such practice will bring cannot make strong dramatic tones, for instance, with methods, but one has heard that the Berlin or the more or less weight; just as an overcoat, hanging is largely the reflection of a sensitive refinement of the effect desired. Even children practice with more slim pointed fingers, nor fine grace with short flabby where it exists it can be highly cultivated. No Vienna method is superior to all others; another, on a nail in the wall, would fall or drop if the nail the music sense. Fingers and hands may be regarded gave way. If it were a light overcoat it would fall interest when the logic of the thing is explained to ones. Bony fingers will always make a hard blow. tone should be made from which it is absent, for let us say, that the “Payson” method is the method; as merely the trained servants of this controlling force. lightly; if a heavy one it would fall more heavily; Soft flabby flesh is responsible for much of the non¬ it falls upon deaf ears. another that the “Synoptic” method is the only one He is wont to point out to his pupils the advantage of if the pockets were filled with bags of shot it would descript playing we hear, even from people of fine Leschetizky likens the retention of thought to for beginners, and so each parent wants the only improvising melodies and rhythmic modulations, and fall with a heavy thud. There was no force at the musical mind. Sonority of tone quality, in the large the continuation of sound on glass or metal when method he has heard of as possessing all merits. THE PART THE BLOOD PLAYS IN PIANO of allowing the mind to dictate pictures grave and gay, nail to push it down, the force of the fall depended martial and romantic, etc,, meanwhile "listening with sense, Philipp does not think can be attained unless struck. Onee the vibrations have ceased, the sound Some teachers are graduates of a school which entirely on the weight of the; overcoat. TECHNIC. the physical formation of the hand is in conformity ceases, and a new one must be produced. So with teaches a certain technic, and they teach that tech¬ all the imagination.” The French piano school, he tells So with the fingers, they are not pushed down, us, is chiefly remarkable for purity and refinement of with the temperament of the player. an idea, it cannot be forced, but may be reproduced. nic to all their pupils. Others have studied the nor struck forcibly down, but fall loosely down; BY EMILE SCHOEN. All tone-making, vocal or instrumental, from which methods of different teachers, and have adopted tone in a manner which is largely the result of racial the tone produced depends on the weight of the temperament and of the incessant culture of the imagina¬ HENRI FALCKE. thought is absent, is valueless. That is why prac¬ what they think the best points of each. A true fingers. For instance, you may imagine the tip of It is now well understood that pianoforte playing is tion by teachers. The French habit of attention to tice in the form of endless repetition is useless to teacher adapts his instruction to the peculiarities the finger to be a pocket; at one time it carries a On the other hand, Henri Falcke, another eminent microscopic details, he says, demands particular atten¬ eliminate faults or to fix notes in the memory. of the student’s hand and to his ways of thinking, weight of a quarter of a pound, at another half a both muscular and nervous work and must therefore be French authority, was always a great optimist and tion to clearness, yet though the finger work should be There must be constant reason, thought, imagina¬ for the mental and physical must be equally con¬ pound and at another one or more pounds. The governed by physiological laws. The condition of the believed that almost anything could be accomplished by impeccable, it should be a means to an end, not an tion and logic behind all grades of piano instruction finger should not be pushed down, nor forced down, muscular and nervous systems depends upon the blood. judicious training—with a special accent on the word sidered. end in itself. and practice. Above all, each technical exercise must have a but fall loosely from the knuckles, its weight being Thus the nutriment upon which the muscles feed and “judicious.” He could not believe that students must definite aim, or be practiced with different aims; determined mentally. The analogy between the fall through which they develop is furnished by the blood. BERTHA MARX GOLDSCHMIDT. remain forever handicapped by nature. Experience OSSIP GABRILLOWITSCH. and these aims must be made clear to the pupil and of the finger and of the overcoat will be readily The development of a muscle and its capacity for showed him remarkable cases of the development of Bertha Marx Goldschmidt, who for many years M. Ossip Gabrillowitsch, the eminent Russian held in mind during practice or little is accom¬ understood. work vary in proportion to the quantity of blood flow¬ latent and unsuspected power. Most of the handicaps toured as a pianist in company with Sarasate, claimed virtuoso, and son-in-law of the late “Mark Twain,” plished by the practice. In slow practice the finger must not at once ing through it, the nutritive quality of the blood, and suffered by musicians, he averred, resulted from neglect that temperament is almost wholly responsible for good writes upon the subject of touch: A certain teacher, who had taught the high finger spring back from the key, as the hammer does from in training or an inconsequential, haphazard teaching. the amount of nutriment left in the muscle. Another tone. This “finger call,” as she described it, is “Touch is the distinguishing characteristic which action for years, once said to me, “No more high the strings, but must remain pressed on the key. Skill in teaching, as opposed to doling out information, function of the blood is the carrying of oxygen to all analogous to "quality” in the voice of a singer. It makes one player’s music sound different from that finger action for me. 1 now keep the pupil’s fingers while the player listens to the tone produced and is a form of genius in itself, and a great teacher can judges it critically. By this method of practice one parts of the body for the purpose of replenishing the forms a large part of the attraction in good playing, of another, for it is touch that dominates the close to the keys.” This remark set me to analyz¬ work wonders. comes to feel as if he were playing with the tips store of energy. Besides this, the waste products being universal of appeal even to people who know player’s means of producing dynamic shading or ing and proving the worth of both methods. With regard to hand formation, Falcke’s especial of the fingers only, and the hand, wrist and arm caused by muscular work, are removed by the blood; nothing of "interpretation.” She declared that there tone quality. I know that many authorities contend The reasons for high finger action are to gain horror was the long, slender, bony hand with “thin had nothing to do with the matter except to con¬ these products, being poisonous, destroy muscular and are as few “quality toned” pianists as there are that the quality of tone depends upon the instru¬ flexibility at the knuckle joints and to develop uni¬ fingers like lead pencils seemingly tied together.” This nect these members with the body. It is a very nervous activity and result in loss of strength, or en¬ singers, and that the tone with the great majority of ment rather than the performer. Nevertheless, I formity of actipn and strength. As the fingers have he likened to that greatest impediment of the vocal delightful sensation, as if you were listening to durance, and of nerve independence unless promptly both is only “trained to respectability." Listeners do am reasonably confident that if I were to hear a not equal strength and do not move in an equal or teacher, the long set jaw of the pupil. The elbow, this music that, without any effort on your part, flowed eliminated. not realize what is lacking in such cases. Some artist-teacher thought, has much to do with the tone, and number of pianists play in succession upon the similar way at their joints, equality can only be from the tips of your fingers, as that is the only Dr. William Lee Howard in an article on “The think the fault lies in the composition, some in the the misuse of this factor is responsible for much dis¬ same instrument behind a screen, and one of these developed by exaggerating their movements and part of which you feel conscious. Physiology of Strength and Endurance” [Popular instrument, and others ascribe it to a lack in them¬ agreeable piano playing. Suppleness of wrist, both ways, performers were to be my friend Harold Bauer. I their force, and then diminishing these as equality The pressure of the fingers on the key corre¬ Science Monthly, June, 1898) clearly shows how selves. Where it exists, response is invariable, even and its skilful application, is also essential to good could at once identify his playing by his peculiarly is gained. sponds with the weight with which the fingers fell: physiological laws govern muscle and nerve activity: where the audience possesses little knowledge of the tone production. A habit of pressing the keys part individual touch. In fact, the trained ear can the pressure felt at moment of contact being neither “The human body is a wonderful piece of mechanism possibilities of the voice or the piano tone. identify different individual characteristics with al¬ MAKING REDUCTIONS. relaxed nor increased. way down with the intention of producing lightness which not only renews itself constantly, but whose produces an irregular, weak and uneven touch and tone. most the same accuracy with which we identify Everything that is to be fine and perfect in the In this exaggeration and diminution cannot one ALEXANDRE DE MARKOFF. finished product must be exaggerated in the begin¬ see the law of proportion? In slow playing a high strength and endurance and capacity for more work However light a tone is desired, it must be made increases with increased use up to the point at which The Russian lady pianist, Alexandre de Markoff, a clear and firm. A “sentiment of lightness in the mind,” ning and then diminished. For example, if a man finger action and weighted fingers, in increased use becomes abuse. pupil of Rubinstein, has told us Rubinstein’s views on not an abortive touch with the fingers, is the principal wishes to make a drawing to illustrate a book or speed a lower finger action and less weight, but in QUINTUPLE TIME. the subject of tone. He possessed a marvelous power essential. “Neither pupils nor teachers seem to realize,” magazine he draws it many times larger than the exact proportion, until it comes to rapid playing line is reached depends upon the individual. However, for suggesting orchestral effects on the piano. His Mr. Falcke used to say, “that a thought, or the place Few pupHs encounter music in which each beat has space it is to occupy. It is then photographed and with fingers close to the keys and tone piano or the approach to this danger line is governed by fixed tone came to him, he once declared, as a necessary for it, lies between the finger points and the key.” the value of one-fifth of the measure. When they do diminished to the right size, when every detail, even pianissimo. If a more forte tone is required in and immutable physiologic laws. means for conveying a definitely conceived picture If this place is filled with imagination, fancy, thought meet time of this kind, however, they often look upon the smallest, is reproduced with marvelous fidelity, rapid playing it is gained by imagining more weight which existed in his own mind to the minds of others, of the composer, etc., the tone takes on the special which could not have been done had he attempted in the tips of the fingers. “Capital (energy) must not be expended at a greater it as a kind of a bugbear; It is, in fact, really quite wherein no such picture was to be found. It is not to draw it the desired size. So in piano playing. By this method of study we gain all that is de¬ rate than it can be replaced; if it is expended at a color or appeal and is correspondingly attractive to easy to play. In most cases it will be found that the If the aim is to play a passage with great velocity, manded. Let us see what the result would be if greater rate fatigue commences and a continuance of enough to see your own picture. You must also see the hearer. When this place is empty, the utterance, measure seems to divide itself into two rhythmic sec¬ very pianissimo, and with perfect equality of touch we began practice where this method leaves off. this expenditure results in physical bankruptcy. The across the wide gulf which exists between your own or musical speech, Is empty and the hearer is left tions of either a group of two notes followed by three clearly-outlined picture and the indifference or dis¬ and tone, it can never be. made so by practicing it that is, with fingers close to the keys. The fingers, muscle is continually undergoing change of material. untouched because not communicated with. “There or a group of three notes followed by two. Another not being free to fall and make a tone by their own I he minute substances which make up the muscle and tracted attention of your audience. A player must, as should be more listening and less playing by students,” in that way. It must first be practiced slowly and way to express this same idea is to gay that there are weight, would have to obtain their tone by a push. whose very action keep it alive are being continually it were, reach over the gulf and attract, hold and he remarked. The mind should be made the center of forte, gradually increased in speed and diminished usually to be found pronounced tendencies to accent in tone. For example, if the finished passage is Muscular force would be exerted, which would be cast oft, fresh substances taking their place. The cast- dominate the minds of his hearers. The ability to do control, all equipment the servant. certain notes in the measure. There is, of course, represented by AAAAAA rapid and even, the prac¬ felt anywhere or everywhere between the fingers °,ff material is the fatigue poison. Without muscle rest, this was instinctive with Rubinstein. He knew at once always an accent upon the first note of the measure, tice should begin A A slowly, with fingers raised and the shoulders. The fourth and fifth fingers, not this dead poisonous detritus cannot be replaced fast when he had his audience in his grasp. Then all went FRIEDA EISSLER. being so strong as the others, would have to exert enough by new products and the result is an impover- together into the vast unexplored fields of the tonal and there will be found a natural desire to place an very high and a firm touch; this gives control and Frieda Eissler, an experienced disciple of Les- more force. This, in my estimation, instead of realm. To do this, muscle, finger, nerve, pedal and accent upon the third or the fourth note of the measure, equality, and when this is gained at a slow rate •tl capltjd °* Potential elements. chetizky calls attention to the invariably expressive strengthening the fingers would tend to weaken everything else he could command were called into depending upon the composition in which this diffi¬ play a little faster and raise the fingers a little less The energy products of the food are delivered up to touch possessed by the blind, in consequence of them, and in some cases to paralyze them. I think the muscle by the blood, and this fluid picks up and play, but the motive power in him was his own mind culty occurs. high, thus then AAA and AAA and aaa, their “finding the key,” so to speak, before touch¬ AAA I can prove this. carnes away the cast-off dead substances of the muscle, picture. A curious fact in regard to this was Rubin¬ In some of the folk songs and dance airs of Ger¬ each time at- a more rapid speed and fingers less ing it. This hint may be judiciously taken by stu¬ these latter, the fatigue products, are gradually elim¬ stein s power of imparting that tonal quality to his many, Spain and Greece there are marked evidences high, but always observing the law of proportion. A PRACTICAL METHOD. dents, but not abused. High raising of the fingers, inated from the blood. pupils. No doubt he followed the same process as with of a love for this peculiar and characteristic rhythm. It may take months before the student can reach his audience. she says, is greatly exaggerated. While it is an the finish, but reach it he will in all its perfection. A young lady once came to me for lessons. She had Of the substances supplied to the muscle by the blood advantage to be able to lift the fingers high, and The first instance of any note in the compositions of I fear that the teacher who wanted no more of taken but seven lessons from a teacher who taught ?Ifn ls onf tlle want of which is soonest felt. Ihe power to do so may be taken to indicate the masters occurs in the symphony to the second act of the high finger action did not observe the law of this method. Her fingers and arms were in such a ., e muscle’s activity is dependent to a great extent efficiency and resourcefulness, it is not in itself a -Handel’s Orlando. Among modern composers Chopin, condition that she had literally no use of them proportion, but had his pupils make a high finger ® , character and force of the blood through the tne eminent nrenen teacher of t tone-maker. In legitimate legato effects the fingers Hiller, Lowe, Tschaikowsky, Rubinstein, Wagner and action in every degree of speed. In this case the She had been to a physician, but he could suggest lt ™st. 1* clear of waste products, as well as piano, holds that touch is not wholly a matter of mil should never leave the key. Tone may be beautified nothing for her relief. When I learned how she or intention, but also—and primarily—of bone ai Saint-Saens have used this odd but interesting form practice would progress from slow to fast thus: by lifting the hand while lowering the wrist, but of rhythm effectively. had been practicing, pushing on the keys, I told her ssSri °xre“,o k"""" * flesh. In defense of this theory he points out the fa AAAaaa and never reach the desired end. I thought I could help her. this should never be permitted to degenerate into that with the majority of artists the quality of to a mannerism. It is also wrong* to “wrench” or If a person wishes to write^a fine, perfect hand For the first lesson I required her to lay her arm produced by them remains unchanged practical he would not begin by making his letters very small draw chords away from the piano instead of strik¬ “The critic’s mission is twofold: first, to lead on on a table and put her fingers on the diagram, on own ITT ”71"™"’.“”“ 1 0,11 >' have music on my throughout their careers, while at the same time the and fine, for that would result in what is called a ing them downwards. the public; second, to guide the artist or composer and page 7, of my book, “How to Practice.” This dia¬ I cnnlrl ’ C?Ud * bve in a great city and know where is a continuous development of style, interpretatic cramped handwriting, but would make his letters at Like Guilmant and Rubinstein, Frieda Eissler point out modes of betterment which may occur to an gram gives five white keys with black spots as tion of .wh,enever I wished the ablution and inunda- conception and all that tends to display broad least as large as the space between two lines of his believes in forming “mind-pictures,” citing the case outsider much more readily than to the composer or points of contact for the fingers. She was told to B? w1 ^aVCS’ that wcre a bath alld a medicine.” musicianship. Unless physical equipment be in acco Kalph Waldo Emerson. of a singularly successful prima donna who at¬ artist himself.”—Louis C. EUon. THE ETUDE 453 THE ETUDE not be much wiser if Mr. A rand-Mr. B were each offers, consider well before choosing. You win only THE SLUR AND THE LEGATO. to be accented or shortened in instrumental music, Grade VI. Higher Intermediate. not oe teachers in one, and would it not the love and confidence of a little child. IMPORTANT CONSIDERATIONS IN GRAD¬ or how they are to be rendered in particular cases “ VII. Lower Advanced. have been better for each individually to have known But knowing yourself and deciding for primary ING PUPILS. BY ORLANDO A. MANSFIELD. in vocal music. These details would be more suited “ VIII. Higher Advanced. n h to see that the books were not adapted to to a paper on instrumental and vocal technique. work, realize two requirements, namely, patience “ IX. Lower Concert. the° immediate needs of the pupils? We must try and firmness. Patience is control, and your work BY J. J. HATTSTAEDT. One of the most striking features of musical The ground is now cleared for a discussion of the « X. Higher Concert. : find what is the best music for each pupil indi¬ terminology and notation is its ambiguity. Many larger and more historically accurate meaning of the calls for its constant exercise. The same thing must Teachers are advised to select studies according vidually and remember, especially in the earlier [The author of this article, who for many years has been musical terms have two or three different significa¬ slur, viz.: A curved line connecting a group of notes, be repeated again and again, until the suggestion at the head of a large and successful conservatory, gives to individual needs. It is not the purpose ot this stages of musical study, what is one pupils meat some interesting and profitable ideas upon the subject oC tions. Single signs are often used to express and indicating that the latter are to be rendered bears fruit. It is your business to explain until article to give extensive lists of teaching pieces ' Grading.] is another’s poison. . ... widely varying musical effects. The subject of this legato, i.e., smoothly. In this case the first of the the child understands or until he remembers and each grade, but to present a general outline for There is another important point to be considered, One of the most perplexing problems for the article is a case in point. Strictly speaking, the slurred notes generally receives a certain amount of does. There are some things with which you must guidance of teachers. Special attention has been and that is temperament. Putting certain tempera¬ stress. The last note, however, is not shortened young teacher to meet is the proper grading of his slur (German, Legatobogen; French, Liason; Italian. not be too patient. There is heedlessness, to which paid to the primary grades. Inexperienced tea ments together is like setting fire to gunpowder. unless it be an accented note or a note immediately pupils and the selection of appropriate music. If I.egatura) is a curved line, or a “sweeping curve,” kindly suggestion must be called as long as it con¬ had better use a good piano instruction book. . A change of teacher often brings about improve¬ following an accent. When thus employed, some all his new pupils were of the same age, a solution connecting a group of notes, three or more in num¬ tinues. There are carelessness, inaccuracy, lack of ment because of a change in the temperament. theorists prefer to allude to the slur as a phrase- would be comparatively easy, but, as every teacher ber. But the term is also used to denote a curved practice and irregular lessons. “Let patience have Now a teacher must try to have more than one kind mark. Unfortunately, however, some composers do knows, he must expect to have to deal with pupils line identical in appearance with the tie, but con¬ her perfect work;” make it a well-balanced sort. of temperament. As we said before, a teacher must not write their slurs at all carefully. They use the from kindergarten to marriageable ages. Nor is the necting two notes of different pitch. The first of Knowing one’s own mind is undoubtedly the secret HOW SHOULD THE DULL PUPIL BE not simply be one teacher; he must be many teach¬ curved line as a mere sign of legato, not endeavor¬ question of age alone to be considered. There are 'the above definitions is the original and most com¬ of firmness; and means determination, and includes TREATED? ers in one personality. He must be able to adjust ing to combine the legato and the phrase-mark to¬ also such important points as his temperament to the level and the comprehension prehensive meaning of curved line. But the curved constancy of purpose. It is not shown by harsh¬ line connecting more than two notes is now often gether. The rule above "given with reference to the 1. The physical equipment of the pupil. BY PHILIP DAVIESON. of his pupil. Without being capable of this, a ness, severe criticism or lack of sympathy, though called a legato, the term “slur” being reserved for treatment of the final note under a slur, when an 2. His musical equipment. teacher must narrow his sphere of usefulness. He these outward signs are often mistaken for it. Suc¬ the curve connecting two different notes. This lat¬ accented note, is of the utmost importance. It 3. His mental endowment. must study his pupil as an individual, and try to cess with children means interest, work and progress, The dull pupil fills a place! He is the poor indi¬ ter definition of the slur really obscures its original enables us very largely to see at once whether the comprehend his peculiarities, his likes and dislikes. and in this order. You must know what and how 4. His previous knowledge of music. vidual who makes life a burden for the music meaning. It also limits the application of a general composer intends us to regard his slur as a mere teacher. He does not bring encouragement to the Otherwise, little can be accomplished. much to exact, and when and where to stop. 5. The practice time available. term to a special and particular effect. What the legato or as a phrase-mark. Then, after going to work intelligently, and doing A pupil said this week: “My other teacher didn’t 6. The attitude of the pupil toward the study of heart or rest to the nerves, yet the dull pupil is effect of a curved line connecting two different notes here in our world, and he has as much right to be everything to eliminate difficulties, a teacher must seem to care whether I practiced or not, and I only music. really is we shall hope to show later on. AN INCONSISTENCY. 