Gardner-Webb University Digital Commons @ Gardner-Webb University

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

5-1-1911 Volume 29, Number 05 (May 1911) James Francis Cooke

Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons

Recommended Citation Cooke, James Francis. "Volume 29, Number 05 (May 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/569

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected].

289 TH E ETUDE

UP-TO-DATE PREMIUMS _OF STANDARD QUALITY_

ETUDE readers may safely order these premiums. Every article we offer is of the b A MONTHLY JOURNAL FOR THE MUSICIAN, THE and we guarantee them to give absolute satisfaction. THEODORE PRESSER C Sacred Duets MUSIC STUDENT, AND ALL MUSIC LOVERS. For All Voices and General Use Edited by JAMES FRANCIS COOKE Price,*1 75/d Cent* , e ...-St collections of saciwa lonlea, 9 Shilling,;sways In France, TINDALE MUSIC CABINET omblnatlons “re rel> c»,*2.ao per year. ilumo. l no um id • 3SS "VSlnVl su'd i>y Amcrlcen compM*™. ind latest VOluuic «»■ Liberal premiums„„ „„„and cash deductions_ allowed for The Right Way to Keep Music series of anthem col- e anheceintinne lr.?£hiL uuftt-d to all occn- c'%: obtaining subscriptions. These cabinets embrace two special features.es. (1) The music is subdivisubdivided and held ii ,„„i. aii inciodloua. urtlatlc and beaunfully REMITTANCES should be ma,de by post-office or express small compartments. Not more than twenty pieces are kept in each drawer. (2) The mus registered laruumlzed. It will money orders, bank check ;s kept under a complete filing system that orderly and yet simple—each piece bears tl ’. .Henselt a 75 __ _re always '■ O'"1 important ^ becn^esjjecUllj Money sent in letters is dan- number of the drawer in which it is kept. 1 not responsible for Its safe ived and ahoi All exposed surfaces are genuine quartered oak in the dark (Old English) finish. Each Richard Wagner i u-tiirh means, by — --- The Young Virtuoso cabinet is guaranteed by the manufacturers against any defect in material or workmanship. Instead of four, space l» »' STYLE B STYLE E HIS LIFE AND WORKS ™ffffi ofDanthems Height, 40 inches; width, 17K inches. Height, 40 inches; width, inches. lAEXffSASSsr Capacity, 200 pieces of sheet music. Eight Capacity, 600 pieces of sheet music. Twenty- Price, $1.50 I eluded. drawers, including one having extra depth for one drawers, including four having extra A complete life of the went mod. Price, 75 Cents collections, albums etc. depth for collections, albums, etc. --..... • of the next issue sent . Stands on handsome base made to match See illustration, ss:-ss;i«Ikk A large, handsome volume of Jggp will be printed the date on which yi cabinet. Given free for 27 subscriptions. containing 32need Players, covering subscription is paid up, which serves a Given free for 18 subscriptions. receipt for your subscription. Pronouncing Dictionary MANUSCRIPTS.—All manuscripts intended for publica¬ Add 25 cents for each Canadian subscription. tion should be addressed to THE ETUDE, 1712 uernu*.1 Vaise' dcs Sylphes, / Chestnut Street, and should be written c of Musical Terms of the sheet only. Contributions on topics ■con- By H. N. REDMAN •De Mi»o“n‘73';i;ond0' in-c. nected with music-teaching and music-study — srsaf^aSs'^',^ solicited. Those that are not available will be re- Dutch Alarm Clock ss2s»!t»j«» asrsistfKj* tU,' Bellsario, Fantasy, The Quaker and the ADVERTISING RATES will be sent on application. A New Premium That You’ll Like srsjssB£S^*us&*“ Forms close on 10th of each month for the suc¬ Highwayman of merit. ceeding month’s issue. Case is of solid Oak, well made and finished, with THEODORE PRESSER CO.,^ ^ ^ ^ ^ ) ^ 3-ply built up quartered-oak front. The movement is Cantata for Women’s Voices reliable in every way and entirely enclosed in a metal Story Time and Flay Tinje t Philadelphia P. O. as case, which projects through the front. Has black 12 Juvenile Pieces for the Pianoforte figures on ivory-white dial with small brass center piece. By NEWTON SWIFT Back is entirely covered. A really ATTRACTIVE alarm Master Rules for success Price, 75 Cents clock. TOlume of teaching pieces^ _ GIVEN FOR 3 YEARLY SUBSCRIPTIONS ful Piano Practice aiuviiv.. composer Jl., descriptive . CONTENTS Price, 15 Cents “THE ETUDE”—May, 1911. onal three n K"dwf“pLPd?heWind- “I" Far Japan •’ “la ,, Kamarinskaja. Sent by express, collect. (Charge* nof prepaid) Editorial . Musical Europe.Arthur Elson Bright Ideas . left Hand Recreation Common ‘ Sense in Vocal Study. LIMi Lehmann HARDY ROSE PLANTS The German Masters.H. T. Finch This collection of five Rose plants has been carefully selected from the stock of one of the largest growers Album le United States. The plants are all strong and healthy, and will live, grow and bloom if properly treated. nost Important rules tor emu Giving Lessons In the Country.®. P. Hiland. Gruss an Teplitz (a Dark Rich Crimson Rose). FOR THE PIANOFORTE practice. Mrs. Bloomfleld-Zelstei _ . Lambert |1 Der Freischlitz . White Hermosa (Pale Lemon Yellow passing to Creamy White). Price. 50 Cents The German Folk Song.Gustav Mahler Duchess de Brabant (a clear Pink). Teaching Pieces Lucullus (Rich Crimson). German Music of To-day.A. von Fielitz Madame C. P. Strasheim (fine Sulphur Yellow changing to Orange and Buff). By EDWARD BAXTER PERRY First Finger Exercises.E. M. Bowman Entire five plants given for sending us 2 yearly subscriptions to ETUDE or free with one yearly subscription at Ji-7 Price, $1.50 Things Learned In Germany.Amy Fay [ 'Sure*’A'^mnbe/of^the1 pieces Musical Games and Puzzles Kithe. up. Gallery of Musical Celebrities. ) li ft hitml alone. The pieceB are t Triomphale ■•■••••. By DANIEL BLOOMFIELD Lack, Op. 99. Napoli tana .. ••• German Music Schools. I,ls/.t, Op. 19. Grand Galop Price, 75 Cents. Chromatique .... Burmeistei Teaching and Health.W. Burry OH, FOR A CAMERA -—t, Hungarian Rhapsody N;> Memorizing.E. J. Warren •» IL iii, I dr^e°hJS.e,Ihd.pPUU£Keo“ Music Study in Germany, M. Mei/er-Olbersleben. PREMO JUNIORS w Important mcrieri BS3?5 Convention of Musical Clubs. Music Teaching rnui Observations on Piano' Practice, Dr. Otto Neitzcl Studies m Florid Song |^&kes M Disp^i Business Manual for Music | Study Notes on Etdde Music...P. W. Orem Vital Tests in Finishing a Piece. ce. $1.00 Teachers' Round Table.AT. J. Corey In Important addition to the famous sorios,J" eeh-l Dni’nfp in MtlOir Teachers Voice Department ... i-* sinirinir ” It is a col ectlon Of non Points in Music No. 1 makes 2&X3& pictures and is given for sending four Etude sub¬ >!l from the worW« of the great mantel i. C. BENDER Organ Department.Clifford Demarest iva. Panaeron, Concone, Bordogni an By LOUIS C. ELSON Violin Department.Robert Braine scriptions. 92, Homage to No. 3 makes 3K*4& pictures and is given for sending seven Etude sub- Price, $1.50 Price, $1.00 Children's Department.. .Jo-Shipley Watson A book that tells vou the“whjrs” and “wherefores’ rasiness side of music teaching i it in ’ E flat. Publishers’ Notes . .. PREMOETTE, FOLDING CAMERA, makes 2^x3# pictures (Dimen¬ )*t distinguished Gobb’aerts . World of Music. sions, Ij$x3(kx4}4), given for sending nine subscriptions. A marvel Tone Stories !>f American musical critics and edi t. Sonata In D.. • of compactness, makes excellent pictures and of most attractive appear- For Boys and Girls to Play and Sing m.kl, Op. 15, Serenata. Testimonials . PREMO JUNIOR Questions and Answers.L. C. Elson By DANIEL ROWE ncclttmwledge.81 It SflV^aU^toknow' at is right. FREE SAMPLES TO HELP Unie«fl you are absolutely sure that yo r technical tf Turkish' Marcli.' Bur- Recital Programs . Price, 50 Cents Wit and Humor. „„„ ..t vocal or Instrumental pieces, engraved ' ir special large-e “ SBK“* K dwltlivervvonea^.mx pupils, or in MUSIC. STYLISH PARASOLS , All them No Surrender.1 . Morrison 313 7 William Teil," Over- FOUR DISTINCT ADVANCE STYLES 2 05 Marionettes’ Wedding March., IN PRESS St.-Saline, Op. 85, Variations Crown of Triumph (4 Hands).F. P. Atherton No. !. All silk taffeta, on paragon frame, Mission style handle, nice tassel. Number one ■ on a Theme of Beethoven. . Moonlit W T. W. is furnished in the following colors : Hunters, navy, cardinal, pink, light blue and white. FOR SALE AT LOW ADVANCE PRICES I St.-SaOns, Op. 40. Danse Ma- We will give you one of these beautiful parasols for sending a club of five yearly subscriptions BIOGRAPHICAL LETTERS TO CHIL-lt 1 eabre . a 1>u Between Friends. H. Enaelmann 1 NEW (IKAI>US AD ... DinDREN FROM GREAT MASTERS. Ale- The Trout. .A. Notch to THE ETUDE. The article we offer is first-class in every respect. SHORT ANTHEMS Selinhert. Op. 27, No. 1. Marche Herolque .Gobbnerts Amltie Waltz. ..J. B. Denys No. 2. Is an all Shantung silk parasol on 8-rib, white paragon frame, with Mission style REYER°S PIANO INSTRUCTOR. „ < Schubert, Op. 27, No. 2. Marche With Song and Jest. handle and silk tassel. It is furnished in the one color only—the natural world famous Shantung CHARACTERISTIC STUDIES FOR THE l __E. M. Bowmann. Herolque .HorvAth 1 25 . I. V. Flagler Schubert, Op. 51, No. 1, Marche Fading Day. ■ • . C. IV. Kern color. We will give you one for five yearly subscriptions to THE ETUDE. The same parasol Mllitalre . Grande Polonaise. A. de Kontshl retails for $2.50 or $3.00. r®lfsIa^PWUppLKTE SCH°0L NEW^FOUR-HAND ALBUM FOR THE I; No. 3. Tan Silkette Top Parasol with colored hemstitched bo.der of rich Ottoman. Handle MUSICAL PICTURE BOOK. Octavia Hud-1 PIANOFORTE. I Lullaby. C. S. Mallard I Send for Lists of Mutic for Laughing Blossoms. .Luis G. Jorda of Mission style with silk tassel. Border may be of any of the following colors (be sure to state which “For further information about New Works In Press see Publisher’s Notes” Two Pianos, Eight Hands A Forest Legend.W. you desire) s Cardinal, hunters, royal blue or brown. One of these beautiful parasols given as a reward for sending six yearly subscriptions to THE ETUDE. One Piano, Six Hands Andante from “Kreutzer Son (Violin and Piano).®. n Beethoven 332 No. 4. Parasol of fine grade of taffeta silk, Mission handle with silk tassel. Your choice Prayer from “Der Freischiitz’ of any of the following colors: Blue, white, hunters, royal navy, Copenhagen, pink, light blue, car¬ THEODORE PRESSER CO. (Pipe Organ).0. M. von Weber dinal or tan. This parasol is given for a club of six yearly ETUDE subscriptions. ie'11 Wear a Rose in Her Hair To-night. ITheo. Presser Co., Philadelphia, Pa. I 1712 Chestnut SI., PHILA.. (Vocal)-H. W. Petrie Knew at Last 'Twas You (Vocal), SEND ALL REMITTANCES TO Louis Schmidt THEODORE PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. G Built especially for people of high R artistic discrimination who appreciate PIANOS A the difference between good and best T E. 140th St. & Robbins Ave. _ - . STR1CH & ZEIDLER NEW YORK CITY » Your correspondence solicited in THE ETUDE when ad I If t ' ETUDE 291

Musical Necessities ( ", PUBL’SHED BY WHAT IS | Do You Play “Moon Moths” 7uGEN d’ALBERT The Collection of Three Little Melodies by feSwSSqiTA^ M-5*35££s^aSSS^ TINDALE of his piano-recitals.^ Jugeriug bv Eugen d’ Albert. With ALBERT KUSSNER SELECTIONS FROM ip no YOU SHOULD HAVE 1.1a npw COMIC OPERAS ne, Kind’n & Primary $1.26 Classic Music? if Ml HESITATION,1 PrleftS ,r?is UADMAN,C.W.‘^t^n^Vi%ttei^ HESITATION. CAMPBELL, L'^rTht %Si* .75 FISCHER, 0. H•'Vor'the^anoforte,01-'8-* .00 "REGINA DEE” Song GIESBACH, A.^tland^vis^ . .75 words and Music by S. C. SMITH One conception is, that if the shanwe HOFFMAN, F.^uEmfe_stSo.nati!a . .fc piece is utterly devoid of mel¬ “The Heart of Nature,” ody, and is obscure in phrasing, S^SHE3: HOGARTH, K.eiev ' ss* pieces for it is classic, and of course is . - - 1.36 TINDALE BABIMET CO.. 28 W. Sill SU HEW W better than it sounds. KR0EGER,E.R.“eIdfng°with mus^wcornTLOO There is a deal of four- flushing along this line by in¬ dividuals with an ax to grind. ENTIRELY NEW MINETTI, C. Italian suite'for'pianotorte 1.00 THE AIRS YOD CAN’T FORGET About the emptiest, most in¬ are the ones embodied in the selections SOMETHING EHRMANN, M, sipid and least lovable thing ^1&m“‘oEO:E. SPAUEDINO’S of this book. The finest parts of 24 geo. L EHRMANN, M. that we can think of is one of favorite comic operas have been ar¬ these modern mock classics. ranged and edited by Paolo Gallico. NOTE-SPELLEK _ Melody is the first musical "rSSS&sw^-e „ H A RT & mEKS%SSg& |“n F*rlee, 75 Cents OICRFR F “ Foundation Studies,” selected light that dawns in the young A1|V "br^ 1»I1. — — . .,read and, wri 9ILDC.n,r.f[0m op. 42 and 43; tor the voice 1.00 mind and they will cling to their revolutioni COMPLETE CONTENTS first love until some professor Erminie . .Jar.obowski the notes ip music, and's SIEBER,F.Ef^“^ts’ - - -so tells them that some new musi¬ Chimes of Normandy, The.Planquette muucmmodern v.v.ncui**7elementary methods. t Djay the piano* - „ cal harem skirt is the proper SIEBER, F.“s’-°p- i13’ ‘° fo.Uow. 2.oo Beggar Student, The.MiUoccker If-r r you ...aare learningaqrnmcr to «jrSine ^ v aN y other Suitable for Shakespeare Festivals thing. La Fille de Madame Angot.Leeoeq Easy and Tuneful STANBERY,P.B.‘s‘u^tlm°i|aperbildTnt .80 Our new graded music will Boccaccio.Franz von Suppe please the teacher, delight the H. M. S. Pinafore.Arthur Sullivan MIESSNER,W.0.‘^en°.sSaa .50 pupil and comfort those whose Mikado, The .Arthur Sullivan sorry lot it sometimes is to Le Petit Due.Leeoeq ^,r.» [“Shakelakespeare’s Epitaph0 SURD0,J Orpheus in Hades.Offenbach ‘operettafor adults a youngpersonsl.OO listen. Miss to every course of musical in , Gm and kin- PART-SONG FOR S. A. T. B. SURD0,J.“f™n“f/•”!n°fret.ta .* Send ui r ad. indispensable in the modern studio, class FANNY M. HAYES THOMPSON,A ■ S.“Eb ■ ecTfrom Um bfbl’e .75 dergarten. d of the “Note-Speller” will (Composer of "The Dirge of Fidelc ) The Bright-Hayford Co. In one MONTH, student studies. ELSENHEIMER,N.J.“ArtS^cintnauthi.Do ^ PUBLISHERS OF MUSIC have leaped a YEAR aneao 1 E_goc PRICE, - - - • CENTS FflRfi F C “Song Companion lor the Choir,” Portsmouth.N. H. ' F UUU, t-O-Solos, Duets, Trios and Quartets .30 Stark IViusic Printing The H. W. Gray Co., Hew York SACRED SONGS - - -—*--r • PIKE, H. H. Pike Anthem Book - - 1.00 and Publishing Co. By Geo. W. Hayford . LONDON 3818 Lacleda Ave. One Sweetly Solemn Thought NOVELLO * CO., BRAHM, S. theevfo’i?nfirSt-b00- f°r- - .76 m. witmarkTsons GRUN E Selected^Studies for the Violin, Sweetness Out of Woe The Basis of Musical Pleasure Both for Medium Voloe and both Gems i(T»» 48 WltmarK Building, NEVV - CATALOGUES FREE To close out the present edition, preparatorv any others in edjtedand copiously annotated together ■ - Send for sample copy. Mention Etude. W. GIFFORD NASH th a short lesson in wnicu every pome t=> - - ‘ MRS. CHAS. M. HARL, Council Bluffs, Iowa. price:. ... 8i.oo “THOU ART MY ALL” ^ SEUB ORDERS TO (f-f). One copy, 25 cents; 2 for 40 cents. Duel 1PEachnnumberPincluded has been especially arranged for the Reed Organ with for high and low voices, one copy, 30 cents; . Lmnmr out the best possible effects of the instrument. No unadapled REUTUNG.Hs^sass.Ksasa* A. M. ROBERTS, Eilers’ Building 2 for 50 cents; 3 for 75 cents. PORTLAND, OREGON totorte or pipe uis