7. The home environments, etc. here as the bright pupil. expect a certain amount from each and every in¬ practiced when I felt just like it.” Is not that just Here we may direct the attention of cur readers There are strong, healthy children, and also deli¬ Most of us have to accept him, and it is a good dividual pupil. If a teacher never expects anything the point? You must care whether he works or THE MEDIAEVAL LIGATURE. to another musical inconsistency. This is that cate ones; some have finely-developed hands, others thing that such is the case. Why not accept him from a pupil, he certainly will get nothing from not, whether he is careful or slipshod, progressive or while in vocal and keyboard music unslurred pas¬ either flabby or tough muscles or weak wrists. Only cheerfully? Do not lose too much sleep over him him. A teacher who tries to do all the work ac¬ As an indication of the legato in instrumental apathetic. The child quickly recognizes this. Ac¬ sages of consecutive notes are supposed to be ren¬ a small percentage of pupils are endowed with un¬ on the one hand, nor neglect him on the other, and complishes little or nothing. If a pupil plays a piece performance, or of the singing of more than one cept nothing less than you require. Leave no loop¬ do not fail to remember that he is a blessing to with his own fingers, but with the teacher’s brain, note to the same syllable in vocal music, the curved dered legato, such passages in music for stringed hole, and see to it that he is not looking for one. usual musical gifts. The majority, however, offer instruments are played’ with separate strokes of the to the teacher working material sufficient to shape the musical community in more ways than one. then, what have you left when you take away the line is “the modern substitute for the mediaeval Children must be interested first, last and always. If all our pupils were bright, studious and atten¬ bow, while wind instrumentalists invariably detach them into creditable musicians and pianists; but a teacher? What has been accomplished? Is it ligature, and an infinite improvement upon it.” Some are interested in scales, finger exercises and tive, how monotonous it would be! You may say all unslurred notes. very considerable percentage are quite unmusical. It worth while? A waste of time, energy and money This ligature, in the plain-song notation of the 16th exercises of a mechanical sort. Others either refuse “no,” but in all probability such would be the case. A number of cases exist in which musical phrases is of no use to expatiate upon the great variance is all that has been done. century, signified the singing of more than one note or systematically forget to practice them. I may “Variety is the spice of life.” Without the bad, we overlap, the last note of one phrase becoming the among pupils’ mental capacities. A lack of mental Our pupil’s playing should be an outward mani¬ to the same syllable. This was indicated by writing lay myself open to adverse criticism, but I do not should be incapable of appreciating the good. Spice first note of another. Here some editors join the control, of the power of thinking, will certainly festation of inward development, not the mere work¬ the notes close together, above one another for an insist with many scales and finger exercises at first, gives to food flavor. If all our pupils were little- two slurs together, making the end of the first slur overbalance a certain natural musical precocity or ings of a puppet that has been “wound up mechanic¬ ascending legato, or “joined together so as to form with all children. Each one may be interested in angels, doing exactly as they were told without ever and the beginning of the second “dovetail.” Com¬ a good muscular hand development. ally.” Therefore, the teacher who takes upon him¬ an oblique figure" for a descending legato. But for correct position, how to produce singing tones for a struggle, our work would very soon lose the spicy menting upon this practice, Mr. Franklin Taylor In grading a pupil who has enjoyed previous self too much responsibility may defeat his own a detailed explanation of these obsolete efforts we which I give exercises to be memorized. Also a flavor. Such a condition of affairs would be a mis¬ observes: “This overcarefulness is much to be dep¬ musical instruction the teacher is usually confronted end by making a lazy pupil his mental vassal in¬ must refer our readers to some reliable history of preparatory exercise for smoothness and evenness fortune to the average teacher. It would neces¬ with a perplexing situation. Most pupils overesti¬ stead. The inner musical ability of such a pupil musical notation. To us the ligature is only inter¬ recated, for the reason that it leads anxious stu¬ in passing the thumb, and a simple scale. One child sarily result in a lowering of the standard of the mate their proficiency. In almost every case there may remain practically untouched and undeveloped. esting as the precursor of the modern slur. The dents to depend too much upon the marks, and too may have his scale practice in the form of a care¬ are many faults to correct, many deficiencies to musical community. The dismissal of the lazy pupil who refuses to exert latter was not in general use until the latter part of little on their own understanding of the character fully chosen piece, his dotted notes in another. Duets If every pupil we had were easy to instruct, we make up. I do not, however, commend the course himself often results in more true musical advance¬ the 17th century. Of course, the introduction of the and phrasing of the music; and even induces them, have their place and are of value. In a year, he has should very soon fall into a rut, because our re¬ of some instructors who worship at the shrines of ment than he could ever attain were the teacher to curved line into musical notation was of much earlier when playing from an edition in which the com¬ the rudiments of practice, so to speak, has learned sourcefulness would never be put to the test. A certain methods to such an extent as to allow no make that same pupil play with his own fingers date. As a tie, the curve was in use as early as poser’s marks are preserved unaltered, to make a faculty which is never put to use soon dies a to love music, and not to hate practice, and now credit whatever for previous knowledge, requiring but with the instructor’s brain. 1600. Our old friend, Alexander Malcolm, in his break of legato at the end of every slur, thus ruining natural death. People who travel in ruts lose indi¬ must realize how much the despised work can add their new pupils to undo everything and begin Activity roused from within, bringing outward the sense.” From which we may infer that “the viduality • and personality, two qualities without “Treatise of Musick, Speculative, Practical and His¬ to pieces, and to the ease with which they are anew. The environment of a pupil plays a promi¬ results, is the only sound basis of work. Unless old established method of marking legato, . . . which an art like music must sink low. These two torical” (Edinburgh, 1721), says: “You’ll find a learned. The smallest beginners can scarcely ap¬ nent part in the selection of music. A large per¬ there is activity from within, there must be artistic the accustomed manner of all the great composers,” qualities are the sine qua non of art. mark, like the arch of a circle, drawn from one note preciate this. centage of music students arc brought up in homes death, no matter how fine the outward appearances to another, comprehending two or more notes in if correctly understood, stands in comparison with One thing must never be forgotten and that is Very often a wide-awake teacher may learn and some more modern systems as did the old wine to where, in musical matters, ignorance reigns su¬ may seem for the time being. the same or different degrees; if the notes are in that the pupil invariably takes his cue from the advance himself farther with one dull pupil than the new, viz.: That the old is better. preme. Frequently a worthy pupil is hampered fur¬ different degrees, it signifies that they are all to be teacher. Is the teacher half-hearted, irregular with ther by complete apathy or even decided opposition with ten bright ones. The teacher who gives up sung to one syllable, for wind-instruments that lessons, changing or postponing often? The pupil on the part of the parents. How to overcome these right away or loses courage at the first difficulty is not worthy of having bright pupils. For the aver¬ they are to be made in one continued breath, and finds in it his excuse to do likewise. Are mistakes difficulties requires an uncommon exercise of tact, SOME PRINCIPLES OF TEACHING for stringed instruments that are struck with a bow, age pupil, time, note reading, etc., are grasped easily. SUCCESS IN TEACHING LITTLE ONES. passed over as of small consequence, little points patience and inventions on the part of the teacher. LITTLE FOLKS. as violin, that they are made with one stroke.” It is always commendable for the teacher to be It is the dull pupil who makes us think of new ways corrected but once and neglected afterward? The of presenting musical ideas. It is the dull pupil who Leaving the ancient for the modern, we will deal pupil’s practice will show the same irregularities. guided by high ideals, to fight for the best and ARRANGED BY THOMAS TAPPER. BY EVA HIGGINS MARSH. brings us to realize that perhaps we have not been first of all with the up-to-date meaning of the word There is under the guidance of each teacher not purest in music, but the teacher who pursues such a “slur,” viz.: A curved line connecting two notes of course, never swerving a particle to the right or teaching this or that in the best way possible. It The natural teacher of children is a woman. only the child of the present, but the man or woman is the dull pupil who makes us question whether 1. The child should be the teacher’s central point different pitch. When these are notes of the same left, will find much trouble and lose many pupils. of study. Love of children is the bond of sympathy that to be. He is fixing habits of practice and of playing, this or that way is the best of presenting a question value and of short or moderately short duration, or The teacher to be successful in a material point brings success in working with them. Not a dis¬ be they good, bad or indifferent. Individual methods or subject. It is the dull pupil who makes us search . 2- The teacher’s work is important, but the child’s when the first of the two notes is of greater value of view, especially in smaller communities, will passionate interest in their growing intellects or may differ, essential things remain the same, whoever our inner selves. Then, even if we apparently fail, is more so. than the second, the first note is accented and the usually be obliged to make certain concessions, at awakening minds wholly; the love and understanding the teacher, if he is wise and well-informed. A least for a time. Pursuing a wise and judicious we have accomplished something. A failure made 3- Education is a growth, an evolution by and second note is made not only weaker in tone but painstaking teacher is usually rewarded by a after honest effort is far better than a lazy success. through the child. of shorter value than that denoted by the notation; of the child himself. One must see life as he sees course, he will nevertheless succeed before long in it, and feel as he feels. painstaking pupil. attaining his ends and thus contribute his share to “But things are not always what they seem.” An 4- The child is the chief agent of its own de¬ indeed, it is made quite staccato. This accentuation apparently bright pupil may turn out to be dull; velopment. of the first of the two slurred notes is insisted upon This in itself may constitute fitness for teaching the elevation of musical taste and appreciation in children. Not all. Children are like young and his circle. an apparently dull pupil may turn out bright. Yes, 5- The teacher is a purveyor, a selector and sup¬ even when the first note occurs upon an unaccented tender plants, and one must know how to handle APPROPRIATE DRESS FOR CONCERTS AND The desirability of assigning music students to the story of the ugly duckling is a good musical” plier of material. portion of the beat or measure. By this procedure them. There must be first the personality that wins RECITALS. certain grades and the proper classification of pieces story. We have seen geese or ducks become swans, 6. Self-activity is the most important principle in a most charming and piquant rhythmic effect is them, there must be mutual attraction. Personal ap¬ and studies is conceded by everyone. These are and swans become geese. There are people with education. Wherever this has been destroyed dis¬ often produced. But when the second of the two It is refreshing to read that one of the pianists pearance adds its mite, too, and a modulated voice subject to both technical and interpretive require¬ small capacities in the world who fill up very fast, order has sway. slurred notes is of greater value than the first, the of this season has expressed' her contempt for and pupils of large capacities who fill up very and gentle manners are no small part. The hair ments, a fact which makes such a classification very 7- The larger part of our so-called education ends ordinary accentuation of the beat or measure is not fashionable dresses on the concert platform and has slowly. may be silvery, but the eye must be bright and the difficult. It is for this reason that lists of studies in stunting mental power. The methods in use too interfered with, and the second of the slurred notes declared that she prefers, when giving a piano re¬ Sometimes one difficulty or obstruction will stand smile cheerful. One must be hopeful, for all life and pieces are sometimes limited to four and five often destroy interest—the child’s desire to learn- is only very slightly shortened. When the two cital to be dressed very quietly, arguing that the in the way of the comprehension of a pupil, who is before a child. No pessimist or misanthrope grades. and develop stupidity. slurred notes are both of equal value and of con¬ music and not the clothes should be the chief thing To my mind this number is too small, being in¬ may be bright, perhaps, even exceptionally bright, siderable duration they are merely played legato. should touch to blight the life of a child. Is it to claim attention. yet be made to appear dull in consequence. We have 8. The individuality of the child is sacred, says beyond the range of possibility to see little ones adequate for the guidance of the less experienced Froebel. No special stress is then given to the first note, nor It was the caustic Ouida who said “fashionable seen an instruction book which helped one pupil lead out joyfully and hopefully into music study? teacher and somewhat disappointing to the student. is the second note shortened. The same applies women would wear the entrails of a chicken on puzzle another. If a teacher has done his level best 9- Children should be creators instead of imitators. Is it too much to ask that their first years be happy In advocating a system of ten grades and outlining to two equal and slurred notes in slow tempo. their hats if it were the style” and, while this is with a pupil, and tried a great many ways and yet 10. There is too much tnducation and too little a scheme for general use, I realize that I might lay open to question it seems entirely possible after the can make apparently no impression, a complete education. An attitude of love and interest, an attractive myself open to criticism, and beg the indulgence of the slur in vocal music. display of feather dusters and bales of dried grass change of music will often work a miracle. Indeed, 11. Pupils are consumers, but n personality, must be balanced by a keen and dis¬ my fellow teachers for any and all shortcomings. t sufficiently pro- with which we have been regaled the past season. I should therefore advise a system of ten general a change of teacher often works an improvement ducers. In vocal music the performer will have to decide cerning mind and an equitable poise. “Repose is Women who are concert artists should be too divisions, divided into grades somewhat like the fol¬ through a change of books. for himself whether the curve connecting two dif¬ the emblem of power.” Two things you must 12. There is too much instruction, but too little great and too individual to be slaves to any decrees lowing: Here is an illustration to show: Howard Dullard education. ferent notes is a slur within the meaning of the know, your child and his life first, but no less your¬ takes lessons from Mr. A, and Lillian Slow takes above paragraph, or whether it merely indicates the of Dame Fashion whatsoever, and should wear al¬ Grade I. Lower Primary. . Education should be an unbroken whole from self and your own mind. lessons from Mr, B. Neither does well. Parents singing of two notes to one syllable. Many vocal ways what suits them best and what they like best II. Higher Primary. intancy to maturity. Know yourself. If you feel you could have made to wear. get discouraged and resolve to change teachers composers employ the curve over two different “ III. Lower Junior. 14. Teachers should be character formers. a better seamstress, or a better anything else, don’t Howard Dullard goes to Mr. B, and Lillian Slow “ IV. Higher Junior. notes to denote the Portamento, or gliding the voice teach little children. If you feel that work with goes to Mr. A. Marvelous improvement! Why? 15- Boys should become more of gentlemen, and from one sound to another. This paper deals with “ . V. Lower Intermediate. girls more of ladies. them is not properly recognized and inadequately Both teachers use different books. Now, would it matters theoretical rather than practical, therefore paid, or that its life is too simple and too far re¬ 16. Pupils should be trained to self-control. any supposed authority as to the details of t it is not for us to show how the slurred notes are moved from the position and plaudits the world dress should be ignored absolutely.—Musical Ne THE ETUDE 455 THE ETUDE Composed especially SCENE DE BALLET 454 THE VOCAL NUMBERS. for the ETUDE PETITE GAVOTTE—L. NASSBERG. Two very good sacred songs are to be found m This is a dignified and very taking modern ex¬ thS number of The Etude. Mr. Thurlow Lieu- ample of the old French dance form. the tr rance’s “Come, Holy Spirit,” is an expressive and Educational Notes on Etude "gavotte” is invariably in 2/2 or 4/4 tl"ie’ a” devotional setting of the beautiful Whitsuntide or always begins on the half measure. Herr Nassberg Music has succeeded happily in catching the true sPirlt drdination hymn. Much may be made of the vocal and swing of the dance; but he has enriched it aiu part, and the accompaniment will prove effective on By P. W. OREM embellished it with modern, harmonic treatment. either organ or piano. This piece will require considerable variety in touch Mr. Rockwell’s “What Must It Be To Be There” and expression in order to bring out its many is a fine example of the evangelical type of sacred, PETITE SCENE DE BALLET-E. SCHOTT. effective nassages. song suitable for any devotional occasion. This song will sound particularly well if sympathetically This is a recent composition of one of the most ROGUISH EYES—H. NECKE. celebrated contemporary writers for the pianoforte. This is a very pretty and fanciful “serenade,” by Edouard Schiitt (.born 1856, St. Petersburg) has a successful German teacher composer, containing had many successes; his works invariably display much melodic and rhythmic variety. All the themes Mr. C. C. Robinson’s “If Only Thou Art True” an intimate knowledge of all the resources of mod¬ is a pretty love-song, easy to sing, with broad ern pianism, coupled with an ingenuity and orig¬ are good. The various staccato passages suggest the inality of melodic and harmonic treatment. In the strumming of guitars and mandolins, giving the true diatonic phrases, and a very tasteful accompaniment. preparation of his manuscripts he is one of the mo t serenade effect. The episode in 6/8 time suggests It will suit any voice of medium compass, and is careful of composers, with the utmost attention to a love song. The whole effect is picturesque. an excellent number for teaching purposes. detail. His “Petite Scene de Ballet'' is of only moderate difficulty, yet it has all the finish and per¬ AT TWILIGHT—A. O. T. ASTENIUS. _ fection of workmanship to be found in much larger This is a very melodious drawing-room piece, HOW DO YOU ACCEPT CRITICISM? works. This composer is a? his very best when tastefully worked out. It is rather easy to play, but is quite brilliant in effect. Pieces of this type working with idealized waltz forms. Some of his BY MRS. J. IRVING WOOD. waltz numbers are among the most popular of invariably prove popular with students, and tend to present-day pianoforte pieces. “Petite Scene de inculcate style and expression, and the production Ballet” is a vivacious and delicate waltz movement of the singing tone. We were just finishing a lesson, the last one of displaying the composer in characteristic vein. The a long and trying day, recently, when the mother of metronome speed given is the composer’s own, as FLEETFOOT—W. ROLFE. my pupil paid an unexpected visit to the studio. I well as all marks of expression or interpretation. This is an intermezzo of the present-day popular was particularly tired, but received her cordially, All these should be carefully observed. The first type. It is an excellent specimen of its class. expecting some kindly words of encouragement and theme should be played in a capricious manner, the Many of Mr. Rolfe’s compositions have proven very approval, as her daughter was a most careful and melody well brought out, with the singing tone. successful, and “Fleetfoot,” a recent work is a painstaking student. Imagine, then, my surprise to The second theme should be taken more quietly and worthy successor. It should be played in a mod¬ hear that “Mandie” had failed to play any piece connectedly. Due attention must be given to the erate time, with well-marked accents, in a jaunty harmonic structure throughout. It will be noted manner. through for company. that the composer has indicated an emphasis upon “Why doesn’t she play as well for others as for certain tones and inner voices, tile oh-i-rvance of ON THE STAGE—H. ENGELMANN. you?” queried Mrs. Blank. “I suppose you have which will add much to the general effect. This Mr. Engelmann, so many of whose compositions her play her pieces correctly before you leave number will prove a gem for any recital program, have proven popular, has been peculiarly successful them?” affording an opportunity for an intermediate student with his marches; in the easy as well as in the more This last remark came with an upward inflection ■to play a work by a modern master. difficult grades. His easy marches, in particular, and a very disagreeable smile. Then followed nu¬ have all the sparkle and go of many far more diffi-: merous other complaints, chief of which was that FUNERAL MARCH—P. TSCHAIKOWSKY. cult pieces. “On the Stage,” one of his new I had failed to give “Mandie” the “China Aster *«Fcw composers are successful in producing art marches, is a striking example of the foregoing. In Polka,” the “Mary Annie Waltz,” and several other works of moderate difficulty or of easy grade, pieces the hands of any good second grade pupil it cannot lovely pieces that her friend, who “took” of a which maintain throughout the same degree of fail to please. It has a certain theatrical swing to “Professor,” played so beautifully. technical requirement. Of all the great composers it; hence its title: “On the Stage.” Tschaikowsky has been one of the most successful My suggestion that Mandie probably failed to in the smaller forms. He has a set of easy piano¬ INDIAN WAR DANCE-P. BROUNQFF. play creditably for guests through nervousness was forte pieces, Op. 39, which have proven popular, This is a clever and characteristic teaching piece, discredited, although I had myself seen the. child’s and a set of more advanced pieces, Op. 40. The one of a set recently published. The composer is hands tremble and grow cold at the entrance of a “Funeral March” belongs in this latter set. Al¬ an eminent Russian musician and educator, now stranger into the studio. After some further con¬ though a genuine piano piece and comparatively resident in America. This piece should be played in versation," conciliatory on my part, mother and easy to play, it, nevertheless, contains an aston¬ bold and vigorous style, the drone bass suggesting daughter departed. ishing series of effects in tone-color, continually the beating of drums. It will make a good descrip¬ reminding one of the orchestra in its shades of tive number for recitals, and will be enjoyed by and thought bad words for nearly an hour. I had emotion. Some striking harmonic effects are gained young students. by comparatively simple means. It is one of the worked hard and faithfully with this child, laboring for her technical advancement, and to implant a best modern examples of the “funeral march” type. LITTLE STRANGER—G. L. SPAULDING. taste for the best and purest in our art in her mind, The first theme moves quietly and should be played This is a genuine first grade teaching piece, both smoothly without pedal. The second theme in E- hoping to raise the ideal of her whole family and hands in the treble clef, and as easy as possible to flat is bolder, with a characteristic trumpet fanfare. play. In spite of its extreme simplicity, it is very its environment. I was met by criticism; criticism The return of the first theme is enriched by an tuneful, and sure to interest young players. of my methods, my material, and implied doubt of accompaniment of staccalo thirds in the left hand. my motives even. My first thought was resentment This is a peculiarly characteristic touch, giving an THE FOUR-HAND NUMBERS. of the ignorance which looked for perfection in a effect of gloom. The third theme in A-flat is of young child and preferred a spurious article to the lyric character, beautifully worked out, containing a Seeboeck’s “Fairy Tale” is a characteristic piece, real music, with its great and beautiful significance, striking “dialogue” effect. The final return of the an original four-hand number, interesting and easy which I had used. principal theme brings with it an entirely new to play. In this clever piece the melody is assigned effect, a syncopated accompaniment. The “Coda” to the secondo player throughout, the dainty staccato But later came a better impression. It was I is built over a tonic pedal-point in repeated eighth chords of the primo giving the requisite fairy-like who had failed. Perhaps the pieces I had given notes, a favorite device of Tschaikowsky’s, suggest¬ quality. The melody must be v ell brought out like were too hard for the child. Perhaps I should have ing the beating of muffled drums. The final meas¬ a baritone solo. se ected more simple melodies with strongly marked ures, ending with the empty fifth, give a peculiar “Banner of Victory,” by von Blon, is one of this r yt m to please the ear of ignorance, waiting and effect of despair. It is a fine bit of writing, and composer’s best marches. It must be played in the rayS for growth in >nusical taste. Pos- will repay careful study, either on the part of the orchestral manner, in brilliant style, with broad rhythmic swing. 1 y had not labored sufficiently for indepen¬ player or of the student of musical composition. dence in this child’s playing. Then, too. 1 should ave taught her so to love her music, so to listen SCHERZINO—G. KARGANOFF. kvotaivue, u-UK PIPE ORGAN)—T D G. Karganoff (1858-1890) was a successful Rus¬ WILLIAMS. Playing that a11 thought of auditors might be banished from her mind for the moment. sian pianist. His compositions display refinement This is a very melodious number, suitable for - and excellent workmanship. The “Scherzino” is opening voluntary or offertory. It affords excelle Mrs6 fiS,UkeS not to be repeated. delicate and fanciful, a fine example of a certain opportunity for tasteful registration, and may 1 Mrs_ Blank budded better than she knew. As I style of pianism. The word scherzo means a jest handled effectively on organs of even limited scop Rainers*1 h°n‘act w,t|1 otl'er pupils they shall be the or a joke; in music the term may be applied to any Play it tastefully, with discrimination in the choi teach M ^•ller Unkind’y criticism. I am going tc instrumental piece of playful or piquant character. of solo stops and combinations. A scherzino is a short scherzo. This piece will and even*1 h* t0 ?*ay ber best {or nlanv people yet, thoveenVesmib;tlng herJ° a" aPPreciation of a Bee- require a light touch and a supple wrist. It must DANCE ?fATHE.CRICKETS (VIOLIN AN1 tnoven bonata or a Bach aria. be played with extreme vivacity. The contrasting . PIANO)—M. GREENWALD. second theme must be brought out in broad, sonor¬ ous style. The final measures will require a certain f nhf vt a hyely. v olin number, easy to play \ Someone has said, full of life and color. Strict 1 , y’ Character is educated will.1 zephyr-like quality. An excellent study or recital There is food for a to the rhythm. Play the triffllt ?USt be whole day’s thought in that piece. out hurrying. * tnplets evenly a"d wi sentence. Indeed the essence of successful study is concentrated thought joined to an indomitable will. the etude THE ETUDE 457 fleetfoot THE ETUDE 459. the etude 458 FAIRY TALE Primo FAIRY TALE Allegretto mosso m.m. J = 116 W. C. E. SEEBOECK Secondo W. C. E. SEEBOECK BANNER OF VICTORY UNTER DEM SIEGESB ANNER March Secondo FRANZ Von BLON UNTER DEM SIEGESBANNER March Primo FRANZ von BLON THE ETUDE 461 Pr imo TRIO 5— -- i p' *- ■— F^R i? i * 4 1 2_L | 1 ^- l\J? i>i „ , i.. 1 =F 1 m L J~ J m 0 h#~ tsz-r±i-==r= % — r n i-Fftgg3 >>> > lJ fPP -::. 7*1 ~,2 . ... ' /> L - ^ ^ m c (-%. l7|— P ] J&-T- ==- \ 1^ P 5 > 463 THE ETUDE THE ETUDE GAVOTTE IN B MINOR - the etude at TWILIGHT a.^td &astenius SSi. Cantabile **1^* %m if* ,at ‘ 1 n \ 1 r •-r- ^-U :-l I, Copyright 1910 by Theo.Presser Co. British Copyright secured THE ETUDE 467 THE ETUDE 4«l> FUNERAL MARCH THE ETUDE 468 s I marcato THE ETUDE 471 470 THE ETUDE (S ^ a 1 3i _Va,_1_3 ROGUISH EYES rfj j hr- •:-^ Sohelmische Augen 1 t) j, conespressivo SERENADE ROCOCO Tempo di Gavotte m.m. J=ios HERMANN NECKE ^ — t k p f k J~_r“TT U g £ ! ^ htu-1. h I -1_ i4 4 5 4 r'm i± 14 f" ® Y. . ^ /p scherzando • | mf- AYMlEmrffftffi ( ^ " L^g-tero „ f 0 Its T 5 Jt Lfl, j., f. 1 |, ,f, i .jLz IykiJ Andantino espressivoM.M.J=6i (»■* yiM ^ ~ ■-~ > |, j P Jg . = • r r k L-« 1-7-- - • ■ ^ ^ | |# ^ j j- , | • > -r T ; ■? ; *:.f- b - V v m 7 ^ / Jl ' t * " -ft—^'J ^ U ' tfffr ,r^-4- T »-K H--sh $T ik AT rm "T rm >- | ' jfc k ^ g • -ft- k ft- • -ft- k -ft- K ^ iA K y—-—■ k S • ^ -J- -f7|[;r f prJrT*r J ' pr_j'P'l .Pit ff tr tt ,i T rm Jill k .==— p rit. ' 1-7- e//> ^ tempo -j-- Js, # k g ■ ft- k -ft THE LITTLE STRANGER GEO. L. SPAULDING Moderato K ft K ^ ^ ' U y ■ + P f /^£ftft i ^ I ^ Uggiero' 1 ^-■*-■ £ine Z?. <7 j| “EL 1 1 c 1, 3 | 8 11 | 2 t 3—| .| Copyright 1909 by Theo. Presser Co. Copyright 1906 by Thto. Presser International Copyright secured British Copyright secured 478 THE ETUDE THE ETUDE 472 DANCE OF THE CRICKETS ON THE STAGE H. ENGELMANN MARCH CAPRICE INTRO. MARCH Tempo di Marcia M. M. J = 120 1 4 3 a iJL—^4 /T\ 3, — 1 3 fA hr’irffrr riOrTfRxr irTrr^r-T ir m \ p — =====—1 — , ~ ~ --/ | | J *= ? '-I • " / D. S. * i. * ft- L.-gj British Copyright Secured Copyright 1910 by Theo. Presser Co. British Copyright Secured *74 THE ETUDE ROMANCE IN E !> r - r Slower m.m. J =72 Copyright 1910byTheo.Presser Co. British Copyright secured THE ETUDE 47? THE ETUDE 476 COME HOLY GHOST THURLOW LIEURANCE BUT WHAT MUST IT BE TO BE THERE SACRED SONG ELIZABETH MILLS GEO. NOYES ROCKWELL con espressione Cantabile m.m. J = 3* 1 rail. c£Tr f: * jJ-. -I -j==f :===-- mf > rail. a tempo zjfr _ falr-And oft are its beau-ties con - fess’d, But what must it be to be there? We speak of its path-ways of gold_ Us wear— The church of the first-born a - bove. But what must it be to be there? Do Thou,Lord,’mid sor-row and woe._ For wallsdeck’dwrthjew-els so rare— Its won-ders and pleas-ures un-told. But what must it be to be th^e? heav-enmyspir-it pre-pare._ And short-ly I al-so shall know And feel what it is to be there. Copyright 1910 by Theo. Presser Co. British Copyright Secured Copyright 1910 by Theo. Presser Co. British Copyright Secured THE ETUDE 478 THE ETUDE 479 IF ONLY THOU ART TRUE GEORGE, barlow CLARENCE C. ROBINSON THE ETUDE EDUCATIONAL CARTOONS Picture Object Lessons that show at a glance why some teachers and why some pupils fail to succeed. DOES ••BOHEMIAN1SM” PAY? PUZZLE-FIND THE MOZART SONATA. There Is really no reason why the office of the musician should not be as neat, Damming the Niagara with toothpicks or emptying the ocean with a thimble would ■s orderly and as tidy as that of the physician or the lawyer. The days of the teacher be about as easy a task as trying to cultivate a genuinely musical taste with the kind of ,'ho stored feather beds in his hallway, hung his wash on the bookcase and attired opposition represented in the above picture. Probably Tommy's parents are spending himself in the disguise of scarecrow are fortunately passing very rapidly. Worn* teachers their hard-earned money for his music lessons and are wondering why It Is that he may not realize that the observant parents who visit their studios take a much deeper falls to develop a love for the works of the great masters. This picture speaks louder .ns 1= >,e hoped that those who ought to see it will not be denied A DAY OP SUMMER MUSIC. fleecy clouds, or the gondola on the summer sea. The search for appropriate music was a pleasure, and BY HARRIETTE BROWER. opened up avenues of thought she had not previously considered. When she imparted her plan to the pupils of the outdoor world. The teacher had considered long and earnestly as they took to it at once. It set them thinking more For the afternoon the younger students gave the fol¬ to the idea she should bring out in her closing musicale. about what music expressed than they were generally lowing pieces: Frolic in the Hay, Chittenden; Happy Last year the memory of Chopin had been celebrated, inclined to do. The teacher asked them to look over Farmer, Reaper’s Song and Harvest Song, Schumann— and the two programmes then rendered had proved the pieces they had already studied to see what they Op, 68; Among the Flowers, Decevee; Barcarolle, interesting and enjoyable. The young players had could find bearing on this theme. She encouraged Lange; Beetle’s Buss, Lange; Barcarolle, Kullak; But¬ taken up with enthusiasm the idea of studying the them to think out the subject for themselves, even to terfly Chase, Schytte; The Broohlet, Heller; The Mill, more simple pieces of the great Pole, had read what finding pieces that expressed this thought, though the and Village Festival, Jensen; Pastoral, Stavenhagen; they could about him, and their performance of his composer may Hot have thus labeled them. Rural Dance, Sternberg, and the Butterfly, Merkel. music had been such as to reflect great credit on their At the next weekly meeting the pupils were ready The little programme was played without a slip, and teacher. with their lists; each had at least one piece in mind, showed that the pupils had a good technical foundation For this year a Schumann would naturally be in some had quite a number. There was still time for and tried to bring out the thought expressed in the order, as this is the centennial year of Schumann’s each pupil to learn one new composition, which they piece. Even the baby of the class, who is only five, birth. The pupils had shown deep interest in the eagerly promised to do. went through the Frolic in the Hayloft perfectly. master’s life and work, and one of the musical evenings As each member of the class wished to contribute A large company gathered for the evening recital, which the teacher arranged for every month during the to their “Summer Festival,’’ it soon became evident at which the playing was most excellent. Mendelssohn’s season had been given to his music and to accounts of that all could not play on a single evening. It was, overture to Midsummer Night’s Dream, as quartet, his life and achievement—read by the different students. therefore, decided that the younger pupils should give opened the programme. Then followed several of the For the early summer musicale the teacher sought their recital in the afternoon and the elder ones in tone poems of MacDowell—The Wild Rose, Water something novel. She was a wide-awake, earnest the evening of the same day. So there should be a Lily, lit Deep Woods, Starlight, and Midsummer. teacher who, by honest work and careful attention to day of it—“just like a real festival,” they said. Tschaikowsky’s charming Barcarolle was next played. her business had built up a reputation for thorough As the weeks flew by the interest in the teacher’s Then a young singer, who was to assist in the pro¬ and artistic instruction and had gathered about her idea increased. Spring had brought the awakening gramme, sang My Love is Like a Red, Red Rose, by a large class of enthusiastic students. No danger of of all things. The rivulet had broken its icy bonds Mrs. Beach, and Summer, by Chaminade. Next came her getting into a rut nor of falling behind the times. and now tinkled along on its mossy bed. The children Grieg’s Papillons, and Godard’s Pan, The Two Sky¬ She showed in everything she did the interest she took listened to its faint and delicate music as they had larks, by Leschetizky, and The Butterfly, by Lavalee. in her pupils. If one of her flock found a difficult never listened before. They found that there were At this point a young dancer was introduced, who problem in technie or piece, the teacher was always Teal melodies to be heard in the musical drip of the danced and illustrated with charming poses the music of willing to assist that pupil—giving her a little extra clear water. They tried to tell what tones the lark two numbers of Nevin’s suite, In Arcady. time, either after the lesson or whenever possible. sang as it rose triumphant in the sunshine. All nature After this came Rubinstein’s Barcarolle in G minor Once each week she gathered her pupils about her, to was aglow and pulsing with sounds of the most varied followed by William Mason’s Danse Rustique. An ar- explain to them many technical and tonal points and to and impalpable kind, and not only sounds, but feelings, have them play their pieces for each other. rangement of the “Midsummer Day Dance,” from the were to be discovered from studying her atmosphere Mcistersinger, closed the unique programme. Every month a large musicale was given, at which and moods. The teacher made a few remarks at the conclusion many of the pupils played and to which their friends The day for the summer musicale had been fixed for of the music. She explained how the thought of the were invited. the early part of June. It was a rare June day—as summer programme had come to her and how inter¬ After much thinking the young teacher decided that perfect a summer day as ever dawned. June roses esting and helpful the working out had been to the this year the final musicale should exemplify the music were everywhere, and the teacher meant to have the pupils. She felt that they looked on Nature with dif¬ of summer—all the opulent charm of Nature at her studios filled with them. The pupils, knowing her ferent eyes and listened to her varied voice with a most luxuriant season. Each piece chosen should re¬ wish, brought the blooms in masses. The rooms were quickened sense for beauty and harmony. And she British Copyright Secured flect some phase of summer time—the rushing of the like a summer bower—for all about were placed vases was convinced that the idea, the thought, that had little brook over the stones, the quiet of the deep woods, and garlands of roses and ferns. At one end of the started so modestly would broaden and deepen in their the hum of insects, the butterflies chasing each other, room stood a fine bust of Schumann, who has so well piano playing, and thus enrich their lives. THE ETUDE 481 480 THE ETUDE f_r lessons? If a student has a definite idea this moment gracing the choruses of from somewhere have formed the idea WSdTtro* she desires to do, has she not musical comedies as the happy result that breath control consists in holding °fnerfect right to decline to, study with a teacher of their studies; and why? Because the breath in the lungs as long as pos¬ u will not give her what she wants? Does not they never learned anything except sible. They make no provision for in¬ ZJPrinciple of trade apply here with equal force tone production, which alone is not suring an even, normal outflow of the in the commercial world? I think it will be gen¬ worth anything to anybody. breath, but exert all their energy to erally agreed that it does. Of course the teacher The voice teachers of America have keep the breath back in the lungs as may decline to give any instruction that does not a duty to perform. We have the very much as possible. Now, the tone is conform to his own ideals. The dry goods dealer brightest of people to work with, people made by the passage of the breath be¬ may nourish the same ideals, and refuse to carry with talent and a high grade of general tween the vocal chords, so if they car¬ anything but the finest grade of silk stockings, even intelligence, with artistic instinct, but similate the complex problems of the modern sty e ried their theories to the logical con¬ CZERNY VS. LOESCHHORN. though many ask for a lower grade In the case woefully ignorant of art. The Ameri¬ of composition and thrive on Loeschhom. T ose, clusion there would be no tone at all, R. L. is undecided as to whether she would bet¬ of children, it is well to try and develop their taste can idea is ever for the short cut; as on the other hand, who have been denied all such because if they held the breath com¬ ter use the velocity studies of Czerny or those of and musicianship, and insist, so far as possible, on a nation we are impatient of the old privileges, and whose musical natures . have been their taking a high class of music, in part at least. pletely in the lungs none would pass Loeschhom, having noted difference of opinion THE GOLDEN AGE OF inmost emotions when Caruso sings the traveled way, and our students of sing¬ nourished on an inferior class of music, will de¬ But the ideas and tastes of a mature person of between the vocal chords, and conse¬ among good teachers on this point, and wishes to lament of Canio? ing partake of all the national traits. velop more rapidly on an aesthetically simpler class thirty-three years have become more or less fixed, YESTERDAY? quently they would not make a sound. know which the Round Table prefers. Too much' time and energy are They waste two or three years running of study. The class of music that one has been and a teacher cannot exercise the same amount It is this fundamental idea, this con¬ Two phases of the evolution of piano technique wasted in deploring the past, and a from one studio to another seeking to are represented by these etude composers. At the in the habit of listening to will exercise a most of authority as with children. The only advice that BY KARLETON HACKETT. find the teacher who has the infallible stant holding back of the breath which vast amount of this deploring is done time when Czerny lived, people were so absorbed important influence in what one will be able to can be given to W. C. is to try and find a teacher road to success without work. They lies at the root of most vocal troubles. by people who have no definite idea in the wonders of the newly developed art of digi¬ grasp and reproduce musically. Therefore, the who will conform to her desires. Other than this I have read about this wonderful gift of This is based on a total misapprehen¬ Alas for the good old times in music, of _what they are talking about. What tal display upon the keyboard, that they had but teacher will sometimes find, that while one pupil can only say, make yourself a good enough player singing, so they start out bravely.to sion of the laws of singing, is contrary the golden age of song! Good taste is we need is to keep firmly in mind that little thought for what we feel as emotional ex¬ will be able to work profitably in the modern style so you can play any class of music you may desire find the one who will give it to them. to the laws of nature, and sets the of etude, and fulfill all its demands, technically and nearly lost, and the profession is going we are alive now, in the midst of the pression in music. Players then delighted to as¬ to attempt. No one has it to give, as they discover pupil into a conflict which results in aesthetically, the pupil who enters the studio at the to ruin, some artists cackle like a hen wonderful problem of existence, and tonish their audiences with brilliant scales and ar¬ in course of time, so if they are made complete confusion of mind and conse¬ next lesson hour and can only thrive by begin¬ HARMONIC AND MELODIC MINOR SCALES. when she has laid an egg; the singers, peggios, and an examination of the music of Herz, while we should draw inspiration and of the right stuff they buckle down to ning with the older and simpler conceptions, and particularly the Italians, neglect true quent rigidity of body. Breath control Hunten and Hummel will reveal a superabundance To G. M. I would say that pupils should learn help-from the great men of the past, work with at least some experience to will have to be led very gradually to a comprehen¬ study, sacrifice beauty of voice to a does not, in the least, consist in hold¬ or rapid passage work. Even the supposedly soul¬ both the harmonic and melodic minor scales, but let us use what they have taught us, aid them. sion of the works of a more advanced musicianship. number of ill-regulated vocables, and ing the breath in the lungs, but in reg¬ ful adagios were embellished with such passages at not necessarily in the early stages. It is not likely that we may the better guide our feet Great singers are made to-day as they In all case£ it will be well for the teacher to study neglect the pronunciation and expres¬ ulating the outflow. To regulate this every possible excuse for their introduction. It that children can be made to really understand the along the path we are to travel. There were two centuries ago, by finding one the capacity and individuality of each pupil, and sion of words; as for the recitative, outflow the idea of an outflow must be was with the purpose of preparing players for the reasons for the various constructions of the minor is at this minute a wider interest in who h^s something in his soul that he regulate»the work accordingly. some overdo it and make it a barking, the primary notion in the pupil’s mind, execution of such music that the famous etudes scale. Such things they must at first take on faith, music than at any other period of the wouid express, and then working at his some speak it, and some hiss it, some yet in the majority of cases the idea of Czerny were composed. Beethoven was then HAVE STUDENTS A RIGHT IN THE CHOICE OF leaving until a later period of their careers a theo¬ world’s history of which there is any instrument until he gains the skill to hollow and bellow, and sing it out of never se.ems to have entered his head. played by comparatively few, and Mozart and Haydn MUSIC? retical understanding of such points as why the ear record, a higher grade of musicianship give utterance to what was in him. tune; there is a scarcity of the best and There is no conceivable way in which had ceased to be looked upon as composers of tech¬ seems to demand the half step from the seventh to among the singers, and a greater num¬ Singing is a part of life. The singer W. C.—Thirty-three years old, has played by ear the eighth degree of the scale. I prefer giving the a swarm of the worst; with some few ber of distinguished artists than ever is a man with poetry in his soul, and to regulate an outflow which not only nical difficulties. ever since a child, reproducing popular music after harmonic scale first, because it is simpler for them exceptions the modern intonation is before. We think over the list of celeb¬ good red blood in his veins, not an does not exist, but of which the pupils From this time on technical difficulties began to hearing it once, and possesses a fair amount of to learn and play. After they have been through very bad: indistinct enunciation is rities with' whose names we are familiar automaton evolved from some vocal have no glimmering of an idea, hence assume an! entirely different phase, as so wonder¬ finger facility in simple music. During the past all the scales, have acquired considerable facility in nowadays more than common; persons and we somehow gain the impression method. So let all of us teachers wake the blind groping in the dark with in¬ fully represented in the works of Beethoven, and three years she has tried twice to take lessons of playing them, and understand the relationship be¬ who never sang nor knew how to sing that in those old days everybody sang up, and wake our pupils up to the mys¬ creasing onfusion and tension. It is continued by Chopin, Schumann, Liszt and others. a “very good” teacher, but gave up each time be¬ tween the major and minor, then their musical under¬ pretend not only to teach but to per¬ as well as the few whose names have tery of life pulsating all about us, and this muscular tension, which mistaken Liszt began with the Herz style of embellishment, cause dissatisfied with the music given her to study. fect, and find some that are weak lasted. It is all a vain imagining. as we show them how to produce tones, ideas about breathing have brought to but later entirely changed his manner of composi¬ “Sweet Souvenir,” by Ferber, in the February num¬ standing will doubtless be far enough developed so enough to be imposed on. Italy hears There never was a time when it was be sure that when they have accom¬ so many students, that have made tion. The possibilities of scale and arpeggio work, ber of The Etude, she says, sounds like music to they can comprehend the theoretical construction no more such exquisite voices as in so good to be alive as at this moment plished this they will have something many teachers say nothing at all of the as factors in musical composition, had been well her, and if she could be given such music would of both the minor scales. times past. of the year 1910. in them worth a grown man’s hearing. laws of breath control, feeling that the nigh exhausted, and the development of the com¬ like to study. She also wishes to know if she is b. When a dotted eighth note and sixteenth are Is it not in truth disheartening to The one thing that is mournful in the Let us live in the vital present, with pupil was less likely to get into trou¬ bined intellectual and emotional side of musical ex¬ too old to become a fair player. written in one part in conjunction with a triplet of realize upon what hard times, vocally immediate present is that, with so many our minds alert to the story Of the ble if he knew nothing at all than if pression changed and enlarged the demands of piano Her fingers having become accustomed to the eighth notes in another, if the tempo is very rapid speaking, we have come? The only studying singing as there are, so few he got the wrong start. This, however, technique to an enormous degree. Composers of keyboard, and kept active from childhood, I see the sixteenth note and the last note of the triplet world, and see to it that those who comfort we can draw from the scath¬ gain from their early instruction any is merely shutting one’s eyes to the music for the piano gradually found that they must no reason why a fair degree of progress may not are so played as to come together; if the tempo is come to us for instruction find some ing arraignment of our modern singers adequate notion of the complexity of wrong and not correcting it. No have something to say, aside from superficial glit¬ be made. W. C. does not state the kind of music slow, the sixteenth should come slightly later than clue to the meaning of art through with which this article begins, is that the singer’s art. Pupil after pupil with singer has achieved any lasting vocal ter, in order to hold the attention of music loving she found distasteful, although I assume from her the last note of the triplet. learning something of the meaning of it is quoted from a book published in fine natural equipment of voice appears people of intelligence, and not only this, but had letter that it was probably of too high an order. c. Your last question is not clear. Whether a life. control without understanding the laws the year 1723. Just think of it; in to think that to sing is merely a ques¬ to develop a manner of saying it that was appro¬ Having played popular music so many years by chromatic run in the left hand should begin with of breath support. that famous period, to which we now tion of the technique of tone produc¬ priate to the piano. ear, she now finds it difficult to accustom herself the fifth finger or not depends on the key on which Another false notion about breath look back with envy as indeed the tion. This is a handicap' to the artist It was in the endeavor to meet this condition of readily to the so-called “classical repertoire.” Such it starts. If it begins on any white key the fourth MISTAKEN NOTIONS ABOUT lies in the practice of exercises to in¬ “Golden Age of Song,” one of the and leads to many of the pettinesses musical progress that Loeschhom and other com¬ Students find themselves in a great dilemma in may be used; if on a black key the third is gen¬ BREATHING. crease the capacity of the lungs. Many most famous masters of the time could and stupid wrangles with which singers posers revised the technical study of the medium nearly every case. Having browsed at will for so erally used. This is on the supposition, however, students get the idea that if they de¬ find it in his heart to write such words. are at times justly charged. One school grades. To the mere development of finger dex¬ ■ many years, it is difficult to bring back the scatter¬ that you employ the fingering that places the third velop big lung capacity, if they can It is one of the weaknesses of the BY KARLETON HACKETT. terity they tried to add problems of a distinctly ing attention to concentrated application upon nec¬ finger on all black keys. If it starts on D flat, you lauds Mme. Sembrich and for some in¬ take in a large breath and hold it for musical character. Making a greater demand upon essary tasks. With every good intention, the habit may use the fifth finger if you wish. human mind to decry the present and scrutable reason feels called on to decry a long time in the lungs, that they the intelligence of the student, they are supposed and innate feeling of years has become fixed in the glorify that which has ceased to exist. Miss Farrar; another chooses different The one thing on which voice have done all that is necessary for to enlarge his musical capacity. line of play, instead of work. An entirely dif¬ TOO MUCH FRENCH. Nothing is more common in our day artists over whom to wage their war¬ teachers agree, is that the correct use singing. Now, they may have' de¬ Difference of opinion as to which class of etude Ilian more or less learned articles about fare. So it goes, many good souls not of the breath is the foundation of sing¬ veloped great lung capacity, may be ferent set pf faculties needs to be brought into G. A. has a pupil who left his former teacher be¬ should be used, hinges upon the teacher’s idea of the decadence of the art of singing. discovering that they are making them¬ ing, that the voice is a wind instru¬ operation for the study of high-class music, than cause he would give him no music except