-- ,, ", c The Teacher’s Library A New Volume of 1 he THE QUICKEST MAIL ORDER MUSIC SUPPLY HOUSE MELODIOUS OCTAVE STUDIES VISIONS DRUID’S PRAYER By A. SARTORIO INSTRUMENTAL , „ crnj;es by a famous composer of mter- TH1S masterly set of octa*e.® ctor is a notable addition to our THEODORE PRESSED GO. The Druids Prayer national reputation as an dn ^ charming piece by itself, with Teacher s Library. Each * * problems are for students in well contrasted rhythms. Jhe h ^ ^ highest. We advise all Grade 3, and the educationa l if they desire to interest as FOR EVERYTHING IN MUSIC instrumental teachers to examine well as instruct their pupils. g TWENTY-FIVE YEARS AGO, as a sequel to the founda¬ tion of the ETUDE (then only a journal for piano teachers), the A New Cycle for Piano publishing house of Theo. Presser was founded to furnish prac¬ MOONLIGHT SKETCHES tical teaching material in conformity with the suggestions and By ESTHER GRONOW advice of the journal, 1 TO THE FIREFLY is a sparkling melodious allegretto Above numbers copyrighted by Jos. W. Stern & Co. Synopsis: movement in A flat, which darts hither and thither, one NEW PUBLICATIONS have been issued continually—ever abreast of the times— For sale by all Music Dealers or senl postpaid for 25 cenis moment gracefully flying, the next scintillating with adapted to all modern educational demands, carefully edited and annotated by the foremost brilliancy. , . , teachers of the day, and all of the most helpful character. 5. W. Stern & Co. rSSK! 102-104 W. 38th St. New York Citv 2 NOCTURNE. A swaying movement permeated with a restfulness of a quiet Summer twilight, PROMPTNESS. A stock, second to none, drawji from every quarter of the world, 3 ON THE WATER. There is a freshness and spon¬ linked with a corps of efficient and trained workers, means the correct filling of an order on the day of its receipt, whether for one piece of music or the stocking of a music store. taneity about this barcarolle which is entrancing. PUBLICATIONS THE ART OF THE PIANIST 4. TO THE STARS combines enchanting melody with ECONOMY means not only the giving of the largest discounts possible and the most S INTERESTING ANif HELPFinLW«RK FOR ^I^No'tEACHERS ANK STUDENTS iPractical—Helpful—Comprehensivej graceful rhythm. , favorable terms, but, mark you, fair retail prices as well. Our best endeavors are devoted tc 5. BERCEUSE. The left hand has a delicate rhythmic k the teacher’s interests, saving time, thought, labor, giving the greatest value for the least outlay. accompaniment to a lulling melody in duet form. ! PROMPTNESS and ECONOMY > Price of complete book, $1.00 L SATISFACTION. No doubt the greatest factor in the success of any business is the . »ale by *11 Music Dealers or the Publishers SATISFACTION WHITE-SMITH MUSIC PUBLISHING CO -- CHICAGO supply house in the 316 So. Wabash Ave. carefully planned and

INFORMATION AND CATALOGUES on any subject in music free; the On Sale plan (one of our i ideas to aid the teacher) is very liberal; our New Music Idea pleases every te; i trial. W rite to-day for

A FEW OF OUR STANDARD PUBLICATIONS

*':IS i 1.50

' ':H

ALL OF OUR PUBLICATIONS SENT ON EXAMINATION TO RESPONSIBLE. PERSONS

PIANO TUNING, REGULATING. AND RE¬ PAIRING. fischer. $2.00.

THEODORE PRESSER CO., 1712 CHESTNUT STREET, PHILADELPHIA, PA.