by French able to take the breath in very slowly, how much a pupil may be able to assimilate during You hear it. on every side in conver¬ selves ridiculous by the assumption of ment. This once said, then the lines in the stj-umming of popular ditties, and naturally composers. From G. A.’s description, the pupil hold it in the lungs, and then exhale a given period of his training. Some maintain that having been long inactive, they easily become sation, books are printed on the same absolute authority. There is no way diverge. Just what the proper use of steadily, and yet for the purposes of Czerny, being superficial, does nothing for the aes¬ seems to be approaching the fourth grade, and he subject, and the papers fairly overflow to decide the respective places of the the breath is, and how to gain it, are fatigued. This condition of affairs should be rec¬ wishes , to know if he should use some of Mac- actual singing they may be nowhere. thetic side of his musical nature, but exaggerates with similar mournful lucubrations. great artists, and, what is more, we need questions about which there has al¬ ognized on the part of the student, and every powell’s pieces with him first, especially the To haye strong, well-developed lungs, the mechanical element in playing. Others, on the effort made to conform to the teacher's direction. What nonsense it all is. In every them all for their varied gifts. One ways been argument, and probably al¬ Hexentanz.” If G. A. has a good course of in¬ with powerful breathing muscles, is to other hand, maintain that the old principle of “one The first aim on the part of the student should be age there have been individuals of great artist is greater than another, not be¬ ways will be. But as the foundation struction laid out, which includes works by all the have the means to work with, but the thing at a time” is best, and that students more technical progress, or in other words the acquire¬ artistic sensibility who sang gloriously, cause she can sing a semitone higher of the art of singing, breath control classical and modern composers, why not make use whole question lies in how they use rapidly and thoroughly take up the emotional side ment of the ability to play music of a given order while the mass of the singers failed or run a trill scale in an eighth of a will ever be the thing about which the of it with this pupil? If lie has objected to the one¬ these powers once they have them. It of music after their technique is sufficiently far' of difficulty with reasonable facility. Such being to reach the same standard. Fashions second less time; but by depth' of her pupil will think and look to his teacher sidedness of a French teacher, over-loyal to the mu¬ is the manner in which the breath is developed so they can play a medium grade com¬ the case, every student may be obliged to study change, the style of singing most in artistic sensibility, by reason of that for instruction. The first thought that used in actual tone production that position without the first deciphering of its notes sic of his fellow-countrymen, he doubtless now de¬ more or less music that is not particularly pleas¬ favor during one generation becomes appeal to our emotional nature to which should be put into the mind of each makes the singer, not what the pupil being a painful process. They also maintain, that sires a good all-round training. There is not much ing to the ear. Even music that is enjovable if old-fashioned, and its place is taken by she reveals conceptions of beauty we student of the voice is that to breathe can do in breathing exercises. He may although the Loeschhom etudes do present more by MacDowell that can be appropriately used in the properly practiced, must be divided up into sections, something nearer to the feelings of the could not have found for ourselves. is one of the primary functions of have magnificent lung power, but if he complicated problems for the pupil to solve, yet certain portions made into exercises, etc., and prac¬ third grade. MacDowell’s simple pieces are rather public, but the essential qualities of the To do this the artist must do vastly nature, and that the correct use of the at best they are very dull as music, and hence do mature in conception, and require players who can does not understand the laws of the ticed in such a manner as to be highly uninterest¬ human voice remain the same from more than practice vocalises; the singer breath in singing is something for outflow of the breath, he will sing as not do as much for his musical nature as was ex¬ ing as music, although interesting from the stand¬ interpret well. The “Hexentanz” is far more diffi- generation to generation. That more who would grow into an artist must which nature has provided. The vast pected. They argue that the students would bet¬ cult technically than seems to be popularly sup- badly as though he had no lung de¬ point of the end to be accomplished. Every stu¬ appealing tones ever came from the know music, feel the meaning of poetry, majority of students seem to have velopment at all. ter work for technique with Czerny’s directness of p°sed- .The tempo in which MacDowell himself human throat than we have heard must have brain to understand some¬ dent, whatever be his ultimate aim, should so attend fixed in their minds that breath control Anybody can develop lung capacity by purpose, thereby acquiring it with more rapidity, p av.6P made h a virtuoso display piece only poured forth from Caruso we doubt. thing of the meaning of life, and heart to his education that when he has finished kctual in singing is something altogether out¬ quiet, deep breathing, but to use that and then supplement with a course of Heller, of to be attained by the highest skill. The study of That Farinella with his astonishing to beat in sympathy with the struggles, study with a teacher he will be able to play under¬ side of nature, something which they to produce tones of musical beauty is the same grade of difficulty, in which they can give standing^ any kind of music he may choose. Per¬ this piece would better be postponed until the high¬ trills and roulades would have seemed the sorrows, and the joys of mankind. must learn through a conscious mus¬ another story. The young student more attention to the esthetics and dynamics of haps if W. C. had faithfully confided herself to est degree of velocity has been attained. Unless to us a greater artist than we thought Yet this elemental fact, which at first musical expression. cular control for which nature has must get into his mind that to sing is the instruction of the “very good” teacher, she p a,ye, RECITAL WORK A SPECIALTY muscles and hold the breath back, but dinged into his cars is “diction.” He be understood. Otherwise, no matter given up writing florid music, when the ART INSTITUTE. . . city, you know. If you will come down if you perform creditably when paid LONDON ADDRESS. lets it flow freely from him, and speaks must have a teacher in diction, as much how well he may sing, the people can¬ public at large evidently likes it better --.->ted exclusively to the Artistic and sing for us I am sure that it will your fee as when paid nothing. The Training of SINGERSSINGI and Vocal *Peachers. “on the flowing breath.” This is pre¬ as one for tone-production, while both not tell what he is singing about. than anything else, demands it with do you a lot of good. It will be such principal advertising that one gets who Special Summer Se * m begins June 20.—A cisely what he should do when he critics and public see to it that his It is the duty of every American applausive violence, and showers dia¬ performs free is advertisement of the sings, let the breath flow freely from studies along this lone are successful, musician and lover of music to insist, monds on the Pattis and Sembrichs, a good advertisement for you.” Or: “I am chairman of the enter¬ fact that he holds his services as of him and sing on the flowing breath. for if they are not, he is a failure. in season and out, that singers shall the Melbas and Tetrazzinis who pro¬ TENORS CALLE°D BARITONES tainment committee of the Foreign no value. But there comes in the old stupid This is just as it should be, but as yet study English in order that they may vide it?” Missionary Society in our church, and The young singer may often feel it notion that breath control in singing is in America no such standard is insisted reveal to our public the meaning of Mr. W. J. Henderson, in referring to we are giving a concert next month desirable to sing without compensation, Course Classes Start Oct. 4, 1910 something outside of nature, something on. Here and there the people are be¬ what they sing. the same circumstance, said: “One to raise funds for our work. Won’t for the experience of appearing before For details address MARION GROFF, Registrar, 600 which must be done by conscious mus¬ ginning to grumble a bit, and this faint Maurel, who created Falstaff in the thing is certain, and it is that in this W, P. SCHILLING. 131 W. 23d St., New York Fine Arts Bldg., Chicago, Ill. muttering should be encouraged until Verdi opera, received a letter from success lies a pregnant suggestion for you come and sing for us? It will be audiences. In the early pupil stages cular control. So he stiffens the mus¬ a fine hearing for you, and then we are the teacher should provide these op¬ cles, which govern the action of the dia¬ it becomes such a roar that all singers Verdi in which he said: “You must young singers. Those with light, flexi¬ will hear and heed. have received from Milan the libretto doing such a perfectly splendid work portunities in studio recitals, and there phragm, prevents the normal function ble voices should devote themselves to Singing in those days is something of Falstaff. You will receive the musi¬ florid song. It will long remain true that I know you will be glad to help. will also be occasional opportunities of the breath, is short-winded and tires more than the making of pretty tones, cal role as soon as I have composed that the singer who can rattle off We are sending a whole box of red at small school or church concerts bis throat. Then he is well started to¬ A New, Useful and Captivating Book it is the art of expression, and the it. Study the lines and words of the staccati faster than anyone else, who flannel petticoats to the Hottentots where there is no possibility of paying wards all the sorrows of the voice stu¬ basis of expression is the words. Now, libretto, work over them as much as can trill longer than her rivals, who and a crate of palm leaf fans to the artists. And it is always a pleasure to dent, thin, pinched, husky tones, tired if the words are so mumbled that no you are inclined to; but do not occupy can run more rapid scales and who can Esquimaux.” sing for one’s friends in the home. throat, short-windedness, discourage¬ one can tell what they are, the whole yourself too much with the music. Let reach higher notes—for her the honor, Now there are occasions—very, very These various opportunities, open to ment and disgust. thing is futile. But we have become so not this advice seem strange to you. the glory, the corsage bouquets torn rare occasions—when a musician may, the student, will give him the necessary We were meant by nature to sing; accustomed to listening to singing in If the music has the desired traits, if from fair bosoms, and the ever-to-be- with self respect and with justice to experience. As soon as there is a Stories of Standard the voice, that wonderful instrument, foreign languages that more than half the character of the role is well under¬ desired upward flight of the salary.” his fellow artists, donate his services demand for his services for concerts was put into us for use, and what we the people pay no attention to the stood, if the word-accent is properly Here is a condition worth the serious to some worthy benefit concert enter¬ where an admission fee is charged, he must learn is to surrender ourselves to words, which is one of the main rea¬ placed, the music comes of itself, and thought of every young singer, as well prise. But ordinarily, the advances of should place a value upon those serv¬ Pianoforte Compositions the laws of nature. The foundation sons for our backwardness in art. is born, as it were, spontaneously.” . as of their teachers. There is an unap¬ the grafters should be met with a re¬ ices, and no more give them than he would give the cash equivalent. Here, of all natural law, go far as it applies This is changing, and in a few years There needs nothing to be added to peasable popular demand for a certain fusal. To the social grafter I would By Edward Baxter Perry to the human body, is muscular elastic¬ time the new condition will be so what the great master said to the great kind of thing, and one of the phe¬ say: “I do not feel called upon to in fact, is a tangible guide for his giv¬ ity. In place of the attempt at con¬ established that those singers who can¬ artist. nomena of music is that so slight an sing for my dinner, or maybe only a ing: Never sing for any cause to which you would not be willing to A Work Music Lovers, Teachers and scious muscular control of the muscles not enunciate distinctly will find them¬ attempt is being made to supply it. plate of ice and a macaroon. My musi¬ selves hopelessly handicapped in the contribute’a sum equal to your accus¬ which govern the action of the dia¬ There are many young students who, cal education cost real money, and Pupils Have Been Awaiting race. The feeling is growing all over THE COLORATURA SINGER. phragm there must be perfect muscular by temperament and natural character through this financial investment, and tomed fee. America that we are too great a nation elasticity. After filling the lungs relax of voice, are fitted for such singing, a far greater investment of energy, ef¬ HE unusual popularity of Mr. E. B. Perry’s “Descriptive not to exert our influence in the world this tension on the muscles so that the and they should put themselves ear¬ fort and self-denial, my services have Musical: how much lies in that! A Analyses of Pianoforte Works” has induced him to of art, and the first step is to make BY KAHLETON HACKETT. f breath may flow out in its normal way, nestly to work to prepare themselves. attained a certain value. Does your musical thought is one spoken by a prepare another work which is sure to have an even our language the vital element in the setting the vocal chords in vibration and caterer send you free salads, ices and message of the singer. In place of being valueless singers, in mind that has penetrated into the in¬ wider appeal because it includes just those favorite and producing the tone. No idea of breath One of the curiosities of the develo the vain attempt to gain dramatic cakes because your company is to con¬ most heart of the thing; detected the Good enunciation is primarily a ques¬ standard compositions of lesser difficulty about which control can take proper form in the ment of the singer’s art in mode: tain some prominent people who might tion of consonants. The consonants power foreign to their natures, let them inmost mystery of it, namely, the mel¬ teachers, pupils and music lovers are ever anxious to pupil’s mind until this consciousness of days is the manner in which flor later on become his patrons? No? ody that lies hidden in it; the inward are what make the words. The vowels be coloratura singers a9 Nature in¬ know more. The range of pieces in this new book extends from singing seems to have fallen into d Then why should I bring you my stock the outflow of the breath in actual may be beautifully sung, so that the tended and as a great portion of the harmony of coherence which is its soul, cay, and this in spite of the fact th in trade on that basis?” about the third grade of difficulty to the sixth grade. In some tone-production has been established. singing, as a mere matter of sensuous public wishes. , Here lies a practical whereby it exists, and has a right to be, the public over and over again mar cases pieces of the seventh grade are to be found. The work is Keep before your mind that the tone tone be exquisite, but if the consonants opportunity for young artists of sense. The same answer, slightly varied, here in this world. All inmost things, fests its pleasure in such music J partly analytical, partly historical and emphasizes the interpretative is made by the outflowing of the are not distinct there are no words. would fit the other cases. Tell the we may say, are melodious; naturally we run over In mind the names of tl club woman that when she succeeds in utter themselvts in song. The meaning beauties of the pieces in Mr. Perry’s inimitable style. All of the breath, not by holding it back in the Here it is that the young singers fail. Articulaton exercises are a great famous prima-donne, Patti, Gerstt getting her programs printed free, hall of song goes deep. Who is there that, much-loved pieces of the order of Grieg’s “Wedding Day,” Sin- lungs. When the pupil is sufficiently They pay attention to the vowels, but help in the cultivation of the voice Lehmann, Melba, Sembrich, Tetrazzi, rent donated, florist bill receipted with¬ relaxed so that there is something like slight the consonants, and so fail to itself; still I do not saction the prac¬ in logical words, can express the effect ding’s “Rustle of Spring,” Francois Thom6’s “Simple Confession,” Nordiea, they all either were exCl out payment, etc., you will consider fhe music has on us? A kind of inarticu¬ a free flow of the breath, the’n a basis make themselves understood. Many tice of beginning vocal culture with Rubinstein’s “Melody” are treated authoritatively and in a thor¬ sively coloratura singers, or laid tl matter of contributing your services late, unfathomable speech, which leads has been made for an understanding of also, though these are growing each articulation, but rather with simple oughly fascinating manner. foundations of their fame by their fea to enhance the glorification of her club. us on to the edge of the Infinite, and the laws of tone-production. So long year less, slide over the consonants on vocalization upon the vowels. The im¬ of vocal gymnastics. There appears And the church woman, what shall lets us for a moment gaze into that. as there is tension and rigidity in the purpose, fearing that they will inter¬ portant work of the slow relaxing of be no surer way to the hearts of tl we say to her? Tell her that you will Nay, all speech, even the commonest muscles about the waist line, some¬ rupt the flow of the tone and so spoil the lungs and the control and economy ADVANCE OF PUBLICATION OFFER mass of the people than through tl speech, has something of song in it; thing will always be wrong with the the beauty of their singing. These of the breath can be learned easier do your full share toward the purchase Until the book is published you may secure it at the special introduc¬ brilliance of coloratura singinf at of those petticoats and fans, but that not a parish in the world but has its tone. Freedom and elasticity were the singers are still in the artistic kinder¬ with a sustained tone than by means of tory price of seventy-five cents per copy, delivered, postpaid, if cash is sent. yet very few of the young singers parish-accent; the rhythm or tune to foundation of the teaching of the old garten. They must wake up or thev abrupt sounds or explosives. Besides, you cannot see why you should be the day seem to desire to perfect ther asked to donate $25, $15 or $10 (ac¬ which the people there sing what they Italian masters, and were meant to re¬ will find themselves hopelessly out¬ whatever faults of tone production a pu¬ selves in the art. Young singers H cording to the sum that is your accus¬ have to say! Accent is a kind of chant¬ lax tension—and the only way to relax classed. Our magnificent English pil may have, their observation is made THEO. PRESSER CO., Publishers, Philadelphia, Pa. ing; all men have their own accent— tongue is not to remain a thing to be easier and the remedy can be better tomed fee) in services when she would undervalued forever. not expect more than $1 or $2 were though they only notice that of others. r^T.«escp“'!,'n,rt,1rV’:p'' applied during sustained tones.--Leo —Carlyle. KoAer, in "The Art of Breathing she soliciting a cash donation. If you Please mention THE ETUDE when addressing our advertisers. THE ETUDE 485 484 THE ETUDE MARIE HALL ON VIOLIN to practice several hours one day and 1910, you will find a tribute to the C. H—No exact rule can be laid down, the brain or nervous system >s ^nd PLAYING. then not touch the vjolin for two or Stradivarius violin by Joachim which as to what size violin is required by a detract from the performer ■ /“J™; three days. I might say that I am much will interest you as showing the attitude twelve year old boy. It all depends TWO VIOLINS AND PIANO A glass of cold water just bef°re g°^f The views of an eminent violinist in favor of practicing exercises with a of great violinists towards these instru¬ upon his size, length of fingers, arms, A selected list of imported music on the stage is as far as any performer on the various details of the violin art piano accompaniment. It helps to keep ments. If collectors of ceramics do not etc. The violin must fit the pupil. for the above combination of instru¬ should go. It is an excellent idea to get are always of interest. Miss Marie the pupil steady, and is of great use in hesitate to pay $15,000 to $20,000 for a Many a good pupil is spoiled by hav¬ ments, including the most used stand¬ all the rest possible the day of the public Hall, one of the greatest of the world's correcting faulty intonation. One sub¬ “Feachblow” vase or rare China por¬ ing a violin and bow too large. Violins ard and classical compositions. Sent appearance, so as to have as much reserve women violinists, has been giving a Lon¬ ject that is often over-looked by violin¬ celain, it is not surprising that the for very small children can be pro¬ on sale and subject to the usual large force as possible, and so that the tone discount given on our own sheet music don interviewer some of her opinions ists is the very important one of bow¬ world should be willing to pay $10,000 cured as small as one-eighth size. Ar¬ the nervous system'shall be good. on violin playing. Instead of trying to ing. Perhaps many players do not real¬ rangements can often be made with the publications. Many great orators and actors have for specimens of the work of the great¬ create the impression that she is only ize what an influence bowing has upon dealer to exchange small violins for Aubrey, Sympathy .$0.90 suffered from nervousness before going est violin maker, which, besides its Bachmann, Sorrento Mazurka.... 1.15 obliged to practise a few minutes each tone-production, or they would certainly beauty as a work of art, stands supreme a larger size on payment of a small Bohm, Prelude.75 out to face the audience, but the feeling devote more attention to it. To acquire additional charge, as the pupil grows Loure .75 vanished as soon as the audience was day, on account of her superior genius, as the greatest musical instrument in the Canon .75 a perfect bow-arm one must study the older, provided the violin has been faced. Many violinists feel the same. Miss Hall states that she is not satis¬ world. In Fugue style .75 muscles of the hand, arm, and wrist, in taken good care of. A la Mazurka.75 As soon as the first few notes are played fied unless she can get in about six Serenade .75 order to obtain the proper degree of B. II.—The vibrato is produced by a the tremulous feeling is gone and the per¬ hours of daily practice. While on her Gondoliera .75 A LITTLE TALK ON stances could be pointed out in relaxation. For the study of this valu¬ to-and-fro motion of the hand, prefer¬ Invention .75 of notable violin artists. Many violinists former plays in his best style. Many concert tours she practices on trains Alla Marcia .75 NERVOUSNESS. able art nothing can, in my opinion, ably from the wrist, in the direction front in commencing an important solo in pub¬ other musicians, again, play better before In^ Sonata style.75 steamers, in hotels, and all sorts of compare with Sevcik’s School. No the nut to the bridge, while a note is FINE VIOLIN Nervousness, or stage fright, is pecu¬ lic show traces of nervousness which dis¬ an audience than in private, the excite¬ Rondo Finale ..75 odd places. She never allows anything work like it has ever been written, and being played, the effect being to cause a -CATALOG-- liarly disastrous to good work on the part appears after a few bars. ment attending on appearing before an Chopin, Funeral March . 1.40 to interfere with this practice. When it includes every detail connected with slight deviation from the true intonation, To anyone in the market for a violin, we will send Hohmann, Canzonetta .75 of the violinist, since the trembling flies Children, as a rule, play with hardly a audience supplying just the stimulant our beautiful catalogue. It quotes the lowest prices Ivjerulf, Cradle Song .65 at home she spends many evenings in the violin. I do not think any one ever alternately above and below the true right to the bow arm and plays havoc trace of nervousness, no matter how im¬ necessary to make them put forth their on old and new violins of fine tone. Send for a Moret, Op. 42, Last Rose of Sum¬ chamber music, which she considers of understood the instrument as does this tone, imitating the trembling of the copy and study the subject before buying. mer . 1.65 with the tone. A writer whose hand portant the occasion, although at certain best efforts. . . the highest value for the education of human voice when under the influence Prices from # 15.00 up Op. 74, Petite Symphonie .1.25 trembles cannot produce firm, artistic times they suffer, too. I once witnessed Aside from preparing the composition to incomparable master.” Mozart, Ave Verum .60 of strong emotion. As the vibrato is pro¬ LYON & HEALY, Dept. V. 7165, Chicago Allegro in F. 1.15 strokes with a pen, nor can a violinist the performance of a simple air by a be played perfectly, there is nothing better a violinist. duced more easily in the third position, Papini, Andante in A. 1.00 with a tremulous right hand, no matter child of nine, who has since become a than frequent appearances in overcoming Miss Hall considers Sevcik the great¬ Schneider, Ariette .90 the beginner should start in that position, Schubert, Op. 51, No. 1, Military how caused, produce firm, even,, sonorous great solo violinist, in which he was so musical stage fright. In childhood and est living violin teacher, and his method say on the note D (first finger on the A March . 1.15 nervous that he played all the sustained youth the future public performer should the greatest now extant. She also ANSWERS TO Tourneur. Valadolid . 1.00 string). The neck of the violin must not Albert SPALDING notes like an exercise of up and down appear before the public frequently. Chil¬ thinks that the Spohr school contains Trew, Alla Marcia . 90 Fe be gripped tightly while the vibrato is Tschaikowski, Op. 2, No. 3, Song linist bow staccato. Ordinarily he was as bold dren are rarely afraid, and if public ap¬ much fine material for practice. The QUESTIONS Without Words . .65 as a lion in public, and this particular pearances are continually made from the studies of Kreutzer and Rode she con¬ being played. The thumb is held station¬ Weiss, Op. 38, Bk. I, Harvest of ary on the neck, but the base of the fore¬ Flowers . 1.40 occasion was the only time I saw him at time the performer is a child he never siders indispensable, and the Bach Solo Wohlfahrt, Op. 81, No. 1, Easy finger on the opposite side of the neck Trio in G. 1.00 causes in the world of violin playing. all afflicted with stage fright. Sonatas of the highest possible value J. H. W.—Alberto Bertini, Naples, is must be quite free, barely touching the Op. 81, No. 2, Eas” Trio in F.. .75 Young students and the general public To what extent this nervousness can for the daily practice of the advanced not a famous violin maker, and I am not be overcome is a mooted point. Walde- neck, in fact, so that the hand can swing °P- sMg'Msta}.« are possessed of the idea that experienced violin student. familiar with his violins. An estimate of Op. 86, Bks. I, II, III, each_ 75 mar Liachosky, of St. Petersburg, who freely to and fro, giving an oscillating violinists and professionals never suffer She does not believe in a too early the value of your violin would be im¬ (Family Ball Easy Dances.) for a long time acted as piano accompanist motion to the tip of the finger which is from nervousness. They think it is a debut for the young violin artist, and possible without examining it. There are joke that any player who has appeared of Mischa Elman, the violinist, and who held on the note being played. After the thinks that nineteen years of age is millions of violins in existence made by vibrato has been mastered in the third Teachers and schools will be great¬ in public hundreds of times should have has had wide European experience with ly interested in this list of easy and quite early enough for the coming oat legions of violin makers, living or dead. position, the other positions can be taken any nerves at all. Yet the truth of the violinists, expressed the opinion to me Among them are many violins of great instructive compositions for that in many cases musical stage fright of a young artist, since one is much tip. The motion of the hand should be matter is that many professional violin excellence, made by unknown or obscure VIOLIN STRINGS players suffer extremely in this way, if is constitutional and cannot be overcome. better fitted for appearing before the fast or slow, according to the character violin makers, some of them of consider¬ We carry constantly in stock a com¬ not at every public appearance, at certain While there are, no doubt, cases of this public at nineteen than at twelve. A of the passage being played, and some PIANO, VIOLIN AND CELLO able value, and yours may be one. plete assortment of various grades of selected because of their adaptability times. I have known of not a few in¬ nature, I believe that in many cases the young concert player should play much beautiful effects can be obtained by com¬ Violin Strings. These are imported by nervousness comes from other causes mencing the vibrato slowly and increas¬ for children’s and school use; all parts stances in which violinists of great talent in the provinces before appearing in E. C— Neither Johann Glass nor ourselves direct from Europe and are are of the same easy degree of diffi¬ have been forced to give up playing in than the mere fact that the playing is London, New York or any of the great August Glass were violin makers of great ing the speed, or vice versa. 2.—You fully guaranteed as being absolutely re¬ culty. Sent on sale and subject to our public at all, since nervousness made it done in public. For instance, I have capitals. note. Large numbers of trade violins are should grip the chin-rest with the jaw, liable in tonal quality and durability. regular sheet music discount allowed. impossible for them to do justice to their found in the case of pupils that where not with the chin, when holding the We are certain that these strings are Miss Hall thinks it an excellent idea produced in Germany bearing the names Bergmann, Op. 64, Easy Trio In G.$1.50 reputation. A well-known violinist said a piece has been thoroughly prepared it of “Glass” and “Hopf,” and your violin violin. By making your pad larger you qualified to fulfill the exacting require¬ Op. 65, Easy Trio in G min.1.25 for the violinist to rehearse beforehand ments of the most critical. to me not long ago, “I could add $2,000 is as a rule well played when it comes may be one of these, since it bears the can obviate the trouble you say you ex¬ Op. 66, Easy Trio In G. 1.25 in the hall where he is to play so as Violin Strings lengths ***& Bohm, Op. 330, No. 1, Easy Trio or $3,000 to my annual income each year, to the public performance. Nine times to become acquainted with its acoustics. cate 1903. It is probably of only medium perience of being obliged to raise the In D. 1 25 by way of fees for playing at concerts E Best Russian gut. 4 $0,25 out of ten excessive nervousness comes She confesses to have been excessively value. loft shoulder in order to hold the violin E Best German gut. 4 ,25 Op. 330, No. 2, Easy Trio in G.. 1.25 and by way of an increased teaching busi¬ from lack of preparation. If a performer E Very best German gut. 4 .35 Op. 352, No. 1, Easy Trio in D.. 1.50 nervous on many occasions, and that when you play. Op. 352, No. 2, Easy Trio in C.. 1.50 ness and higher prices for lessons, were is conscious that he will be lucky if he W. M.—There have been well-authen¬ E Very best German gut (packed Op. ^352, No. 3, Easy Trio in A more than once all that enabled her it not that I am too nervous to play well does not break down two or three times ticated sales of genuine Stradivarius W. A. M.—When playing in the third E Genuine^ftal'ian gut. E!!!!.'!!!.’.' fA 35 to get through with any credit at all E Best silk. 3 .20 Op. 352, No. 4, Easy Trio in P.‘! l’sO in public. I could, of course, get through when playing his solo in public, he violins during the past few years at position the wrist of the left hand comes Op. 352, No. 5, Easy Trio in G.. 1.50 was to feel as if her teacher were in E Conservatoire Eternelles. 4 ,20 some way, but my work would do me naturally cannot face the situation with prices ranging from $5,000 to $15,000, in contact with the rib of the violin. A Russian gut. 2% .25 Op. 352, No. 6, Easy Trio in A.. 1.50 the hall, and that she must do her best according to quality and state of preser¬ When held in this way a practically A Best German gut. 2% .25 FOrster, Op. 47, In Easy Stvle in G 2.00 no credit and would not add to my repu¬ calmness and repose. Most amateurs, and A Genuine Italian gut. 2% .35 Fraatz, Children’s Trio, No. 1, in G 90 tation. I have tried every means to over¬ even some professionals for that matter, to prove her appreciation of all the vation. Prices are higher in this country straight line will he maintained from the D Best Gentian gut. .25 Children’s Trio, No. 2, in F. 115 pains which he had taken in showing Ilamel, Op. 36, Easy Trio in F.. 2.00 come this stage fright, but to no avail. invariably select compositions for public than in Europe, as there is a heavy duty elbow to the knuckles' of the left hand, D Genuine Italian gut. 2ji 35 her the true art of violin playing. Miss G Best German gut, covered with Hofmann, Op. 53, Easy Instructive When I attempt an important work in performance that are too difficult for on these violins. One of the leading provided the left elbow is held far under silver-plated wire. .25 Trio in F. 1 50 Hall is the owner of the “Viotti Strad,” G Best Italian gut, covered with Klassert, Op. 10, Children’s Trio public my tone is pinched and small, my them, and which they have not perfectly American firms dealing in old violins in the body of the violin, as should be done. in G. 150 hand trembles, I play without life or fire, one of the great violins of the world, mastered. How, then, can they feel any¬ Marie Hall. a late catalogue offers three “Strads” of See Figs. 1 and 4, in the Violin Depart¬ G BestUUalSianegut.recovered ‘ with -35 Mohr, Op. 30, No. 1, Golden Youth, and I become confused and forget. Con¬ thing but nervous when they attempt in and she considers Stradivarius the vr,doubted genuineness for sale at the fol¬ better quality. .50 Key D.90 ment, in the issue of The Etude for De¬ G Best Italian gut, covered with Op. 30, No. 2, Blue Heavens, sidering the fact that I am able to play public what they cannot do in private? greatest of all violin makers. Of ner¬ lowing prices: One dated 1711 at $12,000, Key G. 1.10 acquires the distressing habit of stag cember, 1909. fine quality. .75 such works with the greatest surety and Mme. Carreno, the eminent pianist, vousness she said: “The only remedy one dated 1723 at $10,000, one dated 1697 G Best Italian gut, covered with Op. 30, No. 2, Under Green fright. The ability to play well in publ: superfine quality. j.qq Boughs, Key B min.90 brilliance in private, it is certainly vexa¬ told an interviewer that she had been is of the greatest value to a viofinist, eithc I know for nervousness is to be able at $8,000. These are all fine instruments, L. A. S.—It is, of course, impossible °P- 30, No. 4, Happy Return, tious that I cannot achieve the same suc¬ to concentrate one’s attention wholly DISCOUNT TO PROFESSIONALS Key G. 110 able to play a certain difficult composi¬ amateur or professional. The amatet of great beauty, in good preservation and for a piano teacher to give a violin Reinecke, Op. 159a. No. 3, Easy cess in public. I am obliged to confine tion by Liszt from memory with perfect thereby achieves social 'success and has tl on the music. By so doing all thoughts witli unimpaired tone. As this price in¬ scholar a really correct technic. Still, THEO. PRESSER CO. Trio in F. 2 00 myself entirely to teaching and editing Rosier, Op. 12, No. 1, Easy Trio technic and interpretation three years be¬ satisfaction of knowing that he is givin of self vanish, and one becomes lost to cludes the dealer’s profit, the violins were there is much that a pianist can teach a 1712 Chestnut St., . Phila., Pa. works for the violin.” everything but the beauty of the music.” fore she ever dared play it in public. pleasure to his friends. In the case c originally purchased by this firm at a price beginner on the violin, such as time, Op. 12, No. 2, Easy Trio'in p” 1.40 Another violinist of my acquaintance, This gives an idea of the remarkable the professional, success in public playir Continuing Miss Hall said: “I think somewhat less than the figures quoted. Schroder, Op. 12. No. 1, Little now practicing his profession iii one of reading music, elementary musical theory, Trios in C. 150 care and thoroughness with which great means larger earnings, increased fame an one of the most vital things is to ac¬ This will give you an idea of the prices OP- 12 No. 2. Little Trios in d” L65 the largest American cities, appears in correct intonation, etc. The difficulty is artists prepare for public performances. artistic gratification. Demosthenes tl quire an absolutely correct intonation of Stradivarius violins on the American Simon Op. 83, Easy Children’s public quite frequently as the first violin¬ in teaching bowing, the proper positions, Trio in C. j 25 A school girl in her teens would have greatest orator of Greece, became ’wh; from the beginning. For this reason market at present. 2.—In regard to your MUSICAL PINS SOchting, Op. 21, Easy Trio'In c'. L25 ist of a string quartet or in other ensemble practiced this same Liszt composition for he was after the most unpromising h one. cannot be too particular in the query as to what “Strad. violins are shifting, correct tone production, etc. Op. 26, Easy Trio in G. 1 25 work, but finds it impossible to play im¬ Op. 39, Easy Trio in D.195 six weeks or less, and she would then ginning, The violinist who is determine choice of a teacher, as when once the really worth in contradistinction to what Even although you have no violin teacher portant solos in public with the accom¬ e *?P;, 40' ®aay Trl° m a min... L25 have played it without hesitation at an to meet with success in public playing w habit of playing out of tune is con¬ they are at present selling for,” I would available in your town, you should make Sptodler, Op.^ 305, No. 1, Little paniment of the piano or orchestra, so important concert and would have won¬ almost invariably achieve it if he mak tracted it is very difficult to eradiate. say that as things go in this world, an an effort to take your little son occasion¬ he never attempts it. It seems to be a °min°5’ N°' Lit*le Trio’i'n D 170 dered why she felt nervous about it. a perfect preparation and puts himself I was exceptionally fortunate in that article is presumed to be worth what it ally to the nearest city for a few violin case of what the psychologists call “auto¬ JEWELRY FOR MUSICAL PEOPLE. -Op. ^5. No. 3,Little Trio in D. Ill The violinist about to appear as a solo¬ perfect condition for each appearance : respect, for my father, who gave me "ill bring in the open market. The de¬ lessons from a good violinist, who could Wohlfahrt, Op. 66, No. 1, Easy Trio ^ _ suggestion.” He is thoroughly convinced ist should select a composition which public. Every Music Lover Should Have a Set. my first lessons, had a wonderfully true mand for these violins from museums show him how to how correctly, how to that he cannot do it, and consequently he can play perfectly—which is, in fact, THE PINS are made for either lady or gent! Op. 66, No. 2, Easy Trio in C.'. 1.15 car, and he never passed a note that and collectors has, no doubt, forced the Op. 66, No. 3, Easy Trio in A fails. easy for him. In the great majority of hold the violin, etc., etc. For the begin¬ man. Can be worn on cuffs or collar as a cla min. j was in the least out of tune. Another prices asked for them much higher than pin, or as a badge, or as a stick pin. Bear tl Indications of nervousness are fre¬ cases he will then look forward to facing Technic should not seek to shine t ning, you will find much good material Op- 66, No. 4, Easy Tr'io'inD.'1.15 thing that cannot be too strongly im¬ they would have reached for musical appropnate lettering “ NEVER ' Q FLAT ’ quently seen in the public performances of the audience without a tremor. It is itself, and least of all, give the impre in Hermann, Violin School, Vol. x; Kay- inin6’ N°’ Easy Trio in E pressed upon students is the necessity purposes only, but at the same time “SOMETIMES ‘B SHARP,’” “ ALWA1 even great artists. In the case of Joachim, people who know that they cannot do ser. Studies, Book 1; Harvest of Flowers |B NATURAL.”’ These Pins make an attra. Op. 66, No. 6, Easy Trio in P.. 1.15 etl&i^Perf0rmer’S for regular and systematic practice. I Stradivarius violins are' eagerly pur¬ 1 ve, suitable^and lasting present for Teache one of the greatest violinists who ever what they are about to attempt that do not mean by this that the work for Violin and Piano by Weiss, Books or Pupils. lived, his bow was not infrequently ob¬ chased by the most noted violinists for tremble when they appear on the plat¬ should be continued after the player 1, 2 and 3. For an inexpensive little Set of 3, 25c prepaid in Roman Gold plate Send for our catalogue of ensemble served to tremble on the strings at times, form. actual use even at these fabulous prices, gets wearied. A tired brain never pro¬ work on the violin, written in popular °f -25£ -efc!l in sterlinB Silver, plated . music, including irregular combina¬ either from excitement or nervousness. Inspiration is, after all, the nobl it is the consensus of opinion in the plain finish. 50c for Sterling Silver Breastp Occasionally violinists resort to various duces any good results, and I am no containing all sentiments. Prices on quantiti tions for various instruments. As is usual, this happened most frequently attribute in an artist.—Hauptmann. musical world that genuine Stradivarius vein, you would find “The Violin and stimulants, nerve tonics and sedatives as believer in over work, but whatever upon application. at the beginning of a composition and a cure for nervousness. I have never seen violins possess the most beautiful tone How to Master It.” by a .Professional Send for catalogue of other musical jewel: disappeared in a few momonts, as the vio¬ hours of practice are fixed upon as of any violins in existence. If you will Player, of great assistance. These works novelties: Violins, Drums, Banjos, Mandolin much success come from the use of such suitable to the age and strength' of the etc., in miniature as pins and charms. THEO. PRESSER CO. linist wanned to his work. Other in¬ means. Anything which artificially affects My language is understood all o- look up the Violin Department in the can be obtained from Theo. Presser, 1712 the world.—Haydn. pupil, they should be carried out each THEO. PRESSER CO., Philadelphia, P Italian issue of The Etude for January, Chestnut street, Philadelphia. 1712 Chestnut St., Philadelphia, Pa. day with great regularity. It is fatal Please mention THE ETUDE THE ETUDE 486 487 HINTS ON PURCHASING A NEW THE ETUDE nots, where the bell is Bounded as a PIPE ORGAN. THE BALANCED SWELL PEDAL. •ffirj&rysi ft*®. The first step to be taken is to secure these firms. Most church and lodge tenor F is accompanied by the B nat¬ the needed money. Unless the organ Estey Church Organs authorities will readily permit such an For some unaccountable reason the ural below, played on the bassoons and committee has a definite idea how examination and give needed information. balanced swell pedal, which has been clarinets. This B natural is the same much money it can command for the The points to be considered in such an ESTEY STANDARD MAINTAINED universally adopted in all new organs PIPE ORGANS as C-flat, and C-flat is the sixth har¬ proposed instrument, it can make little investigation are quality of tone, work¬ Department for Organists monic of the series of which F is the progress. A good many churches have MAXIMUM FACILITIES manship, materials, character of the touch, in this country for the last twenty fourth harmonic (low D-flat being the been helped .by Andrew Carnegie. For HIGHEST GRADE OF PRODUCT whether easy or hard, quickness of re¬ years, has failed to gain popular favor ’^7’E have proved time and again Edited by E E. TRUETTE fundamental). The B natural is a some years he gave “poor but deserv¬ PIONEERS AND LEADERS ALWAYS sponse to the touch, practical value of in England, notwithstanding the strong that it pays to build good diminished fifth below the F of the ing” congregations half the cost of Examine Key Stop Action and Wonder¬ mechanical appliances, liability to get out endorsement of such players as Edwin organs. Each one is a speaking ad¬ bell, and is in perfect accord with the the organ itself. More recently he has ful Reedless Oboe and Saxaphone of repair, susceptibility to dampness, and other more detailed points the architect H. Lemare, who has frequently pub¬ vertisement for us, because it con¬ bell. The effect is very impressive it been giving a thousand dollars without re¬ tains the highest grade of materials the composer had written a note of the may suggest. Let us turn cynic a moment lished his opinions in- the English gard to the cost of the proposed instru¬ and workmanship, and is built on triad of F (C or A) for the wind in¬ ment. Well-to-do congregations will pre¬ Organ and suggest that neither of the extremes Estey Co., Brattleboro, Vt. periodicals. scientific prim iples. mines the pitch of the bell. The bell struments the effect would have been of praise and blame of the owners of the CHIMES IN ORGANS. fer to pay for the proposed church help The antiquated “pump-handle” swell We have built over three hundred will sound out of tune with either the intolerable. themselves. But however it may be raised, organs should be taken too seriously. In the specification of quite a num¬ The mere fact that a thing belongs to is still a favorite and the number of organs, many of them being the triad of C or the triad of F (F, A, C), There are numerous themes or melo¬ the committee, either by a bona fide sub¬ ber of the larger electric organs which some people is sufficient reason to them “right-foot-always-on- the-swell-pedal largest and most magnificent instru¬ but will be perfectly in tune with the dies in which some one of these bells scription or by authority of the church “Matchless, Unrivalled/'— Franz Liszt have been built in this country during that it is the finest specimen of its class. ments in the country. We devote triad of A-flat. can be sounded with some of the officiary, will need to know its limit. “No other instrument so enraptures organists” is not diminishing, as that the last dozen years tone finds a set of Human nature is so funny, you know, the same attention to the details of As a further illustration, let the or¬ chords, producing a pleasing effect, This limit must include the cost of the form of a swell must remain wide open chimes. These chimes are generally the player/'—X. Scharwenka especially some of it! We have heard smaller organs. ganist play the first four measures of provided the bells are not sounded organ architect, the needed changes in the or shut tight if the organist plays with tubular chimes, and are placed in some some of the poorest organs we know Ask the se who have Austin Organs -the hymn-tune “Bethany” (“Nearer with the intervening chords, but the interior of the church, anct the motor, as remote position, being played from the highly lauded by their ignorant owners. both feet. An ingenious (?) inventor as to the complete satisfaction they My God to Thee") on the chimes. difficulty is to play whole melodies or well as the cost of the instrument itself. solo or great-organ keyboard. The On the other hand, an occasional good produced a novel substitute, which are giving. A complete list in our hymn-tunes on the chimes. If the or¬ These extras may well mount up to fifteen hammers are caused to strike the tubes organ has a bad name because it has a descriptive book “A” will be sent ganist does not accompany the melo¬ per cent, of the amount to be spent. consisted of a projection fixed to the or bells by means of pneumatic bel¬ faulty motor. Do not condemn an organ upon request. dies with any harmony there will be back of the organ seat, whereby the lows which collapse the instant the We have spoken of an organ com¬ LISZT ORGANS because its reed stops are out of tune. electric current actuates the magnet. only a few bells which will sound mittee. This body should be carefully player, by leaning back on the seat, Furnish the most perfect substitute for The oboe, bassoon, and trumpet are the (The stop called Carillons, which is badly (measures where the ear has be¬ selected. It ought to include a good or¬ a pipe organ of any instruments ob¬ common reed stops _ which may be ex¬ could press against it and thus open really a glockenspiel, is not considered come so wedded to a certain harmonic ganizer and money raiser; an experienced tainable, and are superior to small pected to be more or less out of tune. the shutters. Great things were ex¬ Austin Organ Company this e.) progression with the melody that the business man to look after the details of pipe organs in many respects. They It will only be just to inquire when they The s 3 of these chimes in our Without any harmonic accompani¬ listener almost hears the progression contracts, payments, and the like; some differ materially from all other reed pected, but, unfortunately, no consid¬ HARTFORD, . . . CONN. were tuned last. In judging an organ’s organs is varied, being controlled by ment the chimes will sound passably without its being played). If the or¬ person competent to supervise and criti¬ organs, having a richer quality and eration had been given to the length greater body of tone. tone, its location must also be taken into the location of the chimes and the well, but if the organist should play the ganist attempts to accompany the cise the cabinet work; the organist (if of the player’s arms, which could not manner in which they are used by the harmony with the other hand on a soft melodies or hymn-tunes with harmony he is competent), the choir director, and No other organ approaches the account. The committee ought to have a Mason & Hamlin in the reputation it be lengthened at will so as to allow performer. The effect of the chimes stop or combination of stops he will played on some soft stop, specially if the pastor. Of course, if these several written record of each of these examina¬ enjoys among the world’s most famous him to continue playing on the swell IT’S HARD TO BELIEVE is enhanced by distance, as the tone of find that the bells marked 2, 3, 4, 7, 8, the harmony is played below the pitch competencies are found in one person, tions, else there will be confusion of im¬ all chimes, whether bells or tubes, is 10 are very dissonant to the harmony, of the chimes, his musical ear will be the committee may be smaller. talogue A pression regarding the various makes- manual while leaning back to get the THAT THE “PIPE OF PAN” made up of prominent harmonics with¬ “out of - tune” as we say, while the frequently shocked. It is sometimes This committee should employ a com¬ The Choir Leader. desired crescendo. out the presence of the real ground tone, bells marked t, 5, 6, 9 are perfectly in possible to accompany the melody petent organ architect to plan and super¬ WAS THE BEGINNING OF and distance tends to blend these har¬ accord with the harmony. The fourth which is played on the chimes with the vise the construction of the new instru¬ monics and obliterate the harsh effect harmonic of the natural harmonic harmony, if the latter is played on a ment. It is not simply a good organist THE MODERN ORGAN of the predominant harmonic. How¬ series, above referred to, is the third soft combination two or three octaves that is wanted, but a person who under¬ Pipe Organs of Highest Grade Only FREDERICK MAXSON ever, if their position is so remote that of the triad, and only those notes of higher than the octave of the chimes. stands the minute details of materials and CONCERT ORGANIST In our new book “Modern they can be used only as an echo their the melody which are the third of their Our Instruments comprise all features which A few hymn-tunes, such as Eventide construction, and who knows the ways wife a! "rFan Kw-ltala.