in THE ETUDE wl ssing our advertisers. •just published JUST PUBLISHED CONSTANTIN STERNBERG THE ETVDE SCENES FROM AN IMAGINARY BALLET MAY, 19 JI VOL. XXIX. NO. 5 By S. COLERIDGE-TAYLOR OUTING see just why a young pianist should be expected to give her services FOR THE PIANOFORTE Price $1.23 IVet Op. 102. Six pieces for young pianists: gratis for years. Who would think of asking a lawyer or a mer¬ The five numbers of which this wonderfully poetic and subtly con¬ 2. On\he Lak^00*18 5.' A Waltz on the Green Teutonic Thoroughness ceived suite is composed are full of an intimate and personal charm. It chant to donate his services or his stock without remuneration? can be truly said that the composer has never written anything more 3. A Humorous Incident 6. Marching Home Six most attractive “ playing pieces ” varying in mood but. ahke clever Just why young musicians should afford those who organize such rarely distinctive in its way than these “Scenes from an Imaginary It would seem somewhat amiss if we permitted the opportunity Ityllet," a title that exactly expresses the feeling its music conveys; a and original in concept and tuneful in development. Out to the concerts an opportunity for gaining the reputations of philanthro¬ presented by this second of our two issues devoted to the “Music suggestion of gayety and glamour gone and forgotten, an atmosphere Woods" is an exuberant Spiing melody, full of vigorous lyric optim¬ pists it is hard to tell. The real philanthropists in the case are the haunted by the sadness of romance unrealized, that colors its graceful ism- “On the Lake ” a barcarolle of tranquil aud languorous charm; A of All Germany” to pass without discussing the most character¬ dance-forms w.th a quality of tender beauty. Humorous Incident," bright and with a touch of real nmncaI fun; At musicians themselves. istic of all German traits—thoroughness. Some years ago we used Twilight,” a fine legatissimo melody with carefully studied pedal effects, All honor to that splendid group of Western women who have while “A Waltz on the Green" and “Marching Home are, respectively, to hear the word “Dutchy” applied to anything that wa,s flimsy COMPOSITIONS FOR PIANO SOLO BY melodious and brilliant examples of their familiar type. None of the six established the precedent of paying young musicians as they should and cheap. Accordingly, when we went to Germany we were are over grade 2'/2 in difficulty, and taking this fact into consideration, always have been paid. ARNE OLDBERG make ideal show-pieces. __ prepared to see “Dutchiness” on all sides. Copious doses of Stoddard, Serviss, Elmendorf and Burton Holmes had failed to Op. 26. A Legend $1.00 W. G. OWST f I. Badinage (Petite Valse) .50 remove the impression that Germany was a land of tinsel, cheap That Everlasting Practice Op. 27. Three Miniatures: - •j 2. Intermezzo - - .50 decoration and somewhat gaudy display. We do not know how 13. Carillon - - .50 WotdlW THE WHITE SHIP many Americans are now suffering under this delusion, but we do This group of compositions shows plainly that their composer (an Dante Gabriel Rossetti Melodrama $1.50 In these days we are flooded with sermons upon the necessity American musician of distinctive talent, whose brilliant new pianoforte In writing this musical recitation the composer's inspiration has prof¬ know that our first experiences in the beautiful and substantial for the teacher to keep constantly in condition to play for her sonata was played at Carnegie Hall this January by Mine. Fannie ited by the stimulus afforded by a vigorous dramatic narrative poem, (icrman streets made us realize that Broadway and other American Bloomfield-Zeisler) is gifted with both originality and refinement as a varied in incident and moving to a powerful climax. Like Longfellow’s pupils. Notwithstanding the fact that many of the best teachers in creative artist. In the three shorter numbers, Badinage, Intermezzo and streets of a similar type are far more “Dutchy” than any street we “King Robert of Sicily,” Rossetti’s ballad of “The White Ship" has the past avoided illustrating their ideas at the keyboard, and, Carillon, he has created musical miniatures of delicate charm. A Legend the dignity and nobility of style and subject, conditioned by the artistic saw in Germany. The German love for thoroughness and solidity is a dramatic tone-poem planned on broader lines, its incisive themes and musical requirements of the cantillation, and Mr. Owst has made indeed, often refused to illustrate passages, fearing that this course aeveloped with spontaneous freedom in the narrative style. While not was everywhere apparent. effective use of leading motives to accentuate the salient points of the might lead to imitation, we find that the majority of pupils of the easy from the technical standpoint, it is thoroughly pianistic and is a tragic tale whose sad, legendary beauty is unified by the tonal color of his German musical education has been dignified by a similar'thor¬ repertory number worth acquiring. present day demand that the teacher shall play, and play well. The musical background. oughness. Read Prof. Max Meyer-OIbersleben’s splendid article teachers who do not keep up their technical work are conscious of in this issue and see how carefully every point has been considered. this, no matter how unwilling they may he to admit it. ANY OF THE ABOVE WILL. BE SENT FOR EXAMINATION This foremost German educator has delved right to the bottom of We think that we know why teachers do not practice to keep things, and shows American readers some of the secrets of success up a repertory of pieces. In nine cases out of ten it is due to an upon which the great music schools of Germany have been founded. abandoned ambition? The young teacher starts out in life with the most heroic achievements in view. Alas! not everyone can be A Real Musical Philanthropy a Paderewski, a Strauss, a Melba, a Caruso or an Elman. We accept the niche to which Fate leads us with none too welcome NEW PUBLICATIONS One of the most interesting matters discussed at the recent grace. The abandoned ambition stares us in the face and we go biennial convention of the National Federation of Musical Clubs, NEW SONGS on letting it pull us down at the very moment when we should be EFFORT AND PASTIME New Compositions by recently held in Philadelphia, was the report of the Amateur Mus¬ doing our best building. BY 24 Melodious Pieces in all keys lor the Pianoforte CENA BRANSCOMBE ical Club of Chicago. This body of seven hundred earnest women But the tired teacher exclaims: “In what mood am I for prac¬ has found something with which to occupy itself vastly more im¬ CLAYTON THOMAS by SONGS ticing after teaching for eight hours each day? Why, it is about portant that the tiresome parliamentary quibbles to which so many as sensible to expect me to practice in the evenings as it would (Composer of the famous “Japanese Love Song") W. STOREY SMITH <"->• «» <• • clubs unfortunately devote their time. Neither has there been the be to ask a washerwoman to start on another wash when she came g of the Egyptian Princess Krishna. Ab (f-ab) Ebk-ebl >p. or Ten., Alto or Bar. 50 Op. 15 Dear Little lint by the «lee Fields. FI ,, , I self-aggrandizement of individuals with personal axes to grind. home from her day’s tussle with the soap and the suds, and then inmock Song (Here Within My Ham- 2 Books price >0 Cents each VIOLIN AND PIANOFORTE In fact, the delegate who gave us the following information, and expect her to rave over the delights of the thing.” TCkAUonfr'BaMP' °r Te"'’ MezZO Sop' or Op, 21, No. 1. An Old Lore Tale. “ ien I (When Cherries Grow on Apple (Schmidt's Educational Series No. 38 a-b) who has been the prime mover in the philanthropic work of the The trouble with this teacher is not what she thinks it is. She ccs). Sop. or Ten., Mezzo Sop. or Bar.. .1 Were a Little Child Again terial'fOT* P|f the Egyptian Princess. .50 J one night, as if by magic, the furniture was turned into a real -! (When cherries grow on SC HYTTE,'LUDVIG. Op 93, No. 1. S\ 1 plies and Nixies... While we have the deepest possible sympathy for those who audience in a big hall. The ambition, the dream of years had ff I Were . Little Child Again .50 i*T .TLM, NICOLAI VON. Op. 210 No "e Hammock Song. Through Field and Forest 3 5 . are suffering from unconquerable misfortunes, and who must look become a reality. The moral of this is: “Get a purpose, if only WOLFF, BERNHARD. Op 247. . upon the concerts of the Amateur Musical Club as among the an imaginary one.” Do not expect big things at first. Better hv brightest spots in a weary existence, we, nevertheless, feel that far take the advice of old Epictetus: the most important phase of the work done is that of paying the “Practice yourself, for heaven’s sake, in little young musicians themselves. The Etude has never been able to things; and thence proceed to greater.’’ 297 THE ETUDE 296 THE ETUDE ct Petersburg programs have included a Sym- Once, after certain Russian notes held in Germany ,St. Pe„fllIade by Chevillard, Ernst Boehe s tone- phonic Ballade. Erik Melartin’s symphonic had been defaulted,. Biilow was leading _P rehearsal in which Carreno played the B-mmor P1C m6’“Traumgesicht” (directed by that Finnish concerto of Tschaikowsky The weather was poem’ in oerson), and Gliere s second symphony, and the fog outside the hall grew thickeruntil compose p eard a vi0lin concerto by Conus, a increasing dimness made the conductor los Sy harmonized Dramatic Fantasie by Steinberg, Commonsense inVoiceTeachmg place and stop the orchestra. “We are Jalt!n2, , ” H fome 0f Scriabine's new piano works. lights,” he explained. “In this darkness, he^ added, tendon has heard an excellent Fantasie for string "The Russian notes have become worthless. mis nnartptte by the late composer Hurlstone. Two Prepared Especially for the last German Issues of THE ETUDE by the In tile Revue Mensuelle of the musical Society kept the audience in a good humor until matters were ooeras by the Hungarian, Emanuel Moor (“Wedding foremost Living German Soprano, R. P. Thibaut describes a classical Turkish concert. running smoothly again. Bells” and “Pompadour”) were only fair successes. It seems that private musical assemblies were for¬ Once, in the city where Biilow conducted, a rather The performance of Elgar’s organ sonata (Op. 28) bidden to the Turks by Abdul Hamid, while the weak rival organization sprang up, appearing in the makes one wish that the standard organ repertoire LILLI LEHMANN music of the streets and cafes was too strongly Concerthaus, under the baton of Herr Meyder. One could be better known in America. overlaid with tam-tams to be effective. But recently, day a note for the latter was brought to Billow by 'through the courtesy of the composer Raouf Yecta [Editor’s Note.—A short biography of Mme. Lehmann ap¬ rupted study, incessant work, fine health', a magnetic personality, mistake. “It is for Meyder, of the Concerthaus, BRIGHT IDEAS IN A NUTSHELL. Bey, the French writer was able to hear the native said the messenger. “I am a Meider (avoider) of peared in The Etude Gallery of Musical Celebrities for last month. and one may gain some idea of the attributes which a young concert in all its glory. While the music was based rsend The Etude your bright Ideas, your little dlscov- the Concerthaus myself,” replied Biilow, as he sent vonr new "wrinkles,” and let us help you pass them It should be remembered that this celebrated- singer has had singer should possess before the real work of making a career cm prescribed rhythms and melodic styles, and avoided is really commenced. the messenger away to puzzle it out. on ter hundreds of teachers and pupils who will be benefited experience in almost all the branches of her art. Commencing intervals larger than a fifth, there was still enough bv them. We cannot print all that come in. Some may as a coloratura soprano, she developed her talent under the Granted that the singer possesses the natural and acquired One may be pardoned for repeating the well- not seem to us wbat our readers need. If your idea is not variety in rhythm and mode to prevent monotony. instruction of her mother in the very shadow of the opera house. qualifications I have mentioned, one may consider the matter of known Boston anecdote of Biilow. Rice, the com¬ OTtoted do not be discouraged; send us the next one that The music, while echoing the sense of the words, comes along. There is nothing so fine as he ping one's fel¬ Her mother, in fact, rendered a service to Spohr. similar to that talent—not before. Under these conditions one may perhaps poser of “Evangeline.” could not write music, but lows and this little department, which will appear from seemed suited for delicate sentiment rather than which the' daughter was later destined to render to Richard attain success. I say “perhaps” as there is no absolute guar¬ dictated his melodies to a musical companion. time’to time, is put here for the purpose of giving you dramatic grandeur or tragedy. this altruistic opportunity. When writing to lilt Etude, Wagner—taking the leading female roles of the ‘master’s operas. antee, and with all these attributes combined one does not become Among the instruments used were the nei, a Hence his friends introduced him to the great think of the idea which has helped you most in j our teach¬ As her voice was at first purely a light soprano, her development the practical and -happy being, which, after all, is the only true “reed flute” of delicate and mysterious tone-color; ing, write it down on a separate sheet of pap :- and mark visitor as a man who had composed an opera without at the top "For the Nutshell." Insert this in your envelope from this to the dramatic roles was gradual and natural. After result of success. the violin; the oude for stronger effects; the lively knowing a note of music. “That’s nothing,” re¬ ana send it on its way. Never write more than one gaining the reputation of being the leading Wagnerian singer of Let us now consider some of the reasons why some Amer¬ hundred words. Most of the great Ideas from the day of canoun for runs and skips; drums, tefs, koudoms, plied Biilow, “I know an Italian who has written her time she made tours of all the art centers of Europe and ican singers have failed to succeed. How do American women and mazlaw for rhythmic effects. There is little Adam to this can be told in fifty words or !■ - - The many operas without knowing anything of music.” Editor.] America, meeting with invariable success. Later, she entered the begin their studies? Many commence their lessons in December harmony, though the oude may duplicate the melody He meant Verdi, whose early works were too con¬ concert field and has given innumerable highly successful recitals. or January. They take two or three half-hour lessons a week, in a lower octave. The other melodic instruments “I had great»trouble in getting my pupil- to learn ventional and simple for Germany. Her caution to American students of even attending these irregularly, and may add fiorituri, or ornamental figures of all the definitions of musical 'terms, and some of the He could be brusque on occasion. A man who voice is therefore worthy of the most ending their year’s instruction in March sorts. The actual concert consists of nine prescribed parents objected to the extra expense of buying a had once been introduced to Biilow met him on serious attention.] or, at the latest, in April. Surely music kinds of music, thus becoming a sort of long-drawn- music dictionary. Then I hit upon the plan <,f writing out suite. The Taksim comes first—a sort of open¬ the street. “Herr yon Biilow.” he said, “J’ll bet out definitions of the most used terms on little slips study under such circumstances is little ing prelude showing the general styles to be followed. you don’t remember me.” “You’ve won your bet,” of paper. These I kept between the leaves of a book From America I have received the less than farcical. The voice, above all • Next comes the Pechrev, more like an instrumental said Billow, walking on. The same directness shows with an alphabetical index. When the pupil :ame to request to give a warning to those of things, needs careful and constant at¬ overture, establishing the chief key and the permissible in his famous remark, “Tenor is not a voice, but a new term I took a slip from my book and he pupil our young and beautiful sisters of the tention. Moreover, many are lacking modulations. The Kair (lit., work) is a long movement a disease.” Even the fair sex could not soften him. was requested to hand in the slip at the next lesson new world who, without reflection, take lamentably in the right preparation. of technical brilliancy, though moderate in tempo. The Once some ladies penetrated into one of his re¬ and repeat the definition. Most of them hit . < musical up the musical career of an operatic or Some are evidently so benighted as to Murabba (four-part) is a four stanza affair, with the hearsals. “We will take the bassoon part first,” he dictionaries now.”—B. O. J. of a concert singer, only to suffer much believe that preparation is unnecessary. disappointment and chagrin when fail¬ Or do they believe that the singing same music to the first, second and fourth stanzas, said. After sixty or eighty measures of rest, “One of the worst faults I have had to tight with ure overcomes them. teacher must also provide a musical and but with a new melody for the third, called the punctuated by a few solitary grunts from the in¬ carelessly trained pupils is that of breaking in of the general education? Is there one among Meyan. The Nakisch (ornament) is an old-time strument, the intruders disappeared. fingers at the knuckle joints. What are we to do with My warnings of this kind have been frequent in the past, but I very- much them, for instance, who can enunciate piece of medium length, containing little refrains pupils who make this mistake? One pupil repeatedly fear that they will produce as little her own language faultlessly; that is, as (tererems) like the “tra-la-la,” etc., of European MUSICAL NOVELTIES. denied that her finger ‘broke in.’ When she was play¬ folk-songs. In the regular concert, the Nakisch is effect in the future in America as they the stage demands? Many fail to realize In Berlin, Alexander Ritter’s symphonic poem, ing a slow passage at my keyboard I noticed that the followed by a second Murabba. The Aghir Semai have here in Germany. When a singer that they should, first of all, be taught “Kaiser Rudolf’s Ritt zum Grabe,” shows that he sun was shining brightly upon the keys. My kodak is a slow piece, usually in 6-4 or 10-4 time. The fails to attain great success the public elocution (diction) by teachers who can can write strong and significant music himself, as was handy and I snapped the picture. ’ The following Charki are chansons of short rhythm. The Yuruk seems inclined to blame the singing show them how to pronounce vowels well as inspiring it in Strauss. Berlin has heard week I handed a print to her, and she was amazed at Semai is slow, then quick, then slow at the end. teacher, whereas it is principally the purely and beautifully, and consonants also James Simon’s tone poem “Empedocles,” for the convincing proof of her guilt. It cured her, but The final Pechrev Semai, in 10-8 time, reproduces young women themselves who are re¬ correctly and distinctly, so as to give baritone and orchestra. Other novelties at the what are we to do with the vast number of pupils the themes of the second movement, for instruments sponsible for the disappointments. words their proper sounds. How can German capital were Liadow’s genre picture. “The whom we cannot photograph ?”