^ Has played at Organ Blowing” you’ll not musical value is infinitesimal. With respective triads will be in accord with (“Abide with Me”) and Lux Benigna are of real value. Many years of practical and methods of organ builders. The experience. Wrii. for !peci6catiora. the perfection of electric actions it is the harmony. According to the har¬ (Lead, Kindly Light”), are suitable for only find a wonderfully in¬ average organist is not competent. ind Harmon'''’'''1 *“ Organ a simple matter to have the stroke of monics of the chimes the melody would such treatment. If the harmony is EMMONS HOWARD Westfield, Mass. 1003 SOUTH «lh STREET PHILADELPHIA, PA. teresting Historical Sketch If he is, he ought to be specifically re¬ Tlie Schantz Pipe Organs the hammer practically simultaneous have to be harmonized thus to have played in the upper octave of the swell tained by the church and paid for his time of Pipe Organs, but repro¬ with the depression of the manual key, each bell consonant with the harmony: with the Vox Humana and St. Diapa¬ and effort, or he may be retained by the but sound does not travel as fast as son, or with the Vox Celeste and Flute, ductions showing the first organ builder to the detriment either of electricity, and when the chimes are the difference between the harmonic attempt at organ building— the purse of the church or of the quality located too far from the console of the series of the chimes and the chords is of the organ. To depend on the. organ Book Mailed Free—upon re¬ organ the time required for the less pronounced, and the use of the ANTHEM COMPOSERS, ATTENTION! builder to plan his work and to do his U J. SCHANTZ. SONS & CO. of the chimes to travel back to the or¬ tremulant tends to destroy the exact quest. work properly without supervision is ganist at the console causes various pitch of the stops sufficiently partially The Kinetic Organ Blower annoying complications in the use of to obliterate the discrepancy between putting a great strain on weak human nature. is the modern way of blowing the chimes in musical compositions. the harmonics of the two tone colors. The Lorenz Even if a set of chimes has an ideal The organ committee having been se¬ an organ—clean, quiet, no If these triads are played with the Another point should be remembered location and the electric and pneumatic lected, the organ architect having been GEO. KILGEN & SON chimes it will be found that each bell by the organist. In any one service or trouble—better music. action which controls the striking of employed, and the maximum sum to be will sound “in tune,” but even the har¬ recital the chimes must be used spar¬ Pipe Organ Builders Vigintennial Anthem Competition the chimes is perfect there is another expended decided, there arc two possible ST. LOUIS, MO. monic progressions of the most ultra ingly, as the ear very soon tires of the ounding ol LOR ENZ publishing difficulty with which the performer methods of procedure. To write to the modern composers have not yet pre¬ confusion of harmonics. I once heard KINETIC ENGINEERING COMPANY must always reckon, and one which pared our ears for such a progression reputable organ builders whose addresses ccasion honor by organizi; sgagga do the cannot be eliminated. a lady of considerable musical culture Baltimore Ave.& 57th St., Philadelphia, Pa. of harmony. remark that she heard the chimes in you have and ask them to make a bid for As I said above, the tone of the an organ to cost the specified sum, ac¬ Thus do we find all chimes up to the a church in a distant city one Sunday LYON & HEALY’S SO WE OFFER THE FOLLOWING PRIZES: chimes is made up of prominent har¬ companying the bid with the specifications monics without the presence of the present time, and it is very doubtful morning. She said: “The organist FOR THE BEST ANTHEM if the manufacturers of chimes will gave out the first hymn on the chimes of the organ they are willing to build for good church ground tone, or, if the ground tone is that money. This request may well be ac¬ In CHOIR LEADER Style and I In CHOIR HERALD Style and ORGAN PEDALS ever devise a new method, either by and I thought that I had never heard Grade FOR UPRIGHT PIANOS present at all, it is not possible to dis¬ companied by some statement of the Grade tinguish it. The fourth harmonic, of changing the composition of bell metal anything in church so beautiful. He Manufactured and Sold by features that the committee acting 1100.00 $100.00 what is known as the natural harmonic or by changing the shape of the bells gave out the second hymn on the ORGANS or tubes, which will reduce the promi¬ under the advice of the architect may JOHN a. POLE series, is so prominent in the tone of chimes and I was not moved at all At Reasonable Prices OLTR TWO CHOIR JOURNALS nence of the fourth harmonic and decide are essential. These bids will geneva, n. v. a single bell that it determines the Later, he gave out the third hymn on The Choir Leader is a monthly strengthen the third harmonic so as to give the committee added suggestions The Choir Herald is a monthly pitch of the bell. To illustrate my the chimes, and it was with difficulty magazine with 24 pages of anthems choir magazine with 20 pages of point, let the organist sound one of the make it sufficiently prominent to de¬ that I refrained from leaving the of greater or less value. and responses and eight pages of termine the pitch of the bell. The The other way, perhaps the better way, reading matter on choir subjects. choir music and eight pages of read¬ THE PILCHER PIPE ORGAN bells of the chimes several times, C, church.” In some of the church can¬ ing matter on choir subjects. The for example, until the ear has become third harmonic is the same note (two tatas one finds a measure or two where if you have a thoroughly competent ar¬ The grade is of medium difficulty ttet45."8! secotuf-llund'orcuns'ut and its style aitistic, adapted to the grade of its music is fairly easy and somewhat accustomed to the confusion octaves higher) as the fundamental of the chimes can be most effectively used chitect, is to have him prepare specifica¬ the harmonic series, and would enable tions that will fit the needs of your church t-YON a HEALY, Dept. F. 7165, Chicago needs of volunteer choirs of fairly the style popular, adapted to the tig maximum Efficiency ^/n of harmonics, and has located the pitch and the effect is long remembered, but good music readers. It is in its needs of untrained volunteer choirs. . Correspondence solicited . of the bell as C. Let him then play the organist to accompany melodies the experience of the lady mentioned and on a reasonable calculation come played on the chimes the same as when seventeenth year. It has a regular It is in its thirteenth year. It has Y PILCHER’S SONS, LOUISVILLE, KY. the triad of C (C, E, G) on some soft above is not overdrawn, and if the within the sum authorized, and then ask monthly circulation of about 13,000 played on any other stop. for bids on the basis of these definite H. HALL & COMPANY 00 re?u*ar monthly circulation of stop while still sounding the bell. It chimes are used repeatedly in any one New Haven, Conn. copies, which sometimes rises to 23,1100 copies, which sometimes We must, however, take our chimes plans. You can declare that you are 17,000 copies per month. will be found that the tone of the bell service or recital the remembrance of makers of modern rises to 27,000 copies per month. does not accord with that triad at all. to-day as we find them, and accommo¬ them is not pleasant. open to suggestions regarding change These Choir Journals are steadily inc,™.,.,* E1 KIMBALL PIPE ORGANS One will at first declare that “the bell date our use of them to this unchange¬ in the specifications, these only being PIPE ORGAN S fairly girdle the earth, being used not only in the United missionaries in all parts of the w- rld. Their music is fre ada^but also by WON is out of tune.” If the organist will able condition. By a careful study the allowed as supplementary bids. In Distinguished for Artistic Voicing The preliminary judges will be F.. S. Lorenz, E L. A sound the bell again and play the triad organist can produce many beautiful this way you can get the benefit of the Choir Leader prize and E. S. Lorenz, Ira B Wilso * FearisforTHE Would a manufacturer consider it for The Choir Herald prize. HIGHEST AWARD of A-flat (A-flat, C, E-flat) it will be effects with the chimes, but if he builder’s experience. * visable to lock the engine room in AL JUDGES. found that the tone of the bell is per¬ ignores entirely the scientific principle These bids having been carefully can¬ 1, Chicago factory and prohibit its use except dur Alaska-Yukon-Pacific Exposition, Seattle, 1909 fectly consonant with the triad. While of the harmonics in the chimes he will vassed, the committee can select those ing detailed c< one day a week ? The organ is a mech SCHOOLS AND TEACHERS copies of these Choir Jo the pitch of that bell is C, the har¬ produce effects which will distress tfiat.are most attractive and proceed to an ism not altogether dissimilar, and the Pnenmalic Sys? |w,as(,f|depof the Tuba'ar monic series of the bell is A-flat, E-flat, every musical ear. investigation of the organs of these par¬ Advertise Your Fall Sessions in fore it stands to reason that, if closed ISO Fifth Avenue 216-218 W. Fifth St. A-flat, C, etc. The fourth harmonic, ticular builders. The location of these Notice how Meyerbeer treated one six days and only played on Sundays New York perts for years.” g ex' C, being so prominent that it deter- Dayton, Ohio bell in the fourth act of The Hugue¬ will in time deteriorate in value. within a radius of a hundred miles, or THE ETUDE even more, will be gladlv furnished by SEND FOR SPECIAL RATES w. W. KIMBALL COMPANY Pipe Organ Builder. CHICAGO >n THE ETUDE when addressing 01 THE ETUDE 489 FATHER HANDEL. FATHER HANDEL Is His Highness ready to receive me ? (Anxiously.) THE ETUDE MAJOR DOMO. But what about the affairs of State? 488 FATHER HANDEL. Then explain how this thing came up His Highness, the Duke, is very much GRAND DUKE. But, if you will only listen, sir, yo annoyed. (Smiling.) here'(5tWfe« the clavichord with his FATHER HANDEL. The affairs of State may wait for a will hear. father handel. cane.) I know that I have made a serious little while. They are not so important ,r to tiie door and listens. LITTLE HANDEL. breach of court etiquette by being late. as the education of this child. ■ ^Sounds of music, Handel’s B- I, I, I- MAJOR DOMO. (Opening a door on the side of the FATHER HANDEL. flat Gavotte, in d,sta^ ht Wait here for a moment and I will tell (Dragging Little Handel out from Look, little man, that is my organ, and His Highness that you have arrived. under the piano by his coat cob there is the man who blows the bellows. (The Major Domo and the two Go tell him that I have commanded you mands.) . • lar.) servants go out.) Explain w.hat this means. Come, I must know by what magic this to play upon the organ. FATHER HANDEL. Studies in Florid Song. This volume is MOTHER HANDEL. clavichord got here. LITTLE HANDEL Octave Velocity. In this set of stud- LITTLE HANDEL. (Opening the door and calling By F. W. Root. one of the 24 Studies by ies Mr. Rogers has (Crying.) (Jumping down from the duke’s outside.) number of James H. Rogers, produced one of Oh, I can’t—I cant- (Starting to cry.) arms.) Now, come in here, you young scoun¬ “Technic and Art of Singing,” by F. W. FATHER HANDEL. Please, father, I, I, I— Oh, may I ? Thank you so much, your his very best edu¬ FATHER HANDEL. drel. Root. Nine volumes of this course of cational works. It is a fact that the SCENES FROM HANDEL’S BOY¬ (Throwing down the. h°ttle an FATHER HANDEL. Highness. That’s like a woman—a pretty picture (Enter Little Handel at the door.) singing have already been published. average pupil is stimulated by octave HOOD. smashing it upon the floor.) Come, clavichords don’t crawl up¬ (Courtesies, and leaves the room my son would make as a musician. Now tell me what you mean by fol¬ The present volume is the one on practice. There is nothing so vigorous, Then I’ll find out for myself. stairs of their own accord. by the side door.) MOTHER HANDEL. lowing after my carriage when I told Florid Song. The selections are taken and inspiring as wholesome octave A Study Playlet for Children. (Raises his. cane to strike his (Father Handel stands at the left You forget that you were only a barber MOTHER HANDEL. ‘you you should stay home. from the very best writers on the child.) hand side of the stage, and the work. Octave playing not only culti¬ yourself at one time. (Grasping her husband by the voice, such as Nava, Panseron, Con- MOTHER HANDEL. LITTLE HANDEL. Grand Duke sits facing the door. vates that particular phase of technic FATHER HANDEL. Oh, please don’t strike him. I wanted to get out and see the world. cone, Bordogne. They are highly me¬ but it is good practice in general. It Please, don’t—please, don’t go! Sounds of lovely music, suggest¬ ten years educators liaye Very true—I was only a barber, but I have been staying home all my life lodic, and are vocal compositions in the fits the hand for piano playing quicker what have I made myself? Look you! FATHER HANDEL. ing the themes from the Halle¬ it Die dramatic srnsrjn FATHER HANDEL. You have never taken me anywhere, and, true sense. The present volume is in¬ than anything else that can be done. I am now a surgeon and a valet to the Then let him tell how this instrument lujah Chorus and the Largo. have hitherto been unln- Have done, woman; am I not master besides, I want to get where I can hear tended for high voice and for those These studies are not difficult nor are Duke of Saxe-Weissenfels. Do you sup¬ got here. After the organ has played for of my own house? Let go of my coat. beautiful music. who have had considerable experience they long, but they are short and in¬ jols0 th”estudyl ot history pose that after I have worked so hard to LITTLE HANDEL. a little time the Grand Duke slstcd»by means ot Riving I’m going upstairs. in voice culture. teresting and of medium difficulty. The iiistorlcal subjects. These raise myself to the position I now hold (Whimpering.) FATHER HANDEL. arises and, going to Father (Handel goes out m a rage, fol¬ We will offer this volume this month work is brilliant throughout. There is »ces are really nothing more that I am willing to have my own son The apothecary, Schmitz; he had it Music again, eh? I thought that we Handel, lays his hand upon his formerly termed dialogues. lowed by the mother, sobbing, at our usual low rate, 35c, postpaid, if all kind of octave work in this volume. become a fiddler, an organist, a singer. sent up here. , had an understanding on that subject, shoulder, and says.) and the maid.) cash accompanies the order. The left hand receives equal attention Have some sense, woman—I’hi no fool. FATHER HANDEL young man. Do you know what you GRAND DUKE. as the right. The skipping octaves are Why did he send it here? have done? You have made me break my One can hardly believe that is a child not neglected, neither is scale practice LITTLE HANDEL. appointment with the Grand Duke. If Stories of Standard A new volume playing. And yet you wanted to make or any form in which octaves are used. Because I begged him to doit he was not such a good man he would Piano Compositions, by Edward Bax- that boy a lawyer? Can’t you see that By E. B. Perry. ter Perry will We predict for this set of studies a FATHER HANDEL. be welcomed by place among the standard educational I thought so. thousands of readers of The Etude. works of the future. LITTLE HANDEL. The success of his former volume will Our price for the volume is only 20 Oh, please don’t take it away. insure the success of this second one. cents for those sending in advance for I’ll promise not to play when The difference between the volumes is the work. you can hear it, and 1 do love to that the second one contains pieces of hear the pretty sounds so much; The Quaker and the High- We have medium difficulty. In fact most of the wayman. Cantata for recently look, see how finely I can make pieces are quite simple. There are in the keys go. Women’s Voices. By Her- accepted the volume some seventeen teaching bert W. Wareing. for pub¬ (Sits at the keyboard and pieces of Schumann, nine of Mendels¬ lication a plays part of the Alle- sohn, six of the most attractive ones new cantata for women’s voices by the mande in G.) of Liszt, four by Godard, and five by well known English' composer, Herbert MOTHER HANDEL Schytte, besides some of the more pop¬ W. Wareing. Mr. Wareing’s anthems, (At the end.) ular pieces of Nevin. The work will part-songs and organ music are well Wasn’t it wonderful; don’t also contain the story of the waltz, known on both sides of the Atlantic. you think that he ought to be march, polonaise, minuet and gavotte. The Quaker and the Highwayman is one encouraged ? There are very few volumes in' exist¬ of his newest and cleverest works. It (Sitting room in the home of ence that give analyses of piano comr FATHER HANDEL is a cantata-* of moderate length, the Father Handel, in the city of (Indignant. ) positions, and coming from such an Halle, Saxony, Germany. The HANDEL AND HIS BIRTHPLACE. text being a humorous poem by the Encouraged, Madam. I believe authority as Mr. Perry, the volume room Is small, and not any too great Irish novelist, Samuel Lover. that you would be willing to that we are now publishing should well furnished. In he back there This cantata will prove a successful have your son become one of discharge me at once. I’ll pay you for be welcomed everywhere where there is is a chair, such as barbers use. he is destined to become a musician? program number for a woman’s club those vagabond musicians. Id your music and your manners. a love for music. Nothing tends to In the corner of the room, at Long after you and I and thousands of or chorus. It is brilliantly written, rather have him be an ordinary (Grasps young Handel by the coat judges who are now living have been for¬ increase the interest in a composition the back, is a large stove, made tuneful and not at all difficult for the peasant, a tiller of the soil, a collar and is about to whip him gotten, even when this very palace we more 'than a story connected with it out of porcelain tiles. This is voice. There is considerable unison street sweeper, a tender of with his cane, when the Grand are living in has gone to r.uins, your or . something about the manfier in so tall that it reaches to the ceil- writirig, also two and three part, with herds, than let him lie a Duke enters at the center door.) boy’s music will be heard all over the which it was composed, or something v ing. Mother Handel is seated occasional four part writing. There are in a chair before the stove. cian. Lock up that instrument world. relating to the composer at the time GRAND DUKE. a few incidental soprano solos which' Father Handel is standing with (Calling at the door.) when the composition was made. We LITTLE HANDEL Hold there, Master Handel—do I see however, may be taken by all the so¬ a large bottle in his hand, by the window MOTHER HANDEL. . Scene II. Come here, my child, come here. expect to have this work ready in the (Crying.) you striking a child? pranos in unison. The piano part is on the other side of the room. The time But in England and in Italy they say (Enter Little Handel at side door.) early fall. (The scene is in a garret, and th, Oh, please don’t, father. showy and entirely adequate, affording is in 1690, or five years after the birth of musicians are more highly thought of. rafters of the building hang low. In on FATHER HANDEL. You shall become a musician. I shall Our advance price is 75 cents post¬ FATHER HANDEL good support to the voices. As the George Frederic Handel. It is evening, I think that some day we shall see a corner there is a little, old-fashionc, (Bowing deeply.) pay all the expense of your training, and paid. Lock it up, I say. and to-morrow text, is in humorous vein, so is the and the candles are lighted on the tables.) time when those who write great music clavichord. The keyboard is much nar It is my son, your Highness; this you shall start next week with your les¬ Apothecary Schmitz shall come and take music bright and vivacious, with much FATHER HANDEL. will hold a very high place—perhaps as rower than our keyboards at the presen young rascal made me break my appoint- sons. What do you say to that. his noisy, old music box away. The son Early Closing. During the months variety in rhythm and tone color. I’m never satisfied until that boy high as the judge or the Burgomeister. time, and the sharp and flat keys ar fflent with your Highness. I told him George is off in his bed. I never saw of a valet to a Grand Duke become a distinctly to remain at home. Does your LITTLE HANDEL. of July and August .The special introductory price for FATHER HANDEL. white instead of black, while the key musician? No indeed! Downstairs, all such a child. From morning to night he Highness suppose that he obeyed me? we will close at five o'clock during the this work is 20 cents postpaid if cash Dreams, all dreams, woman; besides, that are white on our keyboards a'r of you, I say! Downstairs! I can’t tell you how much I thank week and one o’clock Saturdays. In goes about the house singing at the top our boy is living now, and most of the j Ttcomes running after my carriage, you. accompanies the order. black on this clavichord. The sound i (Curtain.) sending orders by mail it is well enough musicians I have known have been vaga¬ soft and tinkling and in no wav like tli and I had gone for nearly a mile before (Curtain.) °n Sale Returns Special instruc- MOTHER HANDEL. to take this into account. Orders that bonds. Madam, little above common, low sound heard from our modern instri 1 turned and discovered him. (While this little playlet is supposed and Settlement tions to the pa- You should have more patience. ACT II. are sent Friday night from nearby vagabonds. ments of the piano type. On the side c GRAND DUKE. to be read 'and not acted, it is also pos¬ of Accounts. trons of the music FATHER HANDEL. (Enter a maid in great excitement.) Scene I. towns will be filled Saturday morning; the clavichord there is a candlestick wit (Jo Little Handel.) sible for the ingenious and enterprising , , publishing and Patience, woman, you should tell to a (The scene is in the waiting room1 of from more distant points they will have K’vingso dim a light that tl teacher to give a performance of this in dealing house of Theodore Presser younger man. You forget that I am the Grand Duke of Saxe Weissenf® boy? d*d y°U your father, my to remain over until Monday morning. (Addressing Father Handel.) little five-year-old boy seated at the ke' the studio without scenery. We should during the past 1909-10 season: On, sixty-three years of age. The room is a very gorgeously furnisW Oh, sir; I hear sound of music coming be glad to know whether our readers June 1 a complete statement of all ac¬ MOTHER HANDEL. thath T hardlV See to Play the noli one. The walls are decorated with little HANDEL. Major-Minor Game This game is from the garret. tll t .has wmten down upon the she find this playlet suited to their needs. counts was sent to each of our patrons (Arising and going to look out of brocade, and the chandeliers are as bngb Because I wanted to hear the lovely Musical Casino. now ready, but FATHER HANDEL. of ruled music paper. The boy is Dla If you like this and would like to have Fhat statement was included with a the window.) as gold and filled with candles. At w s‘c; I want to hear the great musi¬ By Carl W. Grimm, we have decided Music in the garret? mg the Gavotte in B Flat. The door , us present some incidents from the lives letter of instructions. To those who I don't see any harm in his singing. door in the center of the back wall sjan cians who come to play for you; I want (Laughs heartily.) of the other composers in a similar dra¬ . . _ to continue the have not already made their returns we FATHER HANDEL. two servants, handsomely uniformed. ® ,n ,Se.e your great organ in vour chapel, special offer during the current‘month. Why, you are out of your head; how matic form, kindly write us and tell us would say that first we expect a yearly (Out of patience, and slamming gray silk costumes. In the center of and listen to its beautiful tones. It is one of the best games we have could there be music in our garret? your desires.) settlement of every account. his bottle down on the table.) room is another official of the house0 seen, and should prove even more suc¬ grand duke. . It: is usual for On Sale music which You don’t? Well, 1 do. How many the Grand Duke, known as the ®l°, (Bending over and kissing Handel cessful than Mr. Grimm’s previous But there is, sir—it sounds like some¬ Ah, happy time! when music bound in is not desired for further use to be re- times shall I have to tell you, Madam, FATHER HANDEL Domo. The Major Domo is a mastff ° and lifting him up in his arms.) games, all of which have proved pop¬ one playing upon the clavichord. one turned during June or July of each that if we don’t look out we may have ceremonies in the house of a noble P ular. * y shallV SCe my organ you shall, and you Two kindred souls that ne’er were out year. The only exception to this is that boy turn into a musician. FATHER HANDEL. sonage. and, in this case, is a vfO',a shall hear my musicians. The special price during the current of tune. — C. P. Crunch. where the selection sent during the sea¬ MOTHER HANDEL. A clavichord! How under the sun man. His costume is something lfe month is 20c, postpaid. Why shouldn’t he become a musician? could a clavichord get in my garret? son past is of such a character as to be My "Z d,vichord. of a soldier, but much more elaoo0 Enter Handel.) THE ETUDE 491 the etude Playtime and Storytime. This is a set greater than the cost of the book While 490 i«v need hesitate about w ^ it untji the last moment to ia Pieces for the of character- this book is still on sale at the sneH d ..nU„6 ^ really °£ Pianoforte. teaching ui- , • Ae at tne sPecial and Dayton, Ohio, certainly makes it worth A postal card will bring these monthly No ^ one ^ }n September a^our ^ in their manuscripts. We have nieces hv g„ advance,- of“ publication—i rateeuc ofui fiftyiiity cents while to American composers. They offer of use during the next season, it By Newton Swift. DV a wrtii __ . $100 eat*part fnrtor thothe hp«<-best anthemnnthom for truinpHtrained packages during the summer oraerm well- kno y°U haVe an °PP°rt“nity to secure it at and untrained volunteer chorus choirs. These then necessary to correspond with ^ All of our On Sale music is charged 0rfservice,Yie1hen” iii’b" th« bf *1'”'h” «“>ved * greatly reduced price. practical limitations may repel ambitious $500 Prize Offer organization ha,e The CO"’I",,t,°" ” °P” American composer, to be published •with regard t o the cash payment o at the same large discounts as though f even m0re satisfactory of all nation- composers who want plenty of harmonic and out reserve to compose; complete in one volume. The pieces .melodic “elbow room'' in order to express count. ordered outright and paid for. Our can p der for a seasons supply ality. A^ composer may. compete their musical ideas. More discriminating- Music sent sale that ha? been used whole On Sale system is carried out sujtsi ^ nQt later than August IS- of o{ the classes. Manuscripts are suitable to be used with second- "'ill, welcome the handicap as meaning a 1 If cess, if’success is won. «r wnasen ..Jt to be returned. on the most liberal basis possible. We r weight to this suggestion w . h unsuccessful will be promptly grade pupils, and will teach and de¬ .„ length The most important notice which we have special circulars which we w l Jo the formation of cer- ^ ^ composer after the velop style and musical appreciation. e lea Musical Compositions have to make is that the full name They are all in characteristic vein, lar s e-mentionod Art gladly send to any teacher or profes n* under which we hoP® . dose of the competition. Special Notices iriant..,^, reach them not iat cleverly constructed, tuneful and orig¬ October e judged "d thf ^utsidl oT each package that sional‘ * who makes." a request, ‘we Pto save patrons a large part of tne _ _ . r I 'O stimulate a greater interest... »-7 ' on orders for f»nTne<5 and Puzzles. Are you won- inal. They are quite out of the ordi¬ e adverUsement oof this...impetltion page 4! -*• musical composition and to de¬ is returned whether by freight, ex- Mistakes and Disputed nary-tone poems in miniature. Pupils is an e: nress or by mail, this is permissible Points in Music Teaching, !m “THIS" % !Td.«.1 Blooma.li b«» , t.