—R. A. S. alone, but with new figuration. A concert does not The average amateur is prone to anyone expect to sing in a foreign lan¬ Enchanted Lake,” and Wyschnegradsky’s symphonic have to represent a single composer, for the separate Very early in my teaching experience I was con¬ look upon the career of the concert guage when he has no idea of his own poem, “Die Schwarze.” The latter is a new npme movements may be drawn from different composers fronted with a fact which I have never forgotten. I singer, as well as that of the opera language—no idea how this wonderful among composers, and one that would deserve and widely different periods. The words are often used an instruction book full of little pice- - Pretty singer, as one long and continuous member, the tongue, should be used—to Louisa M. Olcott’s description of such names, “a taken from standard Oriental poets, the Persian as they were, I found that my little pupil commenced series of pastimes and amusements lead¬ say nothing of the terrible faults in sneeze and two hiccups.” Berlin has survived a Hafiz being a favorite. The lack of harmonic to toe of them. One of the pieces in the b; k of the ' ing over rosy paths to a gold mine. speaking? I endorse the study of elocu¬ Seigfried Wagner evening, including parts of effects is strange to Western ears at first, but the b°°k was pubkshed as sheet music under a different They apparently have no appreciation tion as a preparatory study for all sing¬ “Banadietrich” and the new “Schwarzschwanenreich.” Richness in melodic motives and the variety of of the importance of art, no conception ing. No one can realize how much Other new works are Max Marschalk’s interesting mind’whi, b?U|-htj -hlS piece and Prcsented it to my rhythm, key and mode soon begin to show an exotic pupil who studied it at once with great eagerness. It of the untold, difficulties. The endless simpler and how much more efficient it Serenade for orchestra and a beautiful string paths which lead to success—alas! only quartet by Gernsheim. was till r 1 fHamburg gives praise to J. B. Foerster’s symphonic and syllables they read. They imagine that one can sing intelli¬ tape (black wit'll “T5 W’th tlle same kin<1 of music pessimistic. In fact, quite the opposite is the case. I simply tuning. Once, when he was leading an opera re¬ poem, “Meine Jugend.” Schwerin applauded Fried¬ gently merely by imitating, like a parrot. Some are so insistent mend my music “"i the back 1 tllat 1 uscd t0 desire to have them look upon the matter we are discussing hearsal, the prima donna sang insecurely, taking rich Koch’s “Tageszeiten,” while Vienna enjoyed upon immediate success that they even go so far as to pay sensibly and use their own judgment in the matter. If all singers great liberties with the pitch. After an especially the symphony that Karl Weigl composed for the another year.” Js^nt. ' °W r°U kSt l°T alm°S‘ managers for the permission to appear in public long before they • took such a course much heartache would be spared. The trouble noticeable deviation, Biilow suddenly stopped the last Tonkiinstlerfest. Munich has now heard “Der are capable of producing artistic results. Real success can put to yI^trPil ^ mus‘ca*e (held at home) I was is that young singing students rush to coveted conclusions with¬ orchestra, and said to her, “Give us your A." Rosenkavalier,” and Die Musik has a parody on it never be bought in this manner, and they, alas! bring over to children. It .—'"j t0 ,Ret a novelty to ‘tickle’ the out investigating the real facts of the case. With talent, for Once he was asked for his opinion of one of entitled “Der Hosenkavalier,” in which Johann us a condition from which we turn in shame arid sorrow. on earth. Finally T *{ th°ugh 1 hasonatas poser. I offered a V?red !be Portrait of a great com- endurance which enables the student to secrets of her life-work with the same of Clementi in comparison with the last five of k Stockholm S n°r Symph°ny was g-'en to guess the most for tbe PuP'l who was able withstand the exhausting effects of study, patience and zeal that a master chemist Beethoven. “One of m mes s«ccessfully.”-S. as well as the results of the great life- would apply to the discovery of a new On an ocean steamer, he was much irritated by struggles which often surround the singer element, or the same fervor and enthusi¬ down the corner^of^^^ tbe bad habit of turning the fact that hired musicians played during the entitled “Dr. Cook,” on a libretto Shed byS making ‘dog-ears’ nt pages of her music, that is. at the very outstart of her career. Add asm which a great painter would lay upon meal hours. “How I envy them,” he said; “They to this at least five or six years of uninter- his canvas. successful nature fakir. This gives another proo * quicker than this Finim'"' N°thing sPoi,s t,K‘ music can eat their own meals without having to listen (Continue: a corner I drew’a f y ,every time she turned down on page ssA to music.” mark”6 ^ Statment that “Denmark is an Ihe hint was broad"y bt,t,e picture on the corner this annoying habit” e^0Ugb’ and she soon gave up etude Frif.nd. 299 THE ETUDE SCHUBERT AND HIS ART-SONG. audience is most chary of its praise so that the harmonies called leaning motives. In this he went far n than the achievements of Mendels- that of harmonious coloring and well disposed light words of appreciation and pleasure come to be a rare were .those of Schubert. and shade to an accurate drawing, which animates beyond Weber. Most composers since his day have benefited by his example. There are leading motives and seldom-attained delight. Wh le he did not actually originate the art-song, he the figures without altering their outlines.” wa, the first of the great masters who was as By advancing these views and proving their now in nearly all operas, from Carmen to Salome, FIGHTING FOR BETTER MUSIC. w,l ing to put his best thoughts into a short song worth in his operas, Gluck did a deed which had a Tosco and Natoma. This is the school in which the would-be teacher Still greater has the Wagnerian influence been in the mo an opera, sonata, or symphony; and by set- vast influence on the future of opera in all countries. must learn courage, must learn persistence, tact and as 1, • example he exerted a tremendous Italy, to be sure, remained unregenerate. Rossini matter of creating new means of orchestral coloring energy. From rag-time it may be possible, at first, to. rum, Jensen. Brahe,,. and Donizetti paid little heed to Gluck’s ideals; three and dramatic expression in general. By completing turn their attention to nothing more spectacular than ffVSS* the orchestral families or groups and subdividing the £jg, Bis* Rubins,ein, T.ctaiko.sky, Dvorak, Mac- other men, Germans all, had to come before Verci "Silvery Waves” or “The Maiden’s Prayer.” Renum¬ could write his Aida and Othello. These three men instruments in each group, Wagner secured mew and ber your audiences must be educated, fairly against The Influence of Germany’s Greatest Masters on the Dowell and others. ravishing effects which composers the world over Most musical terms in international use are Ital.an; were Weber, Meyerbeer and Wagner. their will, to some degree of appreciation of good, hastened to copy; and the dramatic vigor and ap¬ u t lied is a German word which has been adopted music; so that, at first, the quickly caught melodies and propriateness of his themes was also a stimulus to the Musical Art of the World in all other • countries, for it is as I.iszt wrote, WEBER AND ROMANTIC OPERA. tinkling arpeggios are most easily grasped and under¬ imitators. Many of Wagner’s harmonic progressions stood by them. Then gradually, very gradually, can By HENRY T. FINCK “poetically and musically a product peculiar to the When Weber’s Freischuts was first performed in and modulations were as new as his orchestral colors, Berlin, the poet Tieck declared that it was “the most come the waltzes, the mazurkas, the Polish dances'—j Schumann, on his part, was one of the most cordial Germanic muse.” the ked 'bc’ and how they influenced composers everywhere we all (This article, although separate and distinct in itself, ti music. He not only made it unmusical noise that ever raged on a stage.” He re¬ vivid, dashing pieces, all with a “catchy” melody and. admirers of Mendelssohn—too cordial, in fact, for, came a world power know. is the sequel of an article by Mr. Finck which appeared so beautiful in melody, so ravishing in harmony ferred to the gruesome music which Weber had swing. By this time, perhaps, after you have given in the first of the “Music of All Germany” issues last as Hans von Biilow pointed out, Schumann, in the Take France, for instance; composers as far apart and modulation that all the world listened to it and written to match the scene in the Wolf’s Glen, the them the easier Chopin, you will find them not so fully month.) latter part of his career, committed musical sucide in style as Massenet and Saint-Saens came under the tried to imitate, but he practically exhausted all the deep mountain gorge, with its owls and other ghostly satisfied by the rag-time efforts of your competitor, MENDELSSOHN AND HIS SCHOOL. because of the too great influence exerted on him Wagnerian spell. Nor has even Debussy escaped it, al¬ not so cool in reception of yourself. It will have possible varieties of the art song. birds, its eclipsed moon, its hurricane, its circle of Imitation is the sincerest form of flattery, and by Mendelssohn. In his earlier works he gave rein though he has put “Emancipation from Wagner” as one taken years, possibly three, possibly five, possibly seven Liszt called attention to the important fact that human skulls within which Caspar casts the enchanted perhaps no composer has been more frequently to his own romantic impulses in regard to freedom of the mottoes on his banner. In Germany the latest years, to attain this. Then, at last, you will be able while Schubert was not successful with his attempts bullets. imitated than Mendelssohn. This, in fact, is one of form; but later, dazzled by Mendelssohn’s operatic success is Humperdinck’s Konigskinder, which to gain their attention for a lecture recital. at writing operas, he nevertheless exerted indirectly Beethoven was wiser. When he read the Freischuts reason why musicians are now inclined to under¬ elegant classicalism of form, he tried to imitate might have been written by Wagner himself. The city child if shy and reserved has at least the a great influence on the development of the opera score (he could not hear it, for he was deaf), he ex¬ rate him. They find not a few things in his com¬ him and thus did violence to his own nature and claimed: “Weber certainly has written devilish stuff appearance of intelligent attention and of some degree positions that appear commonplace, but forget that through his dramatic songss like The Erlking and style. This, combined with his increasing brain here. When I read it I have to laugh, and yet I feel of willingness. Even the shy city child will melt into these things were original with Mendelssohn and the Doppelg'dnger, which opened new vistas of emo¬ GIVING LESSONS IN THE COUNTRY. troubles, resulted in making his later works seem that it is the right thing.” an occasional smile; whereas, your shy country pupil therefore quite new in his day, and that what makes merely the product of talent as contrasted with his tional utterance. It was in this Wolf’s Glen that the romantic school is quite apt to sit in sphinx-like silence until you them seem stale now is the fact that his imitators BY E. P. HILAND. earlier works of real genius. Harmonically, Schubert was a much bolder of opera was born. It was the first time that the begin to feel that all explanations, all strivings for have so often dinned them into our ears. These Although Schumann’s symphonies and sonatas are innovator than Beethoven; his modulation , affect music itself in an opera was as “devilish” as the plot. the child’s confidence, are lost and useless. very things show how widespread was the influence The city teacher often is wont to look disdainfully among the best ever written, it was not so much one like sudden and thrilling transitions to another With these sounds Weber exerted an influence on At the other extreme, is the bold country child, with of this master in Germany and elsewhere. upon his country brother toiling in some little town, through them that he made his mark on music and world; their influence on the general development composers that has lasted to the present day (there that astounding ignorance which is so characteristic of Among the compdsers outside of Germany who remote from concerts, opera, the drama, even from art. of modern music, through Liszt is much that is “devilish” in Strauss’s Elektra) and that a certain class—the startling histories of the whole were most deeply impressed by Men¬ He often overlooks the special training which this (whose harmonic roots are in Schu¬ will last forever. Music no longer had to be sweet family to which one is compelled to listen—the curiotis delssohn’s genius, were the Danish same country brother receives, the self-dependence and bert), has been eloquently set forfh always; it could be frankly ugly where the situation personal remarks—the groaning and whining over 3 Gade and the Russian Rubinstein, independence which he is forced to assume, the power by Dr. Riemann in his great works, was ugly. hard bit of the lesson—the teacher begins to wonder who share with him the peculiarity to grapple with and make the best of unpromising and Geschichte der Musik seit Beethoven But it was not only on the gruesome side that Weber if indeed these are really children, or rather, some race of standing with one foot on classical adverse conditions which js developed in him. And, (Op. 401), the perusal of which can¬ extended the capacity of music for expression. He of changelings. soil and with the other fen the ro¬ suddenly, when perhaps this disdained country brother Probably the teacher born and bred in the country not be too urgently recommended to was the first to make tone-colors of all sorts an object mantic side. Mendelssohn’s skill in steps forth from his seclusion into the lime-light of himself educated only in the city, can through the all who read German. of interest in themselves—in which Schubert promptly preserving the. classical forms, while followed him. In his Oberon, for instance, Weber publicity, the city teacher, taken unawares, is forced to memory of his own childhood, come to a better under¬ Rubinstein, also, considered Schu¬ fall back on the assertion; “Oh, yes! I always knew at the same time investing his pieces delineates the fairy world in a light and airy way standing of these country pupils than the city man, and bert the originator of the modern with romantic features, appealed to which inspired Mendelssohn to write his Midsummer he had ability—but just think what he might have been, in a much shorter period of time. For what city man epoch in music. He finds his short if he’d only stayed in the city and kept up with the the masses, as well as to a multitude Night’s Dream overture and other works. could be expected to talk intelligently about crops, or piano pieces, the Musical Moments times.” All unaware that it is the very difficulties of minor composers. It is exempli¬ No musical historian has yet quite done Weber suffi¬ hunting,'or trapping, or even of poultry raising; or through which the country teacher has passed that fied in his Italian and Scotch sym¬ and Impromptus as inexplicable and cient honor. Each of his three operas created a new would even think of introducing these subjects at a have made possible his success. phonies, his Midsummer Night’s original as his songs. They exerted e,poch'in music! In his Euryanthe we find the roots music lesson? It is,- however, only through this dis¬ Dream music, his Fingal’s Cave over¬ as great an influence on the future of Wagnerism, which is summed up in what Weber Now by “country teacher” I do not necessarily refer cussion and interest in the daily life of the country ture, and other pieces that belong to, of piano music as his songs did on himself wrote about his own last opera: “Euryanthe is to the time-honored and traditional “country teacher” child that the high wall of shyness and prejudice may .or verge on, program music. These the development of the lied. a purely dramatic work, which depends for its success —the spinster possessing all the stiffness and- primness be overcome. were his most poetic and original In the art of orchestra! ,adoring, solely on the co-operation of the united sister arts, of Puritanic New England; she who gives lessons for Continual self-discipline and self-study must go on; works, the works which exerted the Schubert opened up entirely new and is certain to lose its effect if deprived of their “thirty-nine cents a lesson.” and who toils stiffly up and in the pursuance of this goal the musical maga¬ deepest influence. paths in which others eagerly fol¬ assistance.” and down the keys over “Home Sweet Home” with zine plays no unimportant part for our country teachers. As we saw in the preceding article, variations, or “The Maiden’s Prayer.” lowed him. Think of the second When Wagner wrote Lohengrin his model, in general It is, I believe, impossible for the city teacher to Mendelssohn was encouraged to movement of his Unfinished symph¬ There are, hidden back in old country towns and ■ realize the importance which such a magazine assumes write program music by the fact that and in many details, was Euryanthe. One of these ony, with its ravishing new sounds 1 villages of our land, many earnest students who are in the eyes of his country brother. To him it is the Beethoven endorsed this branch of detai's was the use of leading motives which Wagner Much more might be said regard¬ well-trained musicians. one connecting link between himself and the great the art when he composed the Pas¬ learned, not from Berlioz, as so many have written, ing Schubert’s influence, but room That those who live in cities have slight compre¬ wide world of musical endeavor and achievement. It toral Symphony. "When Beethoven but from Weber, who anticipated Berlioz. For details SCHUBERT PLAYING FOR HIS' FRIENDS. must be reserved for others. Having hension of the problems met by the country teacher, is had once opened the road,” he said. on this important point I must refer the reader to my is his one glimpse into the lives of those with whom disposed of instrumental music and Wagner and his Works, vol. II, pp. 495-6. only a natural conclusion. It is not to be expected that he is laboring in spirit if not in presence. It is Iris “everyone was bound to follow.” His own prompt¬ musicians in various countries as by his short piano the art-song, let us now turn to the opera. at once they can conceive what it would be like to ness in following Beethbven on this path had much concert, his opera, his school, his teacher; and through pieces and his songs. His way of grouping together live from one year’s end to another in a town where to do with encouraging the modern trend towatd MEYERBEER AND WAGNER. it he cherishes that spark of ambition for things a number of short pieces under a poetic title, GLUCK’S OPERATIC REFORMS. their only opportunity to hear classical or good music program music, which has culminated in Strauss’s greater and far-reaching in their effects. Sometimes, beside giving each of these pieces a separate title! To some partisan Wagnerites it will seem almost would be to sit down at their own piano and pains¬ Sinfonia Domestica. Poor Mendelssohn himself, to When Gluck was a young man he wrote operas perhaps, the country teacher attempts to put some of was epoch making. To take only one instance in’ like sacrilege to put Meyerbeer and Wagner in the takingly study out the piano or vocal score of the be sure, would have been horrified could he have similar to those perpetrated by Piccini, I unelli, his thoughts on paper, tries to tell others of his ambi¬ place of a hundred: MacDowell’s Woodland Sketches same headline; but while it is true that Wagner dis¬ latest opera,, or the works of the newly-heralded foreseen the extremes to which this movement was including To a Wild Rose, Will-o’-the-Wisp From, an Hasse and Porpora—operas which if performed to-day tions, of his work. If, perchance, his attempt fipds would appear screamingly funny, liked Meyerbeer, it is also true that his Riensi was composer. favor with the editor of his beloved paper, there is destined to go. Indian Lodge, To a Water Lily, A Deserted Farm and written entirely under the influence of Meyerbeer, who In Germany Mendelssohn’s sway was for a time five other pieces, evidently follow the plan first devised m a11 constructed after the same artificial The city teacher has but to keep posted on the straightway born within him another ambition, which model The stories were taken from Greek also exerted a deep influence in other countries, wher¬ musical productions in his own town and advise the even country storms, adverse conditions, difficult so absolute, that evep such giants as Schumann by Schumann in his Papillons, Carneval, etc, although ever spectacular opera was in vogue. Nor is Riensi there is a difference. ■ attendance of his pupils at these productions. The scholars, and discouragements in teaching are powerless and Wagner were hampered by it. Of Schumann TW° °Sy and tbe end always had to be happy. the only one of Wagner’s operas which betrays Meyer¬ I shall speak presently. Wagner fought the Mendels¬ There were ,n the cast three women and three task of explaining an opera to a child who has never to kill. Schubert, Mendelssohn, and Chopin also wrote beer’s tutelage. During the three years that Wagner sohn influence, so far as it seemed to him excessive prrna donna, seconda donna, and so on; seen a city theatre, never seen a play given by pro¬ So, even to the country teacher, come his triumphs. short pieces, but as a rule their interest is purely spent in Paris as a young man he heard the Meyerbeer fessional talent, never seen a stage supplied with Possibly not world triumphs, possibly no crowns of and injurious. While acknowledging his genius in musical and not allied with poetic subjects as in the IcL ami -he ,leroine eacl1 claimed a grand operas many a time, and the theatrical ingenuity they cordial terms, he deplored a certain over-senti¬ scenery—this task is great in magnitude, and yet one laurel, no effulgent “press notices,” but after all they case of Schumann and those who took their cue be a certs'Part "k at least. °ne

THE INFLUENCE OF THE FOLK-SONG origin. , The early composers also realised that in order to ON GERMAN MUSICAL ART make their work understandable and more readily re¬ ceived, it behooved them to employ folk-themes as the From an Interview with the Eminent Composer and Director basis for some of their more complicated works, so GUSTAV MAHLER that the public that heard them could grasp the Secured expressly for THE ETUDE significance of the work more readily. Mr. Mahler gave his opinions to our interviewer partly in German and partly in English. Consequently it has HAYDN’S APPRECIATION OF THE FOLK-SONG. j been impossible to employ his exact phraseology One does not have to delve very deep into the works I of Haydn to realise what a keen appreciation he had w for the beauty and simplicity of the folk-song. Al¬ W; iSMSB---WMIIISM though Haydn’s music seems extremely simple when compared with the intricate rhythms and harmonies PLAGIARISM? many composers are wont to introduce in their scores n°eD6w1sth^l\tf°r|airscnr“§o~tiem1ar“.7uly- 7th. In some cases we find that the great composers have of to-day, this very music was in its time considered Neither his father nor his mother were musical. Notwith- actually taken folk-melodies as themes for some of revolutionary by Haydn’s contemporaries. Among tfindS*' this lack of . hereditary influence, lie manifested musical talent at a verv early age, and started to com¬ their works. In most cases of this kind they have other things, his interpretation of the idiom of the pose when he was but a mere hoy. Mahler now looks given the source of the theme all possible publicity. In streets was strongly condemned. His melodies were lightly upon these juvenile efforts, hut they aie said to some cases where they may not have done this a few have ’ indicated his very pronounced talent. His nrst called plebeian and often regarded as trivial. Haytjn teachers were little known musicians located in small towns critics with limited musical knowledge and no practical was unquestionably one of the most sincere of all in Bohemia. Later be entered the Gymnasium at Iglau ability in composition have happened to find these in¬ composers.: He spoke the music he knew and felt as and later at Prague, Bohemia. The German Gymnasium stances, and being at a loss to write anything more corresponds to the high school and college ^ his natural language. Notwithstanding his aristocratic Mahler’s academic education was completed at the Univer¬ intelligent, they have magnified these deliberate settings surroundings in later life in the Palace of the Ester- sity of Vienna, and his musical education was continued of folk-themes into disgraceful thefts. The cry of at‘the Conservatorium In Vienna, where he came under the hazys, Haydn was a child of extremely poor parents, influence of Bruckner. In 1880 he started his career as a plagiarism is in most cases both cruel and unjustified. conductor, which has made him one of the most renowned and during his youth was visited with the most severe musicians of our time. Success followed success, and he poverty. Naturally this brought him close to the com¬ passed in triumph through various P _t Cassei, Prague, Leipsic, Pestli. Hamburg, Vion~-____eventually - came ttf mon people, as did his long service in St. Stephen’s York as conductor of the German Grand Opera at the Cathedral, Vienna, where he was a choir boy. When Metropolitan, later taking his recently resigned position as director of America’s oldest orchestra, the “New York he come to produce his great works, he was so thor¬ Philharmonic." This orchestra during the past t“ - oughly imbued with the musical language of the people Has been under tile direction of the n * _3— living conductors, iuriudinjr Seidi. Stv-.,, 1_ j Wood, Gustav that the folk-song character and influence keeps crop¬ Kogel, F. Weingartner, Colonnc , W. Safonoff and several ping up all the time. This is, perhaps, not quite so others, yet it has never receivred so much praise as has ’ 1 -stowed upon it this — on. As a composer, Mahler much the case with Mozart, whose musical father, i produced eight notable symphonies which have been Leopold Mozart, took every pains to have his phe¬ enthusiastically received in Europe and in America. nomenal son surrounded with the very best music of _r he is •tual < ..._ abil- it.v and great ei e his performances of the master his day. Notwithstanding this, one cannot help feel¬ ...ithoritative in every sense that it is exceedingly fortu- ing that the folk-songs which the wonderful child must such as the following from have heard from his little playmates were assimilated, although their influence is not so pronounced as in the case of Haydn. Anyone who is at all familiar with the Mozart opera. The Magic Flute, will detect this The influence of the folk-song upon the music of influence at once. the nations has been exhibited in many striking forms. WEBER’S OPERA, “DER FREISCHUTZ’ At the very root of the whole matter lies a great edu¬ BEETHOVEN’S INCOMPARABLE MELODIES. cational truth which, is so powerful in its effects, and so HOW WEBER WROTE “DER THE STORY OF “ DER FREISCHUTZ ” THE MUSIC OF “DER FREISCHUTZ ” obvious to all, that one can almost make an axiom: Although the actual instances where Beethoven used “As the child is, so will the man be.” We cannot expect real folk-songs as themes or as suggestions for his FREISCHUTZ ” Scene: Bohemia. Max, a young marksman, loves O'f all the distinguis! an oak to grow into a rose bush and we cannot expect works are limited, it is nevertheless the fact that this Agathe, daughter of Kuno, head - forester for the singers who appeared in / Weber was the first to put the water-lily to become a palm. No amount of devel¬ gigantic genius conceived in his most exquisite and Duke of Bohemia, whom Kuno expects to succeed. Freischiitz, Mme. Wilhehni moving melodies thematic designs which when ana¬ a serious musical interpreta¬ opment, care or horticultural and agricultural skill could His marksmanship is to be tested in a trial on the lyzed are really very simple and often of the character tion to the old marvelous and Schroder-Devrient was i work miracles of this kind. So it is with children. following day. Prolog, (rarely presented) : Agathe of folk-songs. No composer has excelled the majesty supernatural legends of Ger¬ most famous. She frequen What occurs in childhood makes an indelible impression. many and to present them to receives a mystic bridal wreath from an old hermit appeared in the opera line of Beethoven, and his masterpieces, like all great works The depth of this psychological impression must ever the public in operatic form. in the woods. of his, are so simple, chaste and unaffected that their the direction of the compos be the rock upon which, all educational systems are For this reason he is called Act. 1. Max’s marksmanship! fails. Killian, a similarity to the folk-songs—or shall we call them the peasant rival, is proclaimed “King of Marksmen.” She received fees as high founded. So it is in music, that the songs which a the first of the German $500.00, which were a heart-songs of the people?—may easily be traced. “Romantic Opera” composers. Casper, another lover, of Agathe, has sold his soul child assimilates in his youth will determine his musical The magnificent road which Beethoven opened should, sidered enormous in that <1 Weber’s position in musical to Zamiel, a forest demon, in return for the magical manhood. to my mind, point the way to all great composers of Jenny Lind made her da art is peculiar and distinct. ability to shoot without failure at all times. He symphonic music, just as the architecture of Athens. He was a genius in the high¬ now hopes to gain three years of grace by taking in this opera in Stockholm ASSIMILATING GOOD MUSIC IN CHILDHOOD. Rome and Corinth indicates the most secure path for Gustav Mahler. est sense of the word. Bom another soul to the demon. By giving Max his gun 1838. It always remained < The music which the masters have assimilated in their the builder of great buildings. loaded with a magic bullet, with which'the despond¬ at Eutin, Holstein, December weber of her favorite roles. As 1 childhood forms the texture of their mature musical I do not think that the tendency to use the idiom ent lover kills a soaring eagle, Max is induced to The master who has the skill to develop a great musical ■ 18th, 1786, and living until • beenwen said,5aia, thetne music ofoi / development. It cannot be otherwise and I am un¬ of the people will ever die out, and I do believe that June Sth, 1826, his span of active years covered consent to go to the Wolf’s Gorge on the following Freischiitz is extremely tuneful. The theme work cert; inly possesses the ability to evolve melodies. music which has the true melodic characteristics will day. able to understand why the great educators of our much the- same period as that of Beethoven. He horns .which occurs early in the overture has i> When he takes a folk-theme as the subject of one of exist long after the furies of cacophony have worn Act II. Agathe’s Room: Agathe is apprehensive age do not lay even greater stress upon this all-im¬ had been a pupil of Haydn’s brother,- Michael arranged as a hymn, and under the name of Jen his master-works, it is for the purpose of elaborating themselves out of existence. and tells how the hermit in the wood informed her portant point. I have said assimilated,—you will Haydn, and yet lived long enough to witness the has been sung in churches for years and beautifying it as a lapidary might take an ynpol- All this I have said as a composer, but as a director that her life would be saved by a bridal wreath. notice that I did not say appropriated. That is quite dawn of Mendelssohn and his contemporaries. The prayer from Der Freischiitz r.as long b ished diamond, and by his skill bring out the scintillating I am thoroughly eclectic. I am tremendously cufious Max. fires a magic bullet, and a picture of one of a different matter. The music is absorbed and goes Thus he acts as a kind of bridge between the Ger¬ and kaleidoscopic beauties of the stone. After all, the about all new music, and seek to give each new work, Agathe’s ancestors falls from the wall, wounding one of the most popular of pieces, the Hunt, through a process of mental digestion until it be¬ man musical art of the past and that of his future. handling of the . theme is even more significant than regardless of type, the interpretation nearest that His Der Freischiitz was first produced in Berlin. her. Max enters, telling her he has failed, but Chorus, arranged for four hands, has been v comes a part of the person, just as much as the hair the evolution of the theme. Consider for one moment which the composer intended. This is my duty to June 18th, 1821. The libretto was by' Friedrich promises to bring a deer from the Wolf’s Gorge. extensively played at pupils’ musicals. Sid on their heads, or the skin on their bodies. It is the incalculable benefits to the literature of the world myself, to my art and to the public which attends my Kind, and was founded upon an old German legend. The scene changes to the Wolf’s Gorge at midnight. Smith has written a difficult arrangement for pi; stored away in their brain-cells and will come forth brought about byt the Shakespeare treatment of plots, concerts. The singers who took part in the first performance Amid a horrible orgy in which ghosts, vampires, (Opus. 16), and D. Krug is responsible for a ll again in the minds of creative musicians, not in the are now known almost solely because of their op¬ owls, etc., take part, Zamiel casts the magic bullets grade arrangement (Opus 312, No. 2). There which otherwise would have been absolutely forgotten. same or even similar form, but often in entirely new A GRAVE MUSICAL QUESTION FOR AMERICA. portunity at that time. In this opera Weber indi¬ for Max. a so a clever little Sonatina on the motives fr and wonderful conceptions. Hamlet, King Lear, Romeo and Juliet, Julius Ccesar, cates both his natural tunefulness and. his dramatic Act III. Agathe’s Room: Her tpaid opens the Der Freischiitz, written by M. Vogel (Opus 40, ! I have often heard composers who claim to seek indi¬ all of them plagiarised, but gloriously plagiarised. Since- my residence in America I have been so busily power. He failed to surround his characters with box containing the bridal wreath and finds instead viduality above all things state that they purposely avoid The early folk-songs were by no means the product engaged in the mission for which I came to this country the individuality which Mozart secured in h's a funeral wreath. She dons it. remembering the of trailed musicians, but often came from the, soul of that I have not had, perhaps, the right opportunities to tJphe ”St °[ the °P«-a is Ottokar (Duke), b; hearing too much music of other composers, fearing operas, but he did succeed in writing melodies which hermit’s prediction that it would protect her. Scene that their own originality will be affected. They also some untutored' genius who told his love, his sorrow, investigate musical conditions as thoroughly as pos¬ Max t m°’ vSS: /*9atllc- soprano: Caspar, b; made a very decided popular impression. changes tc the wood. Max shoots six of seven bul¬ avoid hearing the songs of the street or folk-songs for his mirth or his joy, in melody. At first they were sible. Nevertheless, what I have observed, and what Weber’s best known operas apart from Der Map tenor; Zamiel, speaking part; Hermit, b; lets. Casper knows that the seventh will be guided teno The time imnu,ii;^,. follow a similar reason. What arrant nonsense! If a man transmitted from generation to generation solely by has been related to me by experts who have lived in Freischuts are Euryanthe and Oberon. Neither of by the demon Zamiel. Max shoots at a- dove! His me Ihirty Years’ War eats a beef-steak- it is no sign that he will become a ear. Naturally many changes took place in this manner, the country* for a lifetime, leads me to believe that a these, however, have ever been as popular as Der bullet, guided by Zamiel, hits Agathe. It strikes her cow. He takes the nourishment from the food and and it often happened that one and the same song was musical condition exists in this country which makes Freischuts. There can be no doubt that the memor¬ bridal wreath, saving her life. Zamiel touches Casher Although Weber wrote fluently he w-> -uch gi that transforms itself by means of wonderful phy¬ sung in several quite different manners in differ¬ it extremely difficult for the American composer to able success of Der Freischuts was the inspiring and he expires. The Duke promises Max that he toaSrmnf “V"1* Melodies’camr cnliim siological processes into flesh, strength and bodily ent parts of the country. The monks of the four¬ work with the same innate feeling which characterises force of Richard Wagner. may wed Agathe. eadily as to Schuben but he devoted force, but he may eat beef-steaks for a lifetime and teenth, fifteenth and sixteenth' centuries did not hesi¬ the work of some of his European contemporaries. I fee years t0 the working or; 0£ Der Freischiit never be anything but a man. tate to take the folk-songs for their sacred texts. respect the efforts of American composers most highly 303 THE ETUDE 302 THE ETUDE and, of course, expensive task to train a pupil to correct habits in this respect. The use of a metronome estab¬ lishes in a short time, even in otherwise discouraging and shall gladly do everything in my power to assist cases, a standard of time-sense. The metronome is a. them when possible, but the subject of the folk-song cold-blooded machine. It works the same way every bears such a direct relation to this matter that I cannot day. It never gets excited or discouraged. It does not fail to avail ntyself of this opportunity to discuss the balk or run away. A standard of time-sense once- matter. established, it becomes possible, little by little, to master I have previously expressed the somewhat axiomatic the most complex difficulties ip time-keeping. With truths through which we learned that the musical the aid of the metronome I have trained many pupils influences which surround the child are these which The First Finger Exercises at the Keyboard to be good timists who, otherwise, would probably have the greatest influence upon his after-life and also The have failed. that the melodies which composers evolve in their Wftta lor the etude b, ft. c=™» “d From Master Lessons in Piano Playing 2. The metronome, properly used in speeding up exer¬ maturity are but the flowers which bloom from the ALEXANDER VON FIELITZ (A Musician’s Letters to His Musical Nephew) cises or anything which, in order to avoid mistakes, fields which were sown with the seeds of the folk-song needs to be worked up gradually, is of very great value in their childhood. Therefore when 1 am asked whence By E. M. BOWMAN first " Music of All Germany” number, issued in April) —indeed, almost a necessity. In speeding up without the the future American composer will come I am forced •(The first part of this excellent article was published in the for the piano student. However troublesome it may be, metronome, the pupil and even the experienced artist to inquire: "Where is the American folk-song?” I TEDITOK’S Note—The following is the third installment place to which I have come is the boundary; anything of the series of letters by Mr. Edward M. Bowman, the noted it must and can be conquered. We might as well face is apt to increase the speed too rapidly or by too great cannot be quoted as an authority on American music, UNTRODDEN PATHS DANGEROUS. f ' failure and destruction. Indeed I may have teacher and specialist In piano technic. The letters are suppo ed to be a series of instructive epistles written by the fact at the very beginning and do it bravely, too. changes. but depending upon the information received from Busoni is also one of the new composers who strive My friend, Albert Ross- Parsons, gives a fine hint as Sy l „to L On Tristan). Tta.fon.te Ufa Mi-Bowman to an imaginary nephew, the nephew In this The sympathy of one hand for the other, or of one friends whom 1 consider keen observers, and upon to wander in their own paths. Like Strauss, e was ease being iust such a boy as Mr. Bowman was himself in to the use of the metronome which he calls, after the who loves me (and himself) not follow me. Wagner his own youth Mr. Bowman lias pictured the natural desires finger for another, that is to say, the tendency of two what I have heard myself, it seems to me that the originally influenced by Berlioz, and with all his talent military phrase, “sapping and mining.” A besieging ^t the end of his life as an artist recognized that hi. and inclinations of a musical boy and has planned his work muscles to do the same thing, w.hen moving at the popular music of America is not American at all, but his works suffer from the constant search for novelty, Hfe’s work not only stood as a finished achievement to make a course of study most interesting and profitable army in this style of warfare approaches an enemy’s for something that at any cost shall be entirely new; for such a boy. The boy’s 'local teacher, referred to in these same time, is a real difficulty. It shows itself in the rather that kind of music which the African negro t.1 t w that it was as well something that com- letters, is Miss Procter. Unfortunately some of the most fortifications by zigzag ditches, until in position to transplanted to American soil has chosen to adopt. It hence they often offer what seems unnatural, strained, before , b ^ ^ sUch was not susceptible of further interesting and helpful letters in the series are not suitable very first movement. When you try to lift a finger explode a mine under them. Mr. Parsons advises us, must be remembered that the music of the African and even positively ugly. But no readiness in technical pleted ai for iournalistic purposes, but these will he obtainable later quickly there is likely to be a down-push of all the in book form. The series was originally published in The in speeding up a passage, to repeat the same a single savage, be he Zulu, Hottentot, Kaffir or Abyssinian, rises skill can satisfy one who craves beauty, simplicity, and ^in^noTpossible, however, to think of anything in lineman Encyclopedia of Music. These letters commenced other fingers. You must avoid this sympathetic flexion notch faster until four notches have been conquered. ease. Should not beauty ever be the chief aim of but a trifle above the rhythmic basis, When these the history of mankind that is incapable of develop¬ in the February Etude.] in the other muscles. They have nothing to do, and Then go back three notches and work forward four. music? Have not classicists and romanticists alike people, the ancestors of the present American negroes, ment, of advance. Every standstill signifies falling should, therefore, rest lightly on the table.] Repeat this zigzag process until the required speed and remained within the limitations of beauty without TABLE EXERCISES, CONTINUED. made their compulsory voyages from the jungles of the behind Thus this struggle to find' yet untrodden paths 2. When you can do Exercise 1 right, try moving the a safe reserve beyond it is reached. Mechanically safe wounding our ears, as modern composers only too often Let us take our seats at the table. The table will be Dark Continent to the New World, it should be remem¬ becomes not only comprehensible but praiseworthy. finger moderately fast, only moderately fast, remember, and systematic work of this character cannot be done and too willingly do? Consider the characteristics of better for our purposes just now than the piano because bered that they were in most cases savages pure and And whatever one may think of the new German music and still keep the other fingers light and pliant (limber). without a metronome. Mozart and Beethoven! I believe—and modern music at the table we are not obliged to space the fingers, so simple. Practice with each finger in rotation, each hand 3. The advancing skill made through a series of weeks convinces me of it—that simplicity in art is the most it signifies a development in music history. What made as to hit a particular key or keys. At the table, having While I have the very greatest respect for the ac¬ or months, attested by the metronome, furnishes a difficult thing to attain, and that beacause our modern Richard Strauss the first great master of our time was no keys at which to aim, we can give our entire atten¬ separately. complishments of a few of the American negroes who reliable and very encouraging record to both teacher composers painfully avoid all that may remind one of his being able to free himself from the influence of tion to the up and down movements of the fingers. 3. When you can do Exercises 1 and 2 readily, you have risen above their surroundings to high places and and pupil. At times, too, it tells a contrary tale which, anything that has been previously said they are unable Richard Wagner; his talent was great enough to See that your stool is right as to height and distance may try very quick movements. to distinguished attainments, I cannot subscribe myself accomplish this. At present one cannot say whether though discouraging, may prove to be salu¬ to express themselves without falling into banality. from the table. to the doctrine that all men are born equal, as it is This is what urges them to seek untrodden paths that the direction taken by the music of to-day is to he tary. 1. Place the right hand on the table in 4. There is a stage in the development inconceivable to me. It is not reasonable to expect too often lead to regions with whicn we should rather for ban or blessing; as to this posterity only can Judge. playing position, as in Figure 8. See that of every piece or etude (study) in which it that a race could arise from a savage condition to a remain unacquainted. It is still moving and we cannot reach a positive con¬ the wrist and arm are level; that the wrist is useful to all students, especially those high ethnological state in a century or two. It took In all languages of the world the lover expresses his. clusion one way or the other, but in the history of is limber; that the knuckles are properly who are not yet well-developed timists, to Northern Europe nearly one thousand years to fight its affection by the three simple words “I love you.” And music it will take an interesting place, though possibly raised; that the fingers are correctly play the piece or etude with the metronome. way from barbarism to civilisation. That the negroes yet it often seems to me that modern composers only as a period of transition. curved; and that the finger-tips, including If the time is found to be correct and the ip America have accomplished so much is truly amaz¬ anxiously endeavor to avoid these words' that will The predominating influence in the most recent Ger¬ the thumb, rest very lightly on the table. music can be played up to the proper speed, ing. In their music they doubtless copied and varied remain beautiful so long as mankind lives and loves man music is therefore, as we see, exerted by Wagner, To test the pressure of the fingers on the the metronome should not be used further the models of the white people to whose households and try to express their m?aining by other words. It and not in his own particular sphere, viz., that of table, put a sheet of paper under the fingers with that selection, as the piece is now ready they were attached. Their love for song and their is, to be sure, difficult for them. Is not every melody dramatic music, but extending to the symphony ( Bruck¬ and, with the other hand, turn the paper to be played in that flexible style which is sense of rhythm assisted them in this. But to expect based on the simple triad—and are not echoes of it ner) and to the song (Hugo Wolf). Wagner is the around in different directions (see Fig. 9). demanded by the laws of expression and that they would evolve a new, . distinct and original unavoidable? But melody is in truth condemned and sun around which almost all the modern composers If the pressure is right, you will be able to emotional delivery. To practice with the folk-song is preposterous in itself. They are great forbidden by those who represent the new tendency revolve like planets. The next strongest influence is move the paper with some freedom. imitators, I am told, but that is no reason why the in music. As if labored harmony, contorted rhythms, exerted by Brahms in the domain of the symphony [Note,.—If you have a letter-scale—such metronome while studying expression is, of Fig. 9. American composer should imitate their distorted cop¬ weird modulations, and color could compensate for the and in that of the song. In the last Hugo Wolf has as is used to weigh letters—you can rest course, a misuse of the little machine. ies of European folk-songs. The syncopations intro¬ lack of all that mankind longs for in the art—a soul shown even a stronger influence among the younger your finger-tips on the scale and let them Expressive playing constantly varies, more duced in negro songs under the name of “rag-time” that breathes out a broad, noble melos! Color nowa¬ composers. press enough to weigh three or four ounces. Notice THE DESIRABILITY OF A METRONOME. or less, in speed. In such playing, the metronome is are not original, but may be found in the folk-songs days seems to be the principal requisite, but color alone how the hand and fingers feel when on the scale at this The quick exercise will require the use of a metro¬ not to be used. ADVICE TO STUDENTS. of Hungary and other European nations. Syncopation is insufficient for this. And was not Wagner one of the pressure, and then try to rest them on the table with nome. I suppose now that you do not have metronomes 5. Lastly, the metronome is useful in ascertaining the greatest tone painters, as well as Weber before him, as a part of national folk-songs existed in Europe Since I write these lines for a periodical designed for the same pressure.] up at Barton. No, you could not plow with them or exact speed or tempo which artists, teachers and editors before the first negroes were transported from Africa. in his “Der Freischiitz?” The Frenchman Debussy students, I should like to close with a remark that may Now lift the second finger (Fig. 10), keeping it cut hay or slide down hill on them. A metronome, employ and approve. Too much reliance, however, with his boneless, mollusk-like music, shimmering with Just why the American composer should feel that he be interesting to them: Nowadays things have not curved, so that the tip will be about two inches up my boy, is a small clock in which the upper end of the should not be placed on the metronome marks—Miss all the hues of the rainbow (Pelleas et Melisande) has, is doing something peculiarly American when he employs been made easy for young students: I can judge of from the table. Lift it just as s'.owly and as high as pendulum sticks out above the works and swings back Proctor will show you what I mean—of standard works, has also exercised a great influence upon the younger negro folk-songs is difficult to tell. Hungarian com¬ this from my own experience as a teacher. In tlu- time possible; occupy five or six seconds in doing so; hold and forth to tick off the time. There is a sliding weight for the reason that there is sometimes a considerable German composers. That of the neo-Italian realistic posers are prone to employ gypsy themes, and the of youth, when all is storm and stress—the stronger the it up there five or six seconds, and let it down as slowly on the upper part of this pendulum which, on being difference in the figures given in different editions of school (Mascagni. Leoncavallo, etc.) has died away music of Hungary has become marked in this way so talent, the more tempestous the spirit—it is very nat¬ as possible. While doing this, let all the other fingers moved up or down, will cause the metronome to go the same work. In such cases, several different edi¬ since the originals have already grazed the field and that it has become gypsy music and not Hungarian ural that young madcaps wish to begin where we end. and the thumb r.est lightly (as in the paper test) on slower or faster. I wish to start you out on your tions should be examined, and the average speed music. Surely American music based upon the crude skimmed the cream. I have had talented pupils who have brought me com¬ the table and take no part whatever in even the slight musical studies with a wholesome idea about the metro¬ (tempo) taken. themes of the red-skinned aborigines, or upon the ap¬ positions full of the most daring impossibilities, of the flexion of the finger that is acting. Practice with each nome. Possibly Miss Proctor will say to you: “O, Once for all, I wish to strongly advise you to practice propriated European type of folk-song which the African WHERE IS ART LEADING US. most torturing dissonances. Then I set myself at the finger in rotation, several times, each hand separately. don’t practice with that thing; it will make your play¬ with the metronome every form of exercise that you Americans have produced, is not any more representative Who can say where the way taken by the latest talent • [Note.—You must always remember that there is a use to build up your technic, and to test, at the proper will lead us? Does it not seem as if it must develop piano and give them a picture of their harmonic atroci¬ ing mechanica'..” Or some one else will exclaim: of the great American people of to-day than are these stage in their study, every etude and piece. into an art that I might rather call “artifice” which ties. But when I say, “Now, do you not hear how natural sympathy betiveen the Ungers, the hands, the “My! No artist ever plays with a metronome, or like swarthy citizens of the New World representative of all Now, for Exercise 3: Set your metronome at 60, has nothing in common with what we have hitherto terrible that sounds?” I receive the answer, "No, I arms, etc. This is called “muscular sympathy.” Per¬ one, either!” Another will say: “I would not have Americans. place the hand, in playing position, lightly on the tabic, So long as young Americans have to content them¬ known by the dear and noble name of music? In this think it sounds very well indeed!” haps you have tried to turn your two hands in a circle one in the house; makes me so nervous to hear it!” and count “one, two, three,” with the ticks of the selves with the kind of trashy popular songs which are age of technic, which has developed to a state of per¬ What is a teacher to do in such a case? What shall in opposite directions at the same time. If not, try it “I tried it once, and I could not keep with it at all. metronome. At count “three” lift the second finger ground out by the thousand every year and howled fection formerly undreamed of, has not technic he think, and what shall he do with a young hot-blood That thing is of no use whatever!” mercilessly in the music halls of the country, just so extended beyond the realm of music and carried much w.°,s j gs his shoulders over Schumann, over Chopin Now, just listen to your uncle. A good metronome long will America be forced to wait for its great master away with it? May we not ofttime cry “Halt!”—an -indeed over Wagner’s early works? There is a poi¬ is one of the greatest helps that you can use. Get in music. But I am told by educators, America is anxious “Halt!”—and long for a return of the more son m the tendencies of to-day—a poison which we one immediately, use it for certain purposes right along, awakening to this condition, and American children quiet and restful time of the past when we were not must warn the students under our care and seek to pro¬ until it is worn out, and then—buy another. Never he are being furnished with ever-increasing opportunities urged forward with such a feverish rapidity as to-day? tect them against its evil effects. They should foi without one. They are made with and without a bell. The bell attachment may be used to mark principal to hear good music. The music of the public schools It is the longing for the vanished land of childhood them,el StUdy only, our great classical masters.' build accents, beginnings of groups or of measures. In my is based upon the best folk-song melodies of all Europe. that every mean hears sobbing in his heart. Ah, how u P °Vheir works- and before all learn to The music in the best churches, instead of being mod¬ judgment, however, the bell is not of much value. The this longing would be stilled could we but hear Mozart. thel foie ! y and to .ex?ress themselves naturally. Is eled upon the kind of tunes not very remote from crude Schumann, and the earlier great masters! Note the chief value of the metronome is in the regular tick of will leoa u great’ °r is 11 even unmistakable genius, it negro melodies in themselves, is now following the be.st delight of the modern German concert public at hear¬ the machine, rather than in (he tap of the bell. safely 1Em t0 tbe gDa* 'n the end, perhaps late but models of the world, and I know in my own sphere as ing this music, in spite of the craze for sensation and I wish to give you a few reasons now for my plac¬ a conductor that America is now being afforded splen¬ the search for new modes of tickling the ears. ing so much value on this appliance, and I would like did opportunities to hear the great masterpieces played No, I do not believe that the future will continue upper °storvh0'rI*Sh£S t0 build a house begins with the Miss Proctor to read this, too. first be he foundation, the ground floor, must by famous instrumentalists and sung by world-famous the present prevailing tendency. The great genius that r vTd and,Str°ng- ^ve to think and feel singers. America thus hears the music of all nations is now on the way will show us the road, which by all Fig. 8. WHAT THE METRONOME WILL DO FOR YOU. your ow; Tr &S the Prompts. Preserve played by performers from all nations. One does not the conquests of modern technic will lead us back to 1. The metronome will give you an exact standard of have to be a prophet to see that some day when this say You will >! Ua ijy’ 'et k dictate what you shall the sublime simplicity of the beautiful and the true. and you will realise at once the truth and force of mus¬ meter and rhythm, and help to train your sense of time. marvelous amalgamation of Teuton, Celt, Latin. An¬ 51 and „atur ,1 Understoocl the better the more sim¬ with as light and quick a motion as possible. The other The question is whether such a genius is yet born. ply and naturally you express yourself. cular sympathy. The hands will naturally follow each Tri'my long experience as a teacher I have seen but very glo-Saxon, Czech, Slav and Greek is more ad¬ Every earnest thinker comes at the end to a place fingers are to rest lightly on the table. Hold the lifted other in the same direction, like a kitten chasing its few beginners who showed a correct natural sense of vanced, America may look for results in music far where he must say to himself, Thus far and no finger in its raised position while, with the tick of the “I say that music is an -in tail. This force is stronger in some persons than in even the simplest relative tone-lengths. Unless there metronome, you count “one, two.” Then at “three” beyond the fairest dreams of the most optimistic. farther! Wagner came to such a point and said: “The n from 1 bowels of Nature.”—Balzac. others, but it is always strong enough to make trouble is a strong natural talent in time-keeping, it is a long strike the table with the same finger, and with the the etude 304 , i wareroom, where the grand there, and we liad * gseives. Joseffy criticised- me for SOME IMPORTANT THINGS I LEARNED pianos are kept, to claimi„g: “Wie Sie laiifen, utmost quickness in movement. Repeat this over and IN GERMANY. playing too fast, and ke* ^ ^ yQU run ..Well - over, with the paper-test added, so as to make sure that none of the other fingers press heavily on the table, T a ?'know very well I play too fast but I can’t or in any way ‘‘stick a finger into the pie. -V • - „ent article ap- LSt •* “.«*»£: MAKE YOUR EXERCISES INTERESTING. (The first part of »*• »’• „ j lasI Jose*y ^ a ««!-, slowly Do not practice the concerto ^ ^ during that perj0d • This may not give you as much full as I used to —- have when I was your age and for four hours a day month.) permit yours^ Padvice (for I always obey my teach- practiced mostly on “Bonaparte Crossing the Alps. MASTERING A CHOPIN IMPROMPTU. ?! e?