■,' entlro1'' reliabTenflrmUandhare evidentiv velop the opportunities for gaining ‘ „ „j v "ext s. Further information on • and where you will certainly enjoy them. taking every precaution to insure in every case, and it is moreover ab¬ lutcly impartial decision. the widest possible publicity for the By L. C. Elson. for deliv- thif“subject wUl be given on request can get your mtterial for your mu- The special advance price on this composer the publisher of this journal solutely necessary in order .that tin _u tins supj _, taarhinp season early social events of next year? work will be 20c, postpaid. herewith announces an credit be given to the proper person. It is o L COMPETENT TEACHER WANTED " .truction- gave„ par-- ^De m xne libraryirv'of of5 every Stteachere'acher^nd and IfhanZequTtlan adequate suptbZs Phesser pub- S” should prove aand t0 introduce the ANDOLIN valuable to you. Although this book The Young Folks’ Owing to an un- .sell u.rt.»d. -- Music Study—Voice, ticular attenti the question of y earnest student. A few chapters iications. --- - . „,lnlW- , m,iu and Choral rClass"~~~ Work!- These BANJO AMD Etude Prize Contest - Large pack- A book have been published in „-rtmre We will continue suggests a great number of excellent Standard History forseen delay we bringing results everywhere, transportation Reference, ]Vi GUITAR MUSIC .°f thC D . — - Etude> and Singers’ Repertoire. We wi offer diversions for young people’s gather- eturned by freight, previous numbers of Thi of Music. have arranged to “te required. Address Head- 1 -on y ingenious teacher will find extend the time A 48-Page Calalogue FREE for Piano Compositions edium Carnegie Hall. New , P ®en,s for a sample copy of The Cadenza of our special advance offer upon this ^ ^ j, Uit Packages that have been received by gr^^theycontain^many points of during ^/for iTetfem voice. In that it will inspire ideas for many SEND FOR (FREE) “How to Make (Established 1894), a monthly magazine-36 pages of Five hundred dollars will be divided our patrons at printed matter rates are i e t; ■ t those points about which volume of ° B in find appropri- original games of much practical mtei- work for one month, which will enable Technic"f»f»hnir» TToo/ilno+ir,Fasctaating!™ •’ “TJiG SGCFGt of thft reading matter and 16 pages of absolutely ne among the successful composers ‘ entitbed to be returned through the same ^ ave age teacher is in doubt or hazy this volume Bingers will n £st_ The book ,s now being prepared our readers to procure it, if ordered at “S g&5*J ideas for teachers. Music for the following manner: .v weight alone. «r- ^This work has been on Mr. El- ate songs for almost ev Y rs -n for publication, and the teacher may sc — ---- ..zvi.v. zxuvertlsement method, this is by weight alone, | once, for forty cents per copy, or ap¬ MANDOLIN, BANJO and GUITAR Class One—For the best Concert . i,? !11;.! TAT/SIG “ AND EXPANDER, an respective of distance, and that rate is £ 3*? £ is ofnan styles ^copies, spec,a, introductory proximately the cost of paper, print¬ a d to pianists with small or stiff hands. One Piece for piano solo we offer a - ..._r„, „„„ rent the same as mail ing, etc. This is done to enable teach¬ prize of ers and students to make their plans Camegi? Hailid'NewSYorkPuSliSlling_ C°“ 853 Walter Jacobs, Publisher $100 packages. Smallmr^ jbe'rafe^fbounces There iS n0‘J ^ngs of'termT In volume wfiTbe gdtten up in handsome ^ Tone pieces. This work is no, I in ample time for next season without finSTrLiUon^of0 l‘' VX°S 167 Tremonf St., Boston Class Two-For the best piano - X"o,r.»vpb.«o(.™,.c .h.;= a,. o, pub- By Oscar Bo,cb. '**,•**£ incurring any unnecessary expense, building with the : -Boston piano- The special price in advance c cial offer is hereby advanced ideas of piece in semi-classical (modern or — — - ■ - --leading educational romantic) form we offer a prize of w, you cer- Nation will be 20c pojmjd ’ and 45,000 discriminating homes, The differc teachers will appreciate at . Where_ v...__ is that mail pack- P-u latef Qn and at ani ’advancedadvanced accompanies the order. easy teachjng pieces should he known have no dealer, we ship direct School of Piano Tuning Jg£ $100 press prh thoroughly popular and understandable J™?*. factory approval, guaranteeing Thoroutrh tical shop instru :o 4 pounds in weight * At {he present time it may be Tone stories for This is a useful to all teachers working in the de- style. 2. Forty story-lesson chapters, pense for^both rallwa^freighte Class Three—For the two best while the exprew package is not limited purchased for oniy S0 cents. Later Girls and Boys to set of pieces to be mentary grades. The use of such each iust the right length for one le«- >0""“ f— ~ - ■ salon or parlor pieces for piano we in size. All charges on returned music Qn tbe price -will be more than double. p]ay and Sing. published complete pieces with pupils tends to culm ate son.S' ?ihissf»aStkS,“i3. i\umerou5 illustrations. 4. Allasu to-day.?r-Spt/sss Ivers & Pond Piano Co., ;141w?s Boyl- « *««"" -™ *>m offer two prizes, as follows: should be prepaid. Your express agent The work is fast approaching comple- By Daniel Rowe, in one volume, style. taste and musicianship. We shall foreign and technical terms pronounced ston Street, Boston, Mass. ou whether “printed matter adapted for ele- be pleased to send the work for ex- First Prize, - $60.00 when first used. 5. Suitability for class HOME FOR MUSIC ANDai ART Mudim Second Prize, 40.00 or regular express rates are the ^ ^ This album has mentary work with young pupils or for amination to all who may be interested private use. 6. May be used_ at once gg3&s^tt 'fatfSon?Pe^Ce6 ^«^““ - by any music teacher without previous New York City. Kindergarten Music Method lass Four—For the best three C We' have furnished to every one a Album. several featiircs ^ ^our1" speciai large note. Each Studies for the This volume is piano pieces in dance form (waltz, summed label. We will furnish as many to recommend mav be played as a piano Left Hand. now ready for study in the subject of musical history. WANTED—By a young man of the West COBBESPOMDEWCE COIIRSF 7- Suitable for adults as well as chil- 23 years of age, good education, appearance’ march, tarantelle, mazurka, polka, fs desired. This is to be used on your ;t. In the first place the compositions 1 tt e p yy, 3 xhe music is By Birkedal-Barford. the press, but etc.) we offer the following prizes; dren. 8. An appendix telling how to Sent “c^ to FOB TEBCHEBS First Prize, - $50.00 offer will be continued during the ct organize and conduct a music club. All tion. Address R. P., Box 48, Libby, Mont, enterprising teachers nowadays in- " the trinity music stand. ‘ Second Prize, 30.00 rSSS E£sr«-l£ rent month. Without exception this is that the left hand receives more at- The special price for this work dur- variably include musical history. Even „r. „ . (Patented.) Third Prize, - 20.00 ler b the best set of studies for the left hand (Three in every package'that is returned. tention than the right, and at the same ing the current month will be 20c post¬ though you may not-- care to_j organize plcte or sep! t elfh -F°-'-io-'-coS- time does not interfere with the at- paid, if cash accompanies the order, alone that we have ever seen. The ddual's Class Five—For the best four easy volume will be added to our Pressef a class, much cann be done by devoting bined^MusteES?]rein“5'. c“““ Stand^and teaching pieces in any style, for pi¬ Violin Strings. It has ever been our Folio combined. tractiveness of the compositions. Every Musical -pbis book is now ready Collection, and will doubtless be largely ten minutes of each lesson period to Music Folio. IllSstrated“ folder" on reqt ano, we offer the following prizes; aim to supply our pa¬ pupil’s left hand is defective. This goes Album, and the special offer is used. Teachers in search of material this fascinating and extremely neces- provid(mUSiCRStTan D^fToid^] ANTHEM strings that can be relied on as o qu rjum Qf the hands. Aside from t e advantage 0f the special offer on this Third Prize, ■ 20.00 The special offer during the current r!v?S v0-’ Dept- M’ 42 People’s Bank, Wil ity of tone and durability, special advantages, the list of pieces is wofk will assuredlv not be disappointed.! Fourth Prize, 10.00 month is 20c, postpaid, if cash accom- rresser’s First In answer to the uni- --— Italian, Russian and German. gut,_ also exceedingly attractive and we would Tq aU those who have not had an op-1 . , , Writing Book, versal demand for a. mculSONG or POEMSwritlen FOR SALE. Fine assort- written to your melody. Jar silk eternclle strings of^- . fhj|t do recommendrecommenu mostmvs, heartily - -— portunity of doing so, we shall be glad p‘ writing book at a low 2223 ’south 67th, Philadelphia. COLLECTIONS -CONDITIONS- G strings that do th-s book, wherever it may be placed, silk; also to send the work for examination. price we are manufacturing what we AT THE Competitors must comply with il order will convince Qur advance price is only 20 cents Recital Album This new collection not rattle believe will be the most usable and Did you read __ the following conditions : only the best. Standard Compositions. This volume, for the Piano- °.f P!anfofortJe c°mP,t you that we have only tne nesi. postpaid. most desirable writing book at a low If not, you ought to, because w.. __ , The contest is open to all com¬ Volume VII, Grade VII. which has \lons of mod"f Z terest you in our cot irse in the “Science . SMALLEST PRICE posers of every nationality. Reed Organ Teachers ( of theReed Qn Sale Music We desire to price that will be on the market. The m—"--i things emphatically I '—MU - ,1 . —-r'BITTWM-.. " ~ ■- been on the culty should be known to all teachers taught by mail, and thisf... „BU , Th® contest will close October Music. Organ should become {or Next Season, press on all teachers spe<.ial offer for several months, is with- working in the higher grades. The book consists of 32 pages, six staves to you. “ot better find out what the “Most 1st, 1910. acquainted with f°ur the importance of drawn with this ;ssue This vojume pieces range in difficulty from four to the page, the lines of greater width POSSIBLE "nl’hrt ore out” embraces, in time , All entries must be addressed struetive works, collections of pieces earjy 0rder;ng 0f regular and “On Sale’ wm complete the series and therefore seven, inclusive. It will be a work than is usual, and the work contains *? AuSust class, if you should so de¬ sire? Of course it’s warm, but yon ought to £^,Et3Jde Musical Prize Con¬ and individual pieces for that mstru- 1}es for the coming season. I there will be no further volumes placed similar in style to our well-know complete but brief directions for writ¬ be doing something, and perhaps 'this is it. A model anthems test 1712 Chestnut Street, Phila¬ ment. We have always made a spe- unwise to wait until the materia ing music, how to form the various good many others have found out, why not Containing 26 Selections on the special offer. These seven vol- “Master Pieces for the Pianoforte, W you? Send a line to-day to the “Home School delphia, Pa., U. S. A. cialty of music for large actuaHy needed, as, even though umes contain one of the -best graded considerably less dim® notes in the most professional way. fifc^ttan* Emmetsburg, Iowa, for full in- All manuscripts must have the and our catalogue contains ajarge haye speciai facilities for handling all ^ of_ <■ pieces that...... it is possible... to. com. xt_.1--1_Nevertheless, .tlu- pieces_ will:n Kabe Kriliianthnlhan Other material pertinent to the sub¬ ANTHEM REPERTOIRE following hne written at the top Containing 23 Selections number of really e teachers orders _quickly, it takes time for t piie_ Much attention has been given and showy—such pieces as cannot ||J ject is included. ^ANOTHER PUPIL of John W. Nichols ?t the first page : “For the Etude who has just recently secured a solo church Musical Prize Contest.” and arrangemen s ■ transmission of letters through t e to the preparation of these. The sue- to produce a goodtrood effect when pipla The price is rather astonishing. For position is Orin R Dudley, who has been sing¬ ANTHEM WORSHIP The real name of the composer a time we will sell this durably cov¬ ing in the choir of the Broadway Tabernacle. Containing 20 Selections ered, fairly- well made 32-page blank music has been 1 very earnest student, must not be mentioned upon the 1 advance of pob- un-soloist of the Park manuscript. Choose a fictitious r :..T ■■ ■ - i 30c, postpaid. writing- book for 5 cents each, not left of Yonkers, for the ANTHEM DEVOTION attention. of valuable time just when one should ,. , . , name and write the same upon Postpaid. You will make no mistake in -— yc"~ --1__■. . Containing 17 Selections your manuscript. Then write the New Gradus The first volume buying fifty 0f them. A dozen can the pi-blic recitals 0f the gradu- real name and full address upon a Summer Perhaps the greatest be free of all ^a^ddet^0r^lf. greatly, as a complete volume may"" certamlv he , r , “tes ,°.£ the piano teacher’s training course of Price, 25 cts. each postpaid: $1.80 New Music, convenience of the many keeps pupils wait,and creates a con bought for about the prlci. of a single Ad Parnassum. of this work, «*■ , y ue easi*y disposed of. Order the Von Unsehuld University of Music dis- per dozen not postpaid. A sample slip of paper and enclose it in an conveniences which the dition likely to result in a loss ot pres- p-ece_ There are sonic sevelUv ; By Isidor Philipp, titled “Hands To¬ 1 many or as few as you want. _— thoroughness-ighness of.1 this_ institution, copy of all four for 60 cts envelope Seal the envelope, house of Theodore Presser offers the tige (as well as a monetary loss). q{ m;is;c -n toTumes^ gether,” is n"* well as an intelligent appreciation of the write only the fictitious name on instrument on the part of the graduates. Each . 5e volumes contains a collection “Dollars in Music, « Tf vrmr income Thls- department is under the immediate su¬ of melodius the outside of the envelope, which - ■ -s the liberal send- .-^o^DV^CE ORDE&S for ON the price is on1>’ 5° cents retail.’ To "PP^aching completion, and jsjgl it your income pervision of Mme. Marie Von Unsehuld artist - ~J bfoT vpiilSf6™!]6 len^th and must be sent with the manuscript. ing of Music On Sale, a stock to be kept including standard arGTiera ? a« those who are unacquainted with nearly ready for the pr,--. Ha d»To R„c- USiCxTeacher’s ^is not what ahfl instructor. The presentation of the di¬ Involvedcontrapuntal treatment • - — June; supple- would ask a trial of the ^tiler contains some of the ury m mess Manual.” you think it plomas and medals took place on June 6 at >r quartet or choru me”taryetotethatris 'the New Musk On invite all patrons the Columbia Theatre. orks have been sol shall be pleased to send excrci-es. by all the great wrtn'P. j. vou ,.,v. should be, if effor“ Sale, about a dozen pieces sent during our offer .0 fid suc.h °rd^ shVnments the *»tire seven’ volumeV'Vovnhm.z ’; nr ';,.rx tended to aid inIn the ma-tery 01■ U t RUDOLPH WURLITZER COM- The titles of t collections are ai if v V£ dlfficulty ’n making collections, of Cincinnati, has purchased the en¬ ranged in the ordc Piano compositions only will be the composers considered m this competition. Do •E W? IfoTS i'.U StoJ fcr 4=U,.r, b.fozz the te.ch- ?” »b« "fy i.sire to 1 tSTS* • tire plant of the Hope-Jones Organ Co., of ToTz' mziei with ,h, 0» Salt In tin., for delivery before ,h. te.eh- ,’ Z° h The Teachers and students will turns0"!-, rtising fails t0 brin^ re- Elmira and New York. The organs of this not send songs, organ pieces, violin returning of th y?U ?re ^othered by any one concern will hereafter be built at North Ton- pieces or orchestral works. very great advantage t tinuah 'tt e business details which con- awanda, N. Y., in connection with the Wur- IS'i “ally «P in the teacher’s work, litzer establishment. Mr. Robert Hope-Jones No restriction is placed upon the ’"supplementary’again to thi,. we men- -pain.taking e«or.a «.«,«. «» meet *500. Prize Offer to, W. ,„ld ,.1,X="d“w,rf’ he 4' »* ™ will absolutely control the production of these length of the compositions. MumF’u fXpert advice- “Dollars in -- _,----?nts, his___ retirei it iwulfrom thetuc No composition which has been tion at this opportune time, is the eon- all requirements in the best possib e Musical Compositions. again call the assembled in a ’ingle volume. T* . haa been prepared to assist teach- .ana.Se"I t of thc Hope-Jones Co. enabling ™ ™ published shall be eligible for a prize. aboura11 dLen^pkcTs senT On Sale, untiTthe opening of schools will also our readers to the “Pri^" Con test* Technic’’’^wiH SIo Te* ' out of tbe most money possible t0 the production and furthei-Tmprovement helpa °f their professional work. It will * the Klng of ft4rtrun.enf.-___ TTie compositions winning prizes more ways than you imag- ™am?fa??'^allno?t FE1^eC°meJtl?evProPerty of “The : d t PU . JfPV? t0.ne at sacrifice. Teachers want- THEODORE PRESSER CO. made at their convenience or merged owing to the vast number of such in another column. While the contei • T ’l specia1 ,ntroduc.tor/ P!i, first- Ck m,isy?sibIe that one idea in this i^C/vrel«ble Plan°s for scholars, $100, $125, Sd*e",dfoiPUbltohedi"th'' y bring you returns many times $lo0, all makes, will find it to their interest with next season’s On Sale if desired, orders received at that particular time, will not close until October i, igro, mfnttened^lSie^nbe'Sc,po^ to write. Wm. Schdrzer, Philadelphia, Pa. PHILADELPHIA, PENNA. Please mention THE ETUDE when addressing our advertisers. THE ETUDE THE ETUDE 493 492 PROFESSIONAL DIRECTORY Learn Piano Tuning j^aiAcn^ ARTISTS ARP TEACHERS_ BECKER BEAL . CULLIS ..'■ DAY njjjflNE.LENA DORIABsw Pi ellen STORER eiLBERfS="r INSTRUCTION BY WAIL IRELAND smm SSi fSSSSS KROEGER SC® MAN7EL v»flf*iiiS m MOIH TON ._schools and colleges MiCHOLS^^ws-S BARTEL'"’ PETERSILEAT. 1"... . BEETHOVI . POTTER «»•SBSffsa's’tssi .8rS!3£S%s ME.SS™SK THE WORLD RENOWNED CLAYTON F. SUMMY A DOCTOR’S 1 AND MUSIC “ Tdr»lB.rl,d',Li,"h1.li'c«^ man £££IsESaSS :5SST STERNSOORFF that coffcT docs tbeman injury! Vey lay their bad feelings to almost every TRACY veon r:;:i..x.r “• p;rUnceehisCtpro^enWto himTUjo WHISTLING WILDER Europe P “I have been a coffee drinker all my I Abroad, POSITION! crSo?^i^z!ora“ life. 1 am now 42 years old and when Saiht-Saens Is THE MUSIC TEACHERS EXCHANGE J. WARREN ANDREWS taken sick two years ago with nervous I DeianS-a ”eW four'act ope pir,“byj?hiSj?at the prostration, the doctor sahntaj my ~ ^ ^ thatTwoulcThave^UoT“'te',,r„ to,do sgives£T*.* up coffee. «t-;zmP0" a new opera’ 4 A*ir„.,.i 3s.rjraass,.™,r advertisement wife Music typography tn all Its Branches trom Berlin Old or new. But is seems thnone°dthei0worsehlSforPehavhig0'tK’en Used it in his family and it was all it 2*444 perform0 giDudley T. TTmericicj PIANO FRAUDS! SS: a1 The Piano and Organ two weeks’ time I could sleep sow at night and get up in the morm S Purchaser’s Guide . M M feeling fresh. Tn about two months \ wonderM ^onTemse^booL °f if" was began to gain flesh. T weighed onj r'^:’,7csg:urjh‘ wi° t,lp“dndn‘0;:",c'Ll SCHOOLS AND TEACHERS Advertise Your Fall Sessions in < F. SUMMY CO., F THE ETUDE SEND FOR SPECIAL RATE ZABE.L BROTHERS MUSIC PRINTERS K EMERSON PIANO CO.rrjT 'Colombia Ave., and-Randolph St« AND ENGRAVERS _Philadelphia, *«•_^ high grade Grand and Upright Pianos. Catalog on request. _560 HARRISON AVENUE, BOSTON 495 THE E TILB-E THE ETUDE 494 new publications. The Story of Opera, by E. Markham Lee M.A., Mus. Doc. Cantab. Charles Useful Recital Scribner’s Sons. Price, $1.25. This book is devoted to the history of Music opera in all- European countries, and is THE FLETCHER Philadelphia musical Academy very meritorious in its comprehensive¬ 1617 Spruce Street, 6029 Main Street, Germantown ness and attractive, popular style. Al- ae though all of the main facts of the de- The Oldest Successful School of Music MUSIC METHOD p*#u,°L%(icndeUiedr% /mhX"1 Chaminac “S velopment of this branch of musical art Class and Private Lessons in All' Branches of Music " uobinson ; ^eguldilla Va e; are included, the book is not burdened RICHARD ZECKWER, Director Bells, VVeyts : Nov* «• with uninteresting, archaeological s ZX l-acuelt Mi-e BngelmaBn , tlsucB...... SUMMER SCHOOL Schulhoff; Ta,r,aVnf(!tscliC- Itearts' Sprlugtide b th with half-tone cuts and musical SCHOOL of MUSIC of SHENANDOAH COLLEGIATE INSTITUTE 'cfiSW • excerpts,““ c„ ,hort snatche. from «„i ansgckeeWNu°m£er, 3 ard operas. Every phase of the subject Will be held this Summer in Brookline, Boston’s most beautiful pupils of Miss Em meter-t Bed Time Honey is so completely covered that it is un- suburb: opening July 5th, Tuesday lp^ .'rfn^heSlide!'Carl Wolf j’piaymg necessary for the reviewer to discuss Liee, v;I j*1.’ . Murcstein; Voice of tbe LIea , *-i, GirtViAr Tag (4 Pathvvay of Blossoms,__ Kern; the book with further detail. Address SCHOOL OF Music OF S. C. 1.. Payton, Virginia Henri van .GaelGael ,i Patmvay^oii^.^--ay the{he Sea, English publishers of the work are the Hackh ; Doll's Dream and ^'akenlng.Oe^t^ , Walt£r Scott Publishing Company of Special railroad rates—owing to the National Edu¬ ?XeC Rosf ; Tw’o Flowers, London, and the book is one of the cational Association’s meeting in Boston—will make MASON METHOD The facilities afforded at Kcelling; Fluerette, Blumenschein^, bun^ fioy Music story Series this firm has been BESSIE MORGAN FlHS %l?k !le Fasdnaton6 producing for some years. this year specially favorable for the many teachers who desire to study this Method. a Pearce Unmusical New York, by Herraanu ^ Kiein- john ^ Corapany Pric;' ’ not'selwu'a *more modern school. The SConfession,ra“eil,’_5r Thorne;r?u';,t,.^e - dFFable,able, A. Schmoll ; Ron- $1.50 net. fid lE decid>ng on a Summer School course, it is well to remember that the musical advancement, for it gives practical basic instruction in such subjects as ;s?hS?oTi: This book should not be considered deno. Hopf :ei _ H1J FLETCHER METHOD, first introduced into America under the Modulation, Transposition, Ear-training, Memorizing, Sight-reading, and, in a Normal Conservatory Andante’ f rom S“Su’rprise'symphoi ___. solely as a bid for notoriety, as the rsey City He word, it enables every teacher to practice what too often she has been able to of Music and Allegro from Sonata In C, Havdn ; lagio and wrjter>s ]ong experience in London, as ISliflfi] ausP*ces tdle New England Conservatory of Music, Boston, is the Old- Rondo from Sonata in D, Haydn. well as his extensive acquaintance with ' 1 ^ est, the Best, and the Original Musical Kindergarten Method. It has preach only. School of Fine Arts Pupils Of Frederick A. Bo&ting most of the great artists of the latter been proved to be all it claims to be, having been taught twelve consecutive years Second. That there is an increased demand for teachers of the Fletcher Music offers a thorough musical education at a reasonable rate. The courses of study pBrtvinEn!el ■ Song of Tune. Williams; Chit- half of the last century, gives him the in different conservatories. The Director of a prominent Conservatory, where the Method, in spite of the cheaper copies of it which claim to be “just as good” or embrace Voice, Pisano, Organ, Vtolin^ or dren-s Dance WilliaD^ i BoatmaTrs Son^ veteran«s privilege of speaking freely. Method has been used s nee 1898. writes : “I can say without hesitation that I con¬ “improvements.” W^shamcfiopin-Sszt ;0lRoiirlin?,0llOp’- 162^2 The book is little more than a pleasant sider it the first Method of Musical Iristruction extant for the instruction of children. Third. It is true that the Fletcher Method takes more time to acquire and is piano’s), Shultz : A Song ofvr^”nf, Yn^™sk' and intelligent review of the years Mr. Its scope is thoroughly comprehensive, and it is based on a scientific study of the the most expensive Musical Normal Course, BUT, if the teacher decides to spend Author of the Hand of the Pianist, Method Leschetitky. ;m“-: Klein spent in New York. There are child mind. The resu. ts from the use of this Method are little short of astounding. ’ ’ money and time for a Normal Course at all, she cannot afford to take any but the l^th^^nfmsh^'D^ce7^2 4ial(2S)pianoeD' many glaring faults in our Americas The following facts bear repetition:— BEST, and the one which conservatories of repute and intelligent parents are Moszkowski; Serenata. Moszkowski; Venetian musical methods, all of which are more First, That the course is worth its cost to the teacher, for her own personal demanding : THE FlETCHER METHOD. Pennsylvania Stale Normal School gj; !™fi wlS,i an|mith’; Second vJlsc-; easily noted in our great cities, because Godard; The Song of Love, Goldbeck. they are more intensified by the con¬ (leading to dc centration of population. Mr. Klein’s P”True0FrKndsbip‘4(4ShdI"', Merc; Sweet VIo- book is disappointing in that he has P. O. Box 1336, Boston, Mass, let, Heins ; Autumn Idyl, Renard; Polka Ca- seen and reviewed little more than Apply to for further particulars HUGH A. CLARKE, Mus. Doc. Evelyn Fletcher-Copp, or 31 YorK Terrace, BrooKline LESSONS BY MAIL irHval^f rBiwn:ie°'Anthopv !aQuartette from the somewhat artificial conditions which Rigoletto <4 lids.). Verdi-Engelmann : Moun- must exist in and around Carnegie Hall In Harmony, Counterpoint and Composition u-ehh0tSartorio -^Nursery' Rhymed the big opera houses, Mendelssohn Hall ; Golden Leaves Mazurka, Morri- ancj bis own lamentable experience at ordered the driver to take him quickly The manager of a suburban music hall To a lady who expressed ignorance of 4632 Chester Are., Philadelphia, Pa. h^A^Rin^uet^Thrsilver Nymph] concert giving at the attractive little to the concert hall, where an impatient was testing the abilities of a few candi¬ his identity Carl Goldmark exclaimed The, Dance at _Avignon, Oebmler ^On Plaza Theatre. The book has little m- audience was waiting to hear him per¬ dates for stage honors one day last week, rather proudly: “I am the composer of lance (4 hds.), Scbytte; Dance terest for American readers who live form a famous piece of music on one and this is how he let down one of the ‘The Queen of Sheba.’ ” “Oh, indeed,” BR9DGEWATER SCHOOL OF MUS10 a Engclmann; ChM?en'sPTo0y without this charmed circle. string of his violin. would-be funny men. was the answer, “and is that a very good Symphony, Thiele. “What’s the fare?” he asked. “Your song’s won’t do for me. I can’t situation ?” of Ol.LCK, Director College Music Pupils of Miss Frances Yount. A DETERMINED WOMAN “For you, sir,” said the driver, “10 allow any profanity in my theatre,” said Doll’s Dream, Oe -tcn : Fall Asleep ! Op. 77. he. DEGREES OF MUSIC CONFERRED Finally Found a Food that Cured Her. “What’s that prima donna angry francs.” “Are you sure you truly love my No. 9. H. Hoffmann; Swing Song. I,. Meyer ; “But I don’t use profanity” was the 151 1 Girard Avenue A Dream, Reinecke : Scenes of Youth, Polka. “You jest,” laughed the violinist. daughter?” asked the fond parent. BRIDGE W AT I reply. K. H. CHANDLER PREST. nlng Song, Eijmenreieh ; Mazurka. Op. 28. No. ‘‘When I first read of the remarkabk “Oh, some well-meaning critic said “Not so; you charge as much for a “Absolutely certain,” responded the “No,” said the manager, “but the audi¬ 3, Dennee ; Waltz, Op. 62. No. 11, Gurlitt; effects of Grape-Nuts food, I deter- she sang like a siren. The only siren single seat at your concert.” young lover. “I have listened to her ence would.” «pe' 2°PNo1448; —1 secure some” says a womanof she knows anything about is the whistle The musician was silent for a min¬ practicing voice for a year and have heard Mendelsohn : Dance of the Elves, Grie*; Knl- Salisbury, Mo. “At that time there was they use on a steamboat.”