£etronome at a very slow pace and That was a great piece! (?) It was a great climb The first piece Tychowski gave me was •’ A the concerto four or five hours per day for a for both Bonaparte and myself! I have often wondered Souvenirs de Kieff, which I learned without t*ny hat tempo, resisting all temptations to see which of us had the hardest time. Probably it was I. , . ,, fast Not once did I yield. for 1 certainly worked longer than he, and with less to Acuity. The last piece he gave me was ^ When the week was up I indulged myself in the inspire me and with less knowledge of what I was trying Impromptu in C sharp minor, by Chopin. H g every note of it in the most careful manner, and , r of nlavinff the concerto fast, and I must say I to do. For this reason I want you, my boy, to follow showed me about the syncopation in matching .Free £Sastonished to learn how much I had gained through the better course that 1 am laying out for you. There¬ fore, keep at these foundation exercises until your notes against four, which he said everybo y. P y this discipline I consider the value of this suggestion hands are correctly shaped and your fingers are trained wrongly.” to make these very slow movements in the right way, 1°was enchanted with the beauty of the composition run away with them. If they then the moderately fast, and then the quick-as-possible and went at it “tooth and nail.” When I came to the pianst^ tQ follow it they will, like myself, movements. The exercises are laid out in such good lesson I played it all by heart, and expected my reap the benefit of it. order and so clearly explained in the book that Miss ter to praise me. All he said was: Th‘s pl<=« S ^ ;dea of practicing slowly for a whole week, and Proctor and you will have little difficulty in learning how to do them. . . When you practice, put your entire mind into it anil s s . frBfe isssstfs try to do your very best. Do not be careless and form a lot of bad habits. Bad habits destroy good ones and — — - block your progress. If possible, have Miss Proctor sit with you during these first days, until correct habits are formed. I could not play the piece if I had not been so ignor- piay i„ concert or at rehearsals in ensemble or with Your affectionate uncle, I could have retaliated, "but you don’t teach it tech- orchestras. They think that o e they a Edward. nkallyF' He“could play 'it, however, for, as I said soil there must be dozens of chances to rehear-, their P. Si—I intended to say that the «/>-movement of the shove artists use these movements instinctively, but concertos whenever they feel so disposed. Let rr ... . call a little experiencero whichwhirh actually occurred wv. hen I fingers must be as quick and as perfectly timed as they don’t teach them. the striking or down-movements. Often, when telling was studying in Germany, and which I cannot believe me to make niy work thoroughly good in every part, is uncommon even in this day. I was then at the your grandfather has quoted to me the old saying: Kullak Conservatory in Berlin and had prepared the “The strength of a chain is no greater than that of its first movement of a Rubinstein concerto with the weakest link.” With a little alteration, to make it apply view of playing it at an orchestral rehearsal. The fol¬ in piano-playing, I now pass on this saying to you. lowing is the account I gave in Music Study in Ger¬ “The speed in your playing will be no greater than its many: “I had been straining every nerve over it for slowest movement.” The movements, both up and down, several weeks, practicing incessantly, and had learned must be as-quick-as-possible, each as quick as the other. it perfectly. When I played it in the«c!ass the ,,ther day Not only does the speed of the playing depend upon this, it went beautifully, and I think that even Kullak was but the clearness and cleanness of the tones as well. satisfied. Well, of course, I was anticipating playing it Carelessness in not quickly lifting the fingers at the with the orchestra before an audience with much exact instant at which they should be lifted blurs and pleasure, and hoped I was going to distinguish myself. smudges the playing, making the music sound much as Music Director Wuerst and Franz Kullak (son of this letter would look if I were to brush my sleeve over Theodore Kullak) always take charge of these orches¬ it before the ink had time to dry. It can be done but tral lessons. I got up early this morning and prac¬ it is rather difficult to form, at the piano, good habits in ticed an hour and a half before I went to the conser¬ this matter, because the piano tone vanishes so quickly- vatory, and I was there the first of all to play con¬ certos. I spoke to Wuerst and told him I was to play. APHORISMS OF VON BULOW ON THE He said, ‘All right.’ Wouldn’t you have thought that PLAYING OF THE MUSIC OF BRAHMS. Von Bulow. he would have let me play first? Not a bit of it! He One should not get an idea that the compositions first heard the orchestra play a stupid symphony of of Brahms are stiff, ultra-classical and affected. I always felt grateful to him for being the first to Haydn. Then he began screaming out to know if Herr Many make this mistake. Some even play the show me how to study, although he did not go so far Moszfeowski was there. Herr Moszkowski, however, was exuberant Hungarian Dances as though they were into the principles of technic as Deppe did, because not there and I began to breathe freer, for he i - a fin¬ playing to a tea-party of blue-stockings. he limited himself to finger practice and did not include ished artist and has been studying with Kullak for years Brahms demands much in the way of a singing wrist training. and plays in concerts. Of course if he had played first it tone. The player who imagines that his style is I kept his carefully fingered copy of the Fantaisie would have been doubly hard for ...... muster up my solely for those pedantic players who have made him Impromptu, and finally I took it up again and studied courage, and you would have thought that Wuerst an affectation will be mistaken. We learn too little it very hard on Deppe principles. I was living in Chi- would have taken that into consideration. As Mosz- from singers. I advise you to go hear some such cago with my family then, where we had a; home, kowski was absent, I thought that I should he called artist as Mrqe. Sembrich. From her you can learn Once a year I used to invite my class to dinner, and up next, but another girl received the preference She much that will be of value in developing a singing we would all play for each other. My pupils enjoyed played extremely well and Wuerst paid her his cnmpli- tone at the keyboard. these social afternoons with music very much. ments, and then took his departure, leaving Franz In playing certain passages from Brahms one To return to the Fantaisie Impromptu, I said to my Kullak to conduct. Then one of my class played should think of Heine’s expression: “I see an ara¬ scholars, “1 am going to try to play this piece.for you. Beethoven’s- G major concerto most wretchedly. ‘At besque in each musical phrase.” I can’t play it, but 1 will try to give you an idea of it ” Ltf’... ------—- -last Franz- Kullak sang out, ‘We In order to get the proper idea of how to interpret I then played it. When I finished there was such will now have Rubinstein’s concerto in I) minor.’ I got a phrase from Brahms, or from any other composer burst of applause that I was taken by surprise, and up, went to the piano, wiped off the keys, which v for that matter, one must first of all see the melody eluded I had played it better than I thought I could completely wet with the nervous fingers of those who very clearly. Good musical declamation or expres¬ After that, from time to time, they would ask for that preceded me, and was just going to sit clown, when a sion depends very largely upon the appropriate and piece, but I never played it again. I had ‘‘got around young fellow approached me from the other side with distinct expression of the melody. the corner” that used to bother me, so I concluded I e same intention. ‘O, Fraulein Fay, you have the same Each Brahms work should be heard as a complete would rest on my laurels, and not break the illusion. concerto? Very well, you can play it next time. To-day whole. Generally it is a bad plan to play an impro¬ CELEBRATED GERMAN MASTERS IN AMERICA. a ?£* ,°“aTndJSo Plays it.’ Did you ever hear of such vised prelude. The only object of the preliminary i ii k°ped at least that the young fellow would prelude is to awaken and prepare the attention of I am afraid that a great many Etude readers suffer Surd'V?-1 and‘hat I should learn something, but lie the audience for the masterpiece which is to follow. from the delusion that music study in Germany is a Unless you have the ability to play preludes in the necessity. However this may have been at the time I £>■ rnd there 1 had t0 * through it all, with style of the masterpieces you determine to perform, studied abroad, it is certainly not the case to-day. no knnwinmgllnS &t my Augers’ ends—and now, there’s sons = J g WKen 1 sha11 Play it. as the orchestra les¬ better omit them entirely. The preludes which Aside from the many exceptionally fine American sons are so seldom and uncertain.” Beethoven and Moscheles played were ideal. teachers who rank with the best in European capitals, Brahms demands the closest kind of study in order there are many who have been born in Europe, ‘and to understand the composer’s inner meaning. I am who have settled in America. From one of these Rafael disgusted with those performers who insist upon Joseffy, than whom there is no greater virtuoso of his Iodic work of E”2f lnslght to the thematic or me- playing from memory compositions which they could type living, I received a lesson in slow practice of excep-excep¬ knowleiW mastef» without the fundamental not play really well with the notes in front of them. tional value. I asked joseffyry to' give me a lesson to which th 16 creative ancl formative processes There is entirely too much inadequate playing from on Beethoven’s cone G major. He agreed to “ memory. devote an evening t t Steinway’s. I t down of a trreat r glVe. an *ntelligible interpretation great work of musical art -Hans von Billow. w THE ETUDE THE ETUDE 306 Heinrich Schulze, Heinrich Barth E Humperdinck Carl Marteau, Willy Hess, Karl Heymann Ernst von Dohnanyi and others. Regular recitals by the THE STORY OF THE GALLERY pupils and by the faculty are given in which tne In February. 1909, THE ETUDE commenced the first of this series of portrait-biographies The hlCTheeb^QrapIhi2s "hale “been w!^ Rten5 byP school’s symphony orchestra (student) and opera company (student) take part. Of the 393 student- was an original project created in THE ETUDE offices and is entirely unlike any previous journals c in nf'deliohted students and teachers. One hundred and Garbett, and the plan of cutting out the pictures and mounting them in books has been followed by thousands 9 . , . , not be obtained in even so studying here in 1910, only six give the Unitvd States as the country of their origin. ... - sixty portrait-biographies have^ready been published. In several cases these have provided readers as practical, voluminous a work as the Grove Dictionary. The first series of seventy-two are obtainable in book form. 1 he Gallery will be commu -- The proprietory conservatories of Berlin, cruet ol which are the Scharwenka-Klindworth Conserva¬ tory and the Stern Conservatory, are conducted in n thoroughly progressive manner and occupy buildings LUDWIG SPOHR. especially adapted for their purposes. The Ameri¬ CARL CZERNY. CARL GOLDMARK. SfoHR was born at Brunswick, April can reputation of Herr X. Scharwenka has drawn (Tschair'-ne.) Goldmark was born at Keszthely, many of our fellow countrymen to the fine institution Czerny was born February 20, 1791, Hungary, May 18, 1830, and is of Jew¬ 5, 1784, and died at Cat.se!, November under his direction. at Vienna, and died there July IS, 1857. ish descent. He evinced musical talent 22, 1859. He played the violin when His father was his first teacher, but at an early age, and In 1844 went to he was five, and for a time studied COLOGNE. Vienna, where he became a pupil of with Kunisch, of the Duke’s orchestra. subsequently Beethoven instructed him, Those who think of Cologne as a manufacturing and the great composer was much im¬ Leopold Jansa. In 1847 he entered the J Thanks to the assistance of the Duke, many, It was founded in 1804 and is still in a flour¬ center or a cathedral city will be surprised to know pressed with the boy’s talent. Czerny Conservatorium and studied with Bohm he was able to study with Franz Eck It seems to be one of the failings of residents of § ishing condition. Its progressive director, Kgl. Prof. the great and good musical work accomplished made many friends, including Prince (violin) and Preyer (harmony). In ■ in 1802-3, with whom he subsequently very large cities to regard the art effort in smaller Max Meyer-Olbersleben, contributes an article to within its limits. The conservatory at Cologne was Uchnowsky, Beethoven's patron, and 1848 the institution was closed owing to went on tour. He was also much in¬ cities with contempt. For this reason we in America political disturbances and Goldmark .B founded by Ferdinand Hiller in 1850. The present the pianists Hummel and Clement!. He fluenced by Rode, the French violinist. hear but little of the educational work in German these special German issues. had to fend for himself. He obtained Drawing a straight line from Cologne to Dresden director is the famous conductor Fritz Steinbach. was to have gone on tour in 1804, but i His musical career was spent at Gotha musical centres except that undertaken in the most a position in a theatre orchestra in j on.the map of Germany, you will find the following his representative being Prof. Dr. Kiauwell, who has Napoleon was interfering with the (1805), where he met his wife; at widely known metropolitan conservatories, These, Raab, and when that town was cap¬ cities noted for the musical effort: Berlin, Dresden, furnished The Etude with the following information: peace of Europe at that time, and the Vienna (1812-15), where he met and however, while representative of the musical' edu¬ tured by the government troops he 8 The number of the scholars is about 728 idea was given up. Subsequently he severely criticised Beethoven; Frank¬ cational endeavor as a whole, by no means was arrested as. a rebel, and would During the last ten years there have been •E indicate the enormous extent of systema¬ only left Vienna three times, visiting have been shot had not a friend come fort (1817), where he introduced con¬ seventy-one pupils from the United States. Leipsic in 1836, Paris and London in i tized musical educational work in Gcr- to his rescue with an explanation. He ducting with a b&ton, and finally at So many celebrated musicians have stud 1837, and Lombardy in 1846. He was returned to Vienna in 1850, and worked Cassel (1822-57), where he was Court ied at the Cologne Conservatory that it soon immensely popular as a teacher While the machinery of the conserva¬ hard at orchestration and similar stud¬ M Capellmeister. He also toured Ger¬ is possible for us to name but a very few. in Vienna, and was able to refuse all tory often produces results which are of ies, gradually winning recognition as a ! i many, Holland and Italy. In 1820 he Among them are August Bungert, C. pupils save those who showed excep¬ composer. Goldmark spent two years the most welcome kind, the art of music visited England, and speedily became Heymann, E. Humperdinck, Frederick tional talent. His first work as a com¬ in Pcsth, but returned to Vienna in immensely popular as a virtuoso, con¬ is peculiar in that the individual merits poser consisted of Twenty Concert 1i .Corder, Fritz Volbach, G. Lazarus, Dr. 1860 to give piano lessons. He has re¬ : 8. ductor and composer. He produced ot (he particular teacher chosen are of Variations, and this was so popular Ludwig Wullner, W. Mengelberg. An mained in Vienna ever since, His : tj over 160 works, including 11 operas, 4 far greater importance than the building that he was fairly besieged by pub¬ ! a interesting conclusion may be reached by Sakuntala overture was produced at a oratorios, 9 symphonies, 15 violin con¬ or. the facilities surrounding the teacher. lishers. His industry, both as teacher examining the proportion of students at¬ Philharmonic concert in Vienna, in j « certs, and other works in all forms. Four walls do not make either a home or and composer, was enormous, and he tending the different classes in the con¬ 1865, and was greatly liked. This work, 1 Of all these only two of the oratorios. a conservatory. The people in it do. For produced over 1,000 published works, the overture, Sappho, and the .Country servatory. Four hundred and seventy- of which many single numbers con¬ t The Last Judgment and Calvary, and this reason it is possible for a school with Wedding Symphony are his best-known nine students studied piano; one hundred j three or four of the violin concertos the very highest reputation to lose its sig¬ sisted of fifty or more |>ieces. The orchestral compositions. His chief nificance and value as an educational in¬ and eight, violin; two hundred and forty- most famous of his pupils were Franz opera is his first. The Queen of Sheba. 0 retain any popularity. As a violinist Liszt, Dohler, Thalberg and Jaell. he ranks among the greatest of all stitution through some changes in the six, harmony; two hundred, singing; He has. nevertheless, written excellent i forty-eight, organ. It should be remem¬ Leschetizky also studied with Czerny, works in all forms, and is admittedly time. He played with great breadth faculty. For the same reason it is pos¬ bered that in most all European conserva¬ and in popularity as a teacher seems one of the foremost living composers, o and beauty of tone. Spohr’s Violin sible for teachers with pronounced talents tories it is necessary to take one principal to be his natural successor in Vienna. His works are remarkable for their School is still popular’ among advanced find strong personalities to exist in Ger¬ Czerny's technical studies are found warmth of orchestral and harmonic col¬ violin students. It is noteworthy that man cities notwithstanding the strong study and one auxiliary study. Thus in wherever the piano is taught, and his oring, and for the richness of their Spohr was among the first to champion conservatory competition offered. In sev¬ the above enumeration several of the influence on piano study is UUcalculable. melodies. the cause of Wagner. eral cases some of the most successful violin students may at the same time study teachers in German cities are Americans, piano or organ. One interesting aspect who by dint of originality, progressiveness is the attention given to wind instruments ami great industry have produced results of the orchestra. Thirty pupils are re¬ which have made some of the conserva¬ corded as giving (heir special efforts DR. LUDWIG WULLNER. COSIMA WAGNER. CARL OTTO EHRENFRIED tories envious. The American seems to be toward the mastery of these instruments. (Pronounced nearly Veel’-ner.) (Vahgner.) NICOLAI. a horn teacher, and his success in the One of the youngest conservatories in Dr. WOllnrr was born at Munster, Costma Warner was born December (Nik’-o-lyc.) stronghold of musical education abroad Germany is that in Kiel, founded in 19H8 August 19, 1858, and enjoys the dis¬ 25, 1841, and is the daughter of Franz Nicolai was born at Konigsberg, points to the excellence of the American under the direction of Dr. Albert Mayer- tinction of being the distinguished son Liszt, Much of her early life was June 9, 1810, and died May 11, 1849, teacher at home, which is often ignored Reinach. This is said (o be a very ex¬ ' of a distinguished father—Franz Wiill- spent with Liszt's mother, but event¬ at Berlin. His youth was unhappy, by those students who are obsessed by the cellent small institution with some two ner, the successor of von Biilow at the ually she went to live with the mother though he was well instructed in piano idea that a musical education must be hundred pupils. Court Theatre in Munich, and of Hiller of Mans von' Biilow. The chief inter¬ playing, and in his sixteenth year he obtained in Europe. Another conservatory founded quite re¬ at the Cologne Conservatory. Dr. Lud¬ est in her .career, however, rests in the ran away. He was befriended by a i Nevertheless, the German conservator¬ cently is that at Diisseldcrf under the wig Wullner was a student of philology marvelous influence she everted over man named Adler, who. subsequently ies represent a most astonishing and suc¬ direction of such able masters as Julius and kindred subjects at Munich, Stras- Richard Wagner. After the death sent him to .BeMin (1827V, where he cessful combination of systematic musical Butli and Dr. Otto Neitzei. This insti¬ burg and Berlin, and became a teacher of Wagner's first wife, Minna (nde studied with Klein, and also with the education and the pursuit of an ideal. THE ROYAL HIGH SCHOOL OF MUSIC, IN BERLIN. tution was founded in 1902. It now has in the Munster Academy in 1884, after Planer), Cosi-ma von Biilow—as she teacher of Mendelssohn, Zelter. From ' They are an expression of Germany’s two hundred and seventy-two pupils, five 1833 to 1837 he was organist at the national love for order applied to musical coming from America. No graduate taking the Doctor’s degree. In 1887 he then was—and Richard Wagner were Leipsic, Cologne, Halle, Hanover, Hamburg. Bremen, gave up his position to study at the married. The marriage proved to be Prussian Embassy in Rome. He then training Although a few revolutionary spirits such as well known to Americans.has as yet come from this Cassel, Diisscldorf, etc. In this district will also be Cologne Conservatory, and two year, one of the happiest in the history of visited Vienna, where after another Grieg, Wagner and others have belittled systematic school. short sojourn in Rome he produced music teaching, the German conservatories stand at the found Magdeburg, Posen, Breslau, Kiel, Stettin, later went on the stage at’ Meiningen. music. The .great composer and his DRESDEN. many of his light operas. In 1841 he Liibeck and other large cities less known by Ameri¬ His great histrionic ability speedily wife lived an ideal life at their home. foundation of the scholarly musical culture for which was appointed Capellmeister at the our Teutonic brothers are famous. cans for their musical activities. The Royal Conservatory at Dresden was founded brought him to the fore, and in 1895 he ■ Wahnfried," Bayreuth, which soon be¬ Vienna opera., where his services were Some years ago the writer made an extensive tour By reason of its rank as the capital of, the Empire gave up regular stage work in order to came the center of a musical coterie fifty-five years ago and has produced many excellent much appreciated. While in Vienna of Europe for the purpose of visiting the best known become a reciter. The following year that has become famous throughout and the importance surrounding an imperial court, graduates. It is now under the direction of Joliartnes lie founded the Philharmonic concerts conservatories in Germany. Owing to lack of space, he surprised his many friends by be¬ the musical world. One child was born Berlin naturally ranks first among the music centers Krantz. Among the distinguished teachers who for the purpose of giving adequate per¬ only a few of the leading characteristics of each coming a singer. For a long time there of , the marriage—Siegfried Richard given above. The city is one of the most magnifi¬ have been connected with this institution have been formances of the Beethoven sympho¬ school can be considered at this time, but those who has been a great deal of discussion as Wagner. He was born at Triebschen, cent capitals of the world, and as in the case of all Carl Heinrich During, the author of innumerable nies. On April 1, 1847. Nicolai gave a desire more detailed information upon this subject to whether Dr. Wullner really can sing, June fi, 1869. In honor of this event other modern German cities, the average American pedagogical works, and Felix Dracseke, one of the farewell concert in Vienna at which are referred to the articles mentioned above, which and he is sometimes referred to as “the his father composed the Siegfried Idyl visiting Berlin for the first time is amazed to find most distinguished of German composers and a Jenny Lind assisted in the production may be found in The Etude for March. July and singer without a voice.” Meanwhile in which he portrays his happiness with that it is not only quite as modern as the most pro¬ teacher of great merit. The number of students for ot some of the numbers from his opera. November, 1903; May, July and November, 1904; Dr. Wiillncr goes serenely on drawing consummate mastery. Since the death gressive American cities, but that certain 'well the past year was fifteen hundred. Twenty-three The Merry Wives of Windsor, then in May and June, 1905, and in other issues. huge audiences in Europe and in of Richard Wagner, Cosima and her planned civic attempts to beautify the metropolis came from the United States. Fifty-eight came from sou have continued to reside at Wahn¬ course of preparation. He was ap- particularly the eradication of objectionable adver Russia, fifty-six from Austria-Hungary and thirty America, for lie certainly presents the pointed director of the Domchor in THE CONSERVATORIES OF NORTHERN GERMANY. great German lieder in a way accom¬ fried. where they have superintended rising signs in the street, gives the whole a most from Great Britain. Six hundred and ninety-eight plished by no one else living. The the Bayreuth festivals. The Wagner the ooeTa M° C°,Urt CaPelln«i»ter at The conservatories of Germany may be divided isfactory effect. came from Dresden alone. Judging from this, we regime at Bayreuth has not escaped force of his personal magnetism, and Ifej Hls famous °Pera' Tl>e into two general classes: 1. State or Royal Con¬ The Royal Academic High School for Music occu¬ may assume that the idea that American students criticism, but the imperious daughter his unquestioned dramatic ability, com¬ 'M849^w^WaS,^0duCed on servatories. 2. Conservatories supported partially by pies one of the finest buildings ever erecteB for music contribute largely to the support of German con¬ of Franz Liszt has permitted no inter¬ ll®49, twMax Bruch, Joseph Joachim, progress. For this reason Dresden is filled with 309 THE ETUDE THE ETUDE tion to this, a knowledge of Harmony, as far as modula¬ 308 have a sugar-coating of melody. The end isolated and have a s ^ Js even some excuse tion is expected. DO NOT LET YOUR TEACHING RUIN Y(?UR In the study of the harp, the student is expected to many other schools and private institutions. At justifies the ere co’1]ections 0f scales and things by HEALTH. % have a proficiency in piano playing similar to that these institutions the rates are often as high as with suchm calling inappropriate tines; j «as “Waves of the Rivulet,”j ’ the most expensive teachers in America. Dresden described above. nr “Falling Dewdrops —or some arpeggios and In the study of the violin as in the case of the study is known as a luxus Stadt or luxury city. The cost octaves by the not very suggestive appellation of of living is as high as in most American cities, pro- WHAT IS EXPECTED OF THE STUDENT IN THE of the piano, no actual beginners are accepted. A Teachers do not seem to realize that teaching is fir preparation representing from two to three years’ work viding that the students desire to live in a similar here areTom^ who like drudgery and proudly tell manner. The idea that one can live and study a great tax upon their mental and physical energy. is required at entrance. Absolute mastery of the first us how they work till they fall off the stool. But GERMAN MUSIC SCHOOL cheaper in such a city as Dresden than in New York Those who do realize this make little pr°vlsl0n <;0 position is the least that is considered in this connection. neoole who are so strenuous often get technic at the has been exploded long ago. Few American cities restore the losses which the sedentary life of the In solo singing, physical and vocal qualifications are P P of art Those who say expression cannot be By PROF. MAX MEYER-OLBERSLEBEN SI can compare with Dresden from the standpoint of teacher causes. As a result we continually meet old, s generally deemed sufficient without further preparation taught are wrong. Everything can be taught, though Director of the Royal Conservatory at Wurzburg civic beauty. Its advantages in the way of opera, worn-out teachers who have become pedagogical ma¬ of a purely musical character. ' ' ie that everything has finally to be taught by concerts, art galleries, etc., are unsurpassed. For chines. They are the most forlorn, sapless hopeless ■ In the study of choral singing (sight-singing) this reason several noted composers have taken up individuals one can imagine. The joy of living, the e who learns. theory, and in other scientific branches of music study their residence there. gleams of human interest, the love for mankind and, fp such as musical history, beginners are accepted. How¬ worst of all, the love and devotion to their art itselt THE ART OF MEMORIZING. ever, if a pupil desires to enter the advanced classes LEIPSIC. seem to have parted from them forever. of a conservatory (such as the Counterpoint Class, Despicable and deplprable as this condition is, it BY EDNA JOHNSON WARREN. Dr. Herbert Wareing, the well-known F.nglish etc.), he is expected to indicate by the results of an is all the more lamentable when we realize that it composer, discusses the Leipsic Conservatory in most [Editor’s readily and intelligently as instruction is given solely examination that he has acquired a thorough proficiency is very unnecessary. The young teacher is apt to How few musical people there are who, when excellent manner in another part of these special in the German language. in the more elementary studies. inflict unnecessary drudgery in her work. We can¬ asked to play, do so readily without excuses. It is s"a “director,''is regarded as one of the foremost German issues. No conservatory has had a greater ^“ucators of Germany. Gifted with the power of interest- Pronounced musical talent with a very decided not, of course, expect to get I'esults in art without influence upon American musical development than a great treat to go into a house where there is ina pupils and making his knowledge wonderfully clear to manifestation of development in some special line, such BROADER MUSICAL CULTURE. a measure of wear and tear in corporeal tissue; but them, lie has attracted wide attention. He was horn near Leipsic. Before the educational advantages of this some one willing to sit down and play some pretty as performance upon an instrument, singing, or compo¬ we should endeavor to reduce this waste as much as Weimar m 1850. In 1877 he took the position of teacher of As I have said, all the musical institutions we have country advanced to the present high standard, this little melody without notes. Too long it has been counterpoint and composition at the Royal Conservatory at sition, is compulsory in all cases. Owing to government W irzburg. Thirty years later he was appointed Director discussed here demand, that in addition to the principal institution, founded by Mendelssohn and carrying possible. the custom for students when asked to play to or royal patronage, most German institutions are more Much of the physical and mental injury which of this admirable government institution. Under his direc¬ study taken by the pupil, he must also take certain with it memories of Moscheles, David, Plaidy, Schu¬ reply. “I never play without notes,” or “I have not tion the conservatory has prospered wonderfully and large or less independent, and no student is accepted unless teachers do themselves comes from becoming irri¬ auxiliary studies. The auxiliary studies depend to a mann and others, became the Mecca for most Ameri¬ my music with me.” This is more particularly the extensions of the faculty have been made necessary. He, there are well-defined indications that that particular tated over small things, and from the monotony aside from the fact that he was a pupil and, a protege of large measure upon the principal study selected. Only can music students. case in small towns and country places. Frans Liszt, studied at the conservatories of Weimar, student is likely to be successful in a musical career. caused by failing to provide sufficient variety in the when very important reasons are advanced can these Many of the cities of Northern Germany have The consequence of this is that the visit. - are Munich and Brussels. As a result of this and a life-long Entrance to the institutions is only obtained after an daily work. We must be willing to change our meth¬ often embarrassed at having a perfectly reasonable experience with the best conservatory methods in Europe auxiliary studies ever be dispensed with. These excellent conservatories. Hanover. Bremen, Ham¬ Prof. Meyer-Olbersleben is especially fitted to prepare this examination, and it is followed by a trial term sur¬ ods from time to time, and certainly avoid having a auxiliary studies are made compulsory in order to avoid burg and other municipalities have institutions which, request refused. The parents are embarra - d be¬ article, which should serve as a source of reference for rounded by conditions. If the pupil is unsuccessful in although less famous for the individual distinction of cast-iron rule for every kind of pupil. Without being cause their children, who have been perhaps -tiidy- many years to come.] a one-sided musical development, and also with the severe, we can still be strict. Without undue fuss over complying with these conditions of study, he may not the members of the faculty and for the graduates, ing for some years, are unable to play without their be permitted to continue for a second year. view of affording pupils an opportunity to grasp those maintain excellent teaching staffs and supply the trifles, we can still attend to details. notes. The children are embarrassed because they Like migrating birds, great flocks of students come fundamental principles which shall make their later musical educational needs of the communities in If you fail to get the right kind of exercise, food, are conscious of their shortcomings. And it their to Germany each year from all parts of the world— musical work more profitable, and at the same time air or recreation you must look forward to an uncom¬ which they are located. Among the present teachers teacher is present she is most embarrassed of all, particularly from America. They come principally to provide them with the ground upon which to build fortable old age; but, most of all, you must get regu¬ at Leipsic are Prof. Seth, Prof. Terchmiiller, Max because everybody thinks it is her fault, and she gain a fundamental knowledge of those studies in their special work in musical study later in life. For lar recreation. You must have something that you Reger, Prof. Klingel. feels that in some way she has failed in her work. which there may be insufficient opportunities for ad¬ instance, a knowledge of musical history is of great love to do which will take your mind completely off Every teacher should insist on memory work. vancement at home. We Germans with our patience, value in order that the pupil may gain the proper your regular work. If your teaching work is prop¬ SOMETHING FOR AMERICAN STUDENTS TO THINK Students are almost certain to say, “I can t.” at our peaceful, restful habits of daily life, our exact perspective. It is far better to have the advantage of erly done it will not be a “grind,” but any work pur¬ ABOUT. first, but a painstaking, energetic teacher will soon knowledge in all branches of art and science, seem to .this musical historical knowledge at the beginning sued too regularly becomes monotonous. be natural bony teachers, and because of these quali¬ find some way of overcoming this obstacle. rather than picking it up piece-meal later in life. Of Many American students are firmly convinced that fications many other nations have bestowed upon us the Students who begin to memorize from the first, paramount importance is a thorough understanding of all they need to win great success and enduring fame honorable title, “The Schoolmasters of the World.” HEALTHFUL STUDY FOR PUPILS. experience less difficulty than those who wait until musical theory. Musical theory I ant told has a differ¬ is a course in some European conservatory. They Through the kindness of the publishers of the widely Quite as important as your own health is that of they are older. Memorizing is often a matter of ent significance in America There the common meaning feel that the only place in the world where they could circulated musical magazine, The Etude, I am afforded do successful work is in some European city. There your pupil. The teacher has all stages of intellectual habit, and there are many people who unconsciously of the word embraces all theoretical studies such as an opportunity to present the results of my investiga¬ never was a greater error. The chances for success capacity to deal with. What is a task to one is play memorize well because they have always done so harmony, counterpoint, etc. In Germany it is generally tions of the statistics furnished me by the leading even in a European music center are limited. We to another. We must endeavor to adjust ourselves from the time they first began to study. T<. com¬ used in quite a different sense. ''-Theorie” embraces institutions of musical culture in Germany, with a view are in receipt of a record of two thousand pupils who to this capacity, and drill the pupil with a sort of mence memorizing after some years of study in¬ thorough technical instruction in all of the essential to presenting to Americans interested in musical edu¬ studied at a great European music school for the gentle firmness. volves a very considerable act of will. For those elements of musical knowledge such as notation, time, cation the main facts regarding the work conducted in twenty-five years ending 1903. In these two thousand The pupil’s personal cooperation goes far toward who are not in the habit of memorizing, the follow¬ rhythm and musical terms. This places the young the best German music schools. the directors of the conservatory called our attention securing the kind of mental attitude which leads to ing hints may be useful. pupil in the position to understand from his own per¬ There are in Germany and in German-Austria four to fifty whom they considered “famous.” Of these practice which is healthful. Practice which is resisted Upon opening the first page of the musi to be sonal knowledge the real meaning and technical signi¬ Slaotsanstalten or Government schools, namely: The fifty, not more than ten could possibly be known to by the pupil is always, a punishment. It is important memorized, look for any remarks or hint which ficance of the signs he sees upon the musical page. '■' oycil High School of Music in Berlin, the Riyal Acad¬ the music-loving public of America. Yet this school to awaken interest in the pupil, to get at the latter’s may be given. Observe the time signature 1 key. These are drilled into him in the most systematic emy of Music in Munich, the Royal Music School of is admittedly one of the very finest in all Europe. vulnerable point, so to speak, and strike there, in order Then follow the right hand for a few measures; manner imaginable. It is made a separate study, so Wurzburg, and the Royal and Imperial Conservatory The writer made a similar computation regarding to reap the best results. study the structure of all the chords; note the that every little mark he sees will convey the right at Vienna. Four other schools have the protection of the Leipsic Conservatory, which was published in Many physical conditions have to be recognized. fingering carefully, and try to “imagine” the nelody. meaning to his mind. To some American teachers the reigning nobility, namely; the royal conservatories The Etude for May, 1904. In this an estimate was Weak eyesight should not be overworked. Hands Then take up the left hand in the same manner. this may seem a tedious process, but it really results not at Dresden, Leipsic and Stuttgart, and the Grand Ducal made indicating that of the eight hundred or m

Arthur Nikisch, be considered—so must strength—and physical ruins S£n as nearly as P°ssible- If any do tional advancement that is required for the young men accurate knowledge of all of the major and minor the famous Hungarian master, when but seven years with spectacles and round shoulders and weary nerves fXf. r remember that it is better to This consideration of the German Conservatories who serve but one year in the voluntary military service. of age, heard the overtures to