—Washington ute, and then, with a shrewd glance at her play ‘The Storm’ and twenty-nine HOW WE TEACH YOU Fleetidc ‘Tov'siTandrock^ kept in this town, but my hihusbasd Star. the over-reaching cabman, said, hand¬ Sam—Did you hear the new soprano variations on ‘Old Black Joe.’ ” to rapidly acquire the ability to play or sing artistically berger; Colomhine Minuet, Delahave : Polon¬ •dered some from a Chicago traveler. ing him a reasonable fare: “I’ll pay you last evening? aise in A. John Orth; Gondellie'L Sehwar- wenka ; Zephyr, Op. 82, No. 4. Heller; Invi¬ “I had been greatly afflicted with “They are going to lock Jones up for 10 francs when you drive me on one Jim—Yes, but I had to leave early. A PLAIN TALK tation to the Dance (6 hds.), Weber. sudden attacks of cramps, nausea ana the good of the community.” wheel.”—Boston Advertiser. Sam—Why, what was the matter? SCHARWENIIA’S READY-MADE vomiting. Tried all sorts of remedies Jim—Because her singing reminded me Pupils of Sacks’ School of Music. “What’s he done?” REPUTATION. Marche Heroique (2 pianos), Saint-Snens; and physicians, but obtained only tem¬ I had left my key also. “He’s talking cf setting Browning’s Xaver Scharwenka’s work as an edu¬ Prelude. On. 81. Heller; Pierrette. I'haml- porary relief. As soon as I began to Terrible Child—Will you please play YC, we know j.u would; end wo know how to .how von aatle; Valse-Impromptu, Raff ; Impromptu, poems to Richard Strauss’s music.”— cator has been so successful that the Op. 90. No. 4, Schubert; Hunting Sor ” use the new food the cramps disap- something for me on the violin, Mr. Westend—What did your wife say Cleveland Leader. public often forgets that his reputa¬ sE m^B*?3hn* delssohn : Concerto, O Ma.lor (Firs. ,Move- Peared and have never returned. Jones? when you got home from the stag the _Nachtstueck. ^Schumann ; tion was made as a composer and as a (Jl methods iValtz, E Minor,' Chonin “My old attacks of sick stomach Jones—But I don’t know how, Bobby. other night? pianist. Few pianists have been so (S, aisltt pr dice by the pupil. Gon-'ollied. F Shorn Minor! were a little slower to yield, but by The village cornetist, who made his Terrible Child—Oh, yes you do, Mr. Broadway—Nothing at all. She just sat aus Bois. Stauh; First Mn- successful in pleasing the great musi¬ vlTi.nofiiid'iof'nutlontitwnd’pftcrndlonld reputwi’on'^'ellu; practice rLt'lt™ "?e |lvo°™u “^h.Vtle of J!S continuing the food that trouble has living as a barber, was massaging a pa- Jones. I heard mamma say you played down at the piano and played “Tell Me (left hand), „e Kp,np cians of their time. This was doubt¬ Ho'h'A1! e.n“ke,'Mu,b‘b«“!lTh‘o”7 cE'sh'SchmiU. of mi nnio£iVttew. disappeared entirely. I am to-day Per' second fiddle to Mrs. Jones.—St. Louis the Old, Old Story.”—Puck. Raff; Danse Macabre (2 pianos), Saint-Saens! less due to the fact that, in addition to fectly well, can eat anything and every¬ “That’s a peculiar way of massaging Republican. r° *Lk Puvils of Ida Furman-Mvlliner. thing I wish, without paying the the nose,” remarked the man in the possessing those qualities of musician- 8t^amenSm1u-i??to0It"'1>n''!t<‘in ; Mountain “In some way, George, papa found out ship which appeal to the composer and Phan^ i^ 71,1 ^Concert. Bartlett; penalty mat 1 used to. wc»- chair. “Some New York method?” that you are a composer,” said the fair “Now remember, Mary,” her teacher the highly educated musician, he had T.eschetizkv; Return efS'stv-togn ’Afoetnn>arkti keep house without Grape-Nuts. “That? Oh, no. I was just practic- girl to the youth with uncut hair. said just before the school exercises, “if a most beautiful quality of tone, and Leyba?h°- : J?”st PantnMa (« M».'l “My husband was so delighted with wg the fingering of the Second Hun¬ “That’s where your papa has the ad¬ r-—■ '• you forget some of the words when you also the peculiar faculty of producing nade Badine. GabrlH'jfarie'^ SchSr^n the benefits I received that he has bee garian Rhapsody.”—Puck. vantage of the critics,” said the young arc singing your song, don’t stop. Keep powerful and splendid tonal effects Bugbee- QuinviS'1sipsiMakP Relieve Wed^fSg! recommending Grape-Nuts to his ens- man a little bitterly. Bugbee , Qul Vive Galop. Ganz; Alpine Hu?! tomers and has built up a very large right on. Say turn, turn, tummy-tum, or without any suggestion of “banging.” We are sorry to announce that we ,b,:nu trade on the food. He sells them W something like that, and the words will When Scharwenka came to New shall have to withdraw our offer of a A teacher had toVJ a class of juvenile the many of the leading come back to you, and nobody will know York to found a branch of his conser¬ Las Chass Cbeval (4 hds.). Adrian i ■ piano as a premium to new subscribers, pupils that Beethoven, the composer, was Fmith : ” ' of the county, who rtcom- the difference. Now don’t forget.” On ex¬ vatory he had little idea that he would Kragmann "'Valse °B?maent^eCe' :,Bnr<'arolle. physic- u5 ui me county, but the fact is, our wife fell in love deaf. The next day she asked if any of remain in this country for seven years. Chaise nui Gazcii® " 4 hds) °riw^?kl i-, a mend Grape-Xuts very generally. There hibition day little Mary (what’s in a with the piano and got a music man to them could remember what Beethoven’s During this time he made several e Dormitories a hds1* 'nKucherime'stpi-arti^,e'come March8(4 is some satisfaction in using a really name?) edified her audience with some¬ a our dormitory catalog In teach her to play, and now she says that thing like this: “She wore a wreath of great affliction was. “Yes’m,” replied one tours, and in the West he found, much Second Waltz. Godard: B0utt?rflittOI a vafioh : sclent,fw»llv prepared food.” she wants it herself. But the wash- roses around her tummy-tum-tum little fellow, “he was a composer.” to his surprise, that his reputation was Address J. H. KEELER manager ysnui “ petlte num'o0,.1 Read t'-e little book, “The Road » bcard and clothes-wringer premiums tionai Song, 'ories- 'll rook pit l Na- Wellville.” in pkgs. “There’s a Reason Music. already made for him. A pupil of his COMBS BROAD ST. CONSERVATORY OF MUSIC still go, as our good lady says she Sapleigh—Queer fellahs, these singers. brother, Phillip Scharwenka, had as¬ ttlX B'£ W™6 Ever read the above letter? A new doesn’t want either of them.—Billville There’s the one, for instance, who warbles :l S. RROAD STREET, PHILADELPII MDCXX. ^MacDoweli6; A B ™ ^om time to time. » sumed his name and had been touring “What have you done with your talk¬ about “an aching void.” Now, how can quite extensively as tbe composer of ful1 ing-machine?” there be an aching void? Please mention THE ETUDE when addressing c gu—^ of hufflan the famous Polish Dance. Not every¬ . Gne day, when a great violinist was “My wife got jealous of its ability and Miss Blunt—Have you never had a one has the good fortune to have a >n Paris, he jumped into a cab and made me get rid of it .’’—Judge. headache, Mr. Sapleigh? reputation ready-made. 496 Elements of Music =s§#tI®bs WESTERN CONSERVATORY STEINWAY HALL, CHICAGO •5th. § IM. SCHOOL OF MUSIC ». w. Mo. MR. D. A. CLIPPINGER School of Artistic Singing Washington College of Music MUSIC and DRAMATIC ART MARY WOOD CHASE SCHOOLS AND TEACHERS Advertise Your FaU Sessions in THE ETUDE The Oldest School of s rla* tg ss&gssLr “ DANA’S MUSICAL INSTITUTE WARREN, OHIO 6**“*ss PATRONAGE from all sections of the c WILLIAM H. DANA, R.A.M., THE ETUDE 499 Summer Schools Testimonials Summer Schools BUSH TEMPLE CONSERVATORY WALTER SPRY ft / r SIX WttKa uuutot PIANO SCHOOL $05 for teachers nilWWING SYSTEM OF IMPROVED avTrNoVor MU s7c BOUT Al PIANO, VOICE, VIOLIN, ELOCUTION, ETC. Fine Arts Building, Chicago MUSIC STUDY FOR SUMMER. NORMALDRMAL fferea than „y anr other ^ gHBBSi took* for it ^wa^an understood fact Sxx^Sr=“s'r”K£: MO-HEART TALK WITH T pected to contribute to th af. - — fSSSP JSp be''up todhe notch." The Columbia School of Music Mr.andMrs.Crosby Adams THE BACHELLER SUMMER SCHOOL SUMMER CLASSES SUMMER NORMAL SESSION f booklets . SB. 1 Chautauqua Lake, New York the composers’ names; again, a story MRS. CARRIE LOUISE DUNNING ^■«wiC^,aSr2 New York City rthen^iert1 StartoeanS old1 Come to Boston farhionednspelIing bee, in which they American Conservatory spelled each other down on musical KIMBALL HALL :::::: t CHICAGO, ILLINOIS THE SCHOOL OF MUSIC-EDUCATION We did not attempt to spell the longer Supe”ior^T^ch^’s MUSICAL POST CARDS sing for their guests with much gusto. COSMOPOLITAN The benefits derived .from the club SCHOOL B Of MUSIC ORATORY AND DRAMATIC ART «pPand “fall * down’^'before^the ^theJ Pupils. Then the self-possession that CHAUTAUQUA (N.Y.) lIMSlIPs the children gained was wonderful! INSTITUTION One little girl, who was in the habit VIRGIL of getting “rattled” when playing for MR. SHERWOOD’S Practice Clavier 22nd Summer Session JAMES H. ROGERS BEETHOVEN - TWELVE CARDS-30 wit, receive during Modern -o-—^avaUable to. VIRGIL SCHOOL OF MUSIC Five weeks’ SUMMER SESSION for piano teachers and players in h reigned among the other XaTam°teCt THE “TEK’ ‘bat . the children < STANDARD COMPOSITIONS FOR THE PIANO we 34A32S&. VoL IV—FourUi^Grade ™ VH-Se™* Grade Sf&SSft Finest and best practice instrument Se^tS^ _~3BE: ShCAN STUDIOS^"-0" Zn!l7cZ VIRGIL CONSERVATORY -"E“i i 27th to July 30th.. THE ETUDE PRACTICAL, COMPREHENSIVE William H. Sherwood’s ECONOMY, PROMPTNESS Theodore Presser HELPFUL PUBLICATIONS SATISFACTION Music Publisher, Dealer and Importer TRY OUR LIBERAL Normal Piano Lessons IN ALL OUR DEALINGS 1712 Chestnut St, Philadelphia, Pa. ON SALE PLAN Given by Mail SUPERIOR WORKS FOR THE PIPE ORGAN To find compositions for the church service that are devotional in spirit and yet devoid cf monotony; to find instiuctive, interesting and practical teaching material, are but two of the many troubles of the organist. How adequately and economically the needs of the organist have been met can best he appreciated by A Proved Success a careful examination of the Presser catalogs, which every organist should possess. Of the varied church works and church music—suitable for services, recitals and pupils—listed in these catalogs, the following, briefly described, are representative : subject matter of the lesson is thoroughly analyzed and your mamtery of Mr. William H. Sherwood, America’s eminent artist, musician and pedagogue, following in the footsteps of the leading Universities of the country, has prepared a complete Course of Normal Piano Lessons, which BEGINNERS’ PIPE ORGAN BOOK ORGAN REPERTOIRE he gives by the University Extension Method. These lessons can be taken individual work. the quiet of your own home by utilizing the spare moments that usually Many hundreds of Etude readers during the past year anda By GEO. E. WHITING to waste, without the great expense of going away to study. The half have availed themselves of the opportumtyofstud^ng at thrown _urse is designed to meet the . needs of progressive, ambitious teachers g, homes in this advantageous manner. Many of theseteachlre The, chief object in this compilation has been to cove -teachers who are just beginning their musical careers, and teachers in leading Conservatories, Sisters teaching in parochial schools, teachere ___ _e taken up after c le ground as widely and thoroughly as possible, incoi who are anxious to brush up and adopt the very latest methods of teaching. who have been in the profession for many years as well as young teachers pianoforte. The exercises progre porating1 many——iginal novelties pieces as well a just beginning, teachers of public school music, teachers in large cities as through the keys, tending from the very Deginmng 10 some standard compositi ’-■*•“—ascriptions " Jtny Music Teacher completing this course of Lessons will be develop the true organ style. Pedaling is treated in a to be found in other colli_ composers of all schools fitted to train his pupils musically, artistically, intellectually and phys¬ well as those in the smaller communities. clear and exhaustive manner. There are no dry exer¬ being represented. Many of arrangements have been cises or studies such as are to be found in many ele¬ lade especially for this work. Every number „ 0„... ically by the same principles and exercises that Mr. Sherwood uses in his The expressions of praise and wonder of the Greatest Musicians; mentary organ works. Genuine musicianship is de¬ -*- forty pieces, including numbers suited own practice and private teaching. As a ionsequence, the teacher will the Musical Press, the Leading Educational Institutions, as well as the veloped from the very beginning and a foundation is church,"l”’—», ->*-recital,■ <-- and teaching. be able to enlarge his classes and receive more money for his lessons. Teachers who are taking the Course, attest the great success with which laid for practical church playing. The book is handsomely_ —iving, print- All necessary instructions are given in a plain and ing, paper and binding beii.= f the„„„ very best. Jt weekly examination is given upon each lesson, in which the the Lessons are meeting. concise manner, and if necessary, the book mav be used organ student, player and teacher should to good advantage for self-instruction. Price $1.50. markable musical activity, devoted to the best interests of American Great Artists Approve music, and American musicians.” PADEREWSKI says that these lessons “constitute one of the most The Musician says: “Mr. Sherwood has been laying before Amer¬ THE ORGAN 24 PROGRESSIVE STUDIES GRADED MATERIALS FOR THE ORGAN PLAYER important additions to the pedagogical literature on pianoforte playing ican students and teachers his ideas in modern principles of Piano playing FOR PIPE ORGAN PIPE ORGAN published in years.” By JOHN STAINER Compiled by PRESTON WARE OREM EMIL SA UER, of the Dresden Conservatory, says that the lessons in the form of printed, illustrated lessons. Class opportunities are The fundamental principles of or¬ By GEORGE E. WHITING By JAMES H. ROGERS limited to the few, but everyone can avail himself of these lessons. It This work presents, in a comp.- are “as new and original as they are of great merit and important value, ” gan playing have been lucidly and This work is intended to follow For both church and recital use should encourage our young musicians to make the best of home oppor¬ thoroughly explained in this work— hensive manner, the fundamental this compilation offers material un¬ and that they will constitute “a most remarkable and useful Vademe- Stainer’s Organ Primer or Rogers* technics of modern organ playing. usually good. The character of the cum,”—or boon companion—to every teacher. tunities before going abroad.” by the test of time and usage recog¬ Graded Materials, for it carries out At first, specific technical problems nized as the true foundation of mod¬ logically the principles so ably es¬ are treated abstractly, and finally pieces is such as appeals strongly to HERMAN P. CHELIUS, of the Boston Conservatory of Music, says: The Musical Courier says: “Mr. Sherwood is a living exponent of American tastes, and if they are used the patriotic idea that Americans can do just as well in music, as Euro¬ ern organ playing. Written in four tablished in these works. It aims to are combined practically in short ■- “Each subject is so lucidly given and each thought so vividly expressed parts, profusely illustrated, giving a ’sad the pupil from the elementary teresting movements, as a test for service purposes the organist can that after a few of the lessons are carefully studied, the student is made peans, and that the notion that it is necesssary to go to Europe to study short historical sketch of the organ o the advanced by steps at once pro¬ the player’s progress. Separ__. rest assured that his flaying is being to feel as if Mr. Sherwood were really present.” is false. Mr. Sherwood stands for the highest principles in music, not and a brief explanation of organ gressive and sure. Brief explana¬ chapters treating of hymn playing noticed and appreciated. The pieces, merely for the chosen few, but for the many; and the new work that he construction, of stops, their character tions as to the care of the organ, and of registration supply an abun¬ ranging from the simple to the mod¬ Musical Press Commends dance of helpful information, and tl is doing in putting his principles of Piano study into the form of corres¬ and manipulation, supplying an e interior construction, the action. material throughout has been si erately difficult, are adaptable to Musical America says: “Mr. Sherwood is perhaps the first musical pondence lessons with questions and answers, is opening up to the music abundance of practical material for — o stops and their combination, the lected from authoritative source either two- or three-manual organs. pedal, manual, and both combined, organ touch and fingering are given, Of its kind, this volume is unque; In extension, character and attract¬ authority to adapt the University Extension Method to the teaching of teachers of the country, opportunities for getting Normal instruction and the work concludes with twenty- the Piano. In preparing the course of lessons, simplicity and clearness this treatise answers every require¬ tionably the best yet published. The iveness these pieces make up a vol¬ from a real musical pedagogue such as they have never had before. ” ment of the organ pupil. Price four ingenious studies carefully typography and binding are of **-- ume superior to any collection now have been the watchwords. His principles taught in the text are illus¬ edited and annotated. Price $1.25. test. Price but $1.00. trated by photographs of Mr. Sherwood at the Piano, showing the cor¬ Public Libraries Seek Them rect position of the hands, arms, wrist, and fingers. The pupil is brought These lessons are coming to be recognized as of such great moment into close personal relation with his teacher by means of weekly examin¬ to musical people generally, that the great public libraries of America, ations. This work of Mr. Sherwood’s is thoroughly in line with the such as the Carnegie Library of Pittsburg, and the Public Library of San trend of his whole career, and constitutes a fitting climax to a life of re¬ Francisco, are seeking set3 of lessons foruse in their reference departments. REED ORGAN METHODS AND COLLECTIONS Miss Garnett Taylor. In presenting these unexcelled Reed Organ collections we again give evidence of our extensive stock and varied catalog—a stock prepared to supply The Teachers Themselves Speak every possible need of the music buyer. Our list of publications as regards character, variety and usefulness is the most complete issued in this country. Totally Ilian Dlllabaugli, of Fresno, Cal. ^tKe CtrM?thre€ overlooked by other publishers, these Reed Organ collections should remind you that it pays to rely entirely on the Presser catalogs and the Presser Music House. During , The following collections, accepted by competent critics as the best ever published, are worthy of your best consideration. ing this difficulty.**’ Miss Mabel E. Pentecost, of Freedom. Main --1---- MS --— peered to discover my needs and gig thaP?“aeS Vdry mu"y h.cllp*i ln •«•<*<“» organ, meets adequately the pressing REED ORGAN METHOD 100 VOLUNTARIES PRE¬ demand for a collection of miscella¬ CLASSIC AND MODERN GEMS -, ----s- twenty-fivesaa b\s&h7 lectures to my pupils, on subjects rection,mm?; and they sm"just let me p By CHARLES W. LANDON LUDES AND INTERLUDES neous pieces that will relieve the •n Conservatory of Minneapolis, but I consider brought out in these lessons, during a five weeks phrasing was done with no freed monotony of technical studies and „ cin™i.uyPrs Method In Harmony so very summer school. I consider that 1 was very sue-anything of that kind. I had beer ,£{p®,hrev*,,ort’ U Space will not permit enumerating By C. H. RINCK add a variety conducive to better m taking It up as a study, and I can cessful in presenting these modern, up-to-date trol the fingers in finger exercises < the many valuable features covered The Voluntaries, Preludes and In¬ efforts. For pupils in the second All records for the publication of i mm end th. course ot Judy to any W’wSM M >>9™■>» U in this Reed Organ primer. In brief, terludes of this great master repre¬ grade. Price 50c. attractive, interesting and instructive pleased and benefited. Please send my diploma _____ ...... ’ ifv P'alnod and very easily understood.** it tells: How to develop refined taste. sent all that is highest and noble In organ collections were broken when _ Miss Gladvs Hlerly. of St***""1® organ music, and the playing of this exceptional volume was compiled 01 CulTCr’ ^ u *p»i immediately." "IUl *°° much legato nmb., . How to master technical difficulties. these compositions will arouse an ap¬ and issued. The advanced player, no Sc. Ia m takins this' coufs<» so' ttatTmay Bister Mary of Jraus. of Our Ladles’ Academy, thinalscInM to° have n^nnJd.^s<-nding ° How to acquire the organ touch. preciation of the organ’s capabilities PARLOR ORGAN METHOD matter how fastidious his taste, will How to phrase. How to produce and will awaken a thorough concep¬ By JAMES M. DEEMS find here fifty-eight masterpieces, beautiful effects with organ stops. tion of scholarly interpretation. How to finger correctly. The pieces This work, founded on an original every one scintillating with viva¬ Adapted for either Reed or Pipe or¬ plan, is designed to produce rapid cious musical goodness. Beethoven, and studies throughout, progress¬ gan. Price 50c. readers, good timists, and skilled Mendelssohn, Handel, Mozart, Rubin¬ ively arranged, are of sterling musi¬ players. The copious exercises and stein and thirty ot-her noted com¬ cal quality. Helpful information attractive pieces, culled from the posers are represented. No regrets guiding the pupil along the path •writings of the great masters, give that leads to skilled performance THE FIRST YEAR will follow the buying of this collec¬ Piano or Organ special attention to the development tion at but $1.00—less than 2 cents and sound musicianship—a veritable of the left hahd and aim to cultivate for each piece. triumph of music publishing at the By EUGENE THAYER, Mos. Doc. technical mastership. The book small price of $1.50. To teach the rudiments in the meets every requirement for self-in- - shortest possible time is tile ambition struction. Price $1.25. of every teacher. By including only LAUS ORGANI the essentials and omitting the non- MUSICAL PICTURES essentials, Dr. Thayer has produced Three Volume, of Reed Organ Musi; — m«pumiana composition Lessons Thocomplete n a work as near the desired ideal as JUVENILE DUET PLAYERS’ in Harmony, Counterpoint, ThoronsM*. • i S Course include human ingenuity and expert ability COLLECTION An unparalleled collection of reed organ music of high class (Grades tion. Form, Orchestration, etc., by AdoTnhblif«e^lIlaiyS'S’ C,anon* Fl>?ue, Coi can devise. Price $1.00. For. Organ or Piano volume are such as combine real II1-IV) and composed by the best MR. WALTER DAMROSCTI f °settbe<*“ Daniel Brother*,, Ranging between grades two and writer of Europe and America. The musical excellence with melodic in¬ three, these attractive, melodious ->hat much sound knowledge So°ffm,«?eleSSmSt.5n.Harmony that lu terest and charm. These short re¬ pieces are alike suitable for exhibi¬ freshing pieces, which cater to the LITTLE HOME PLAYER and instructive duets are ideal en¬ tion as well as being useful for in¬ ---“4 Harmony l^g Ca^*gaL'*'J‘ilLllelr purpose in every part Pupil s sense of entertainment and Piano or Organ semble pieces ^for the young player. struction purposes. In view of the Containing twenty-nine interesting any fallacy in his conception of time and7s;Wl™a?Th|rfaS^\?mt.rraapfeen- pieces by composers who know how and rhythm, thus assisting the itude of material for “exhibition to present the melodiously attractive teacher to choose material best recommend these volumes Playing. Suitable for both piano combined with the instructive, this adapted to the pupil’s indi^dual players. The pieces are both i WE GRANT DIPLOM and organ. Price 50c. volume, suitable for both piano and need. A splendid volume at Bile. tractive and new. Price $1.25 each. Music, to be appreciated, must be heard. Musical studies, to be estimated, must be examined Why not send for these collections, our catalogs and become convinced that we can best serve your interest? Our ON SALE plan makes it easy for you to examine any of our publications at your leisure and without cost or trouble. Our catalogs are yours for the asking. Acquaint yourself with our unequaled facilities for serving you promptly, satisfactorily and at the least possible cost. If you have never examined any of our publications, especially our newest issues or our catalog,, do so now. Simply express youF desire or need on a postal-write your name and address plainly-and mail it to-day. Well attend to the rest conscientiously and cheerfully. y I VERS & POND A Rich Rftri-Brown Color PIANOS That is one of the distinguishing characteristics of Advanced Models. BAKER’S Our latest styles embody new features which place them, from Breakfast Cocoa both a musical and structural point of view, in advance of made from beans of the best others. The case designs are quality scientifically blended strikingly attractive and up-to- date to the last second. Our When the cocoa powder is so dark as to new catalogue containing half¬ appear almost black it is a sure sign that it tone illustrations of our new has been artificially colored, or that it was styles of Uprights and Grands made from imperfectly cleansed beans of a sent free poor quality. upon re¬ The genuine Baker product is ground to quest. an extraordinary fineness so that the particles remain in even suspension and form a smooth Ivers & Pond Pianos paste- the only legitimate way of treating it are sold by reliable piano houses throughout without changing the natural color or impair¬ the United States, but if we have no dealer near you, we can supply you direct from our ing the nutritive qualities extensive Boston store. Any piano you order will be personally selected and shipped under A handsomely illustrated recipe booklet for guarantee of entire satisfaction. Attractive. laking candies, cakes, drinks, etc., sent free by JgJk tii'niSt plan‘d systems of periodical payments. Write us Registered TJ. S. Pat. Office boMT.g. 1 " to-day. IVERS & POND PIANO COMPANY, WALTER BAKER & CO. Ltd. Established 1780 DORCHESTER, MASS. 141 Boylston Street, Boston. SUCCESSFUL WORKS FOR TEACHERS Sent Upon Examination, Profitable to Peruse with a View to Present or for Future Use as Text-Books A COMPLETE SELECTED “CZERNY” STUDIES HISTORY OF MUSIC By W. J. BALTZELL Contributed Chapters by Dr. H. A. Clarke, University of Pennsylvania; Mr. EawiSa°nnd Mn;: llllllliis TECHNIC AND ART OF A COMPLETE MODERN COURSE IN HARMONY AND COUNTERPOINT A System of Teaching HARMONY . . By HD- rote wh^ch the inleresli"B ,nd 6p- ” • g D counts. Easy m ^“Bo'ksfno .’vialtL'r Where o^byWhomPublisildy,h,nfl ln ,he 11111 »l Music THEO. PRESSER CO., »««RS. 1712 Chestnut sCpHILADELPHI A, PA k have been established 60 YEARS „„ take' ofd'iMtrun^rusrhteexcha^etaandSdeliverWtheHnew°ni PIANOS home tree ot expense. Write to! Catalo^en, , P'a',° m >'our vose vose & SONS PIANO CO., Boston Mass ogue D and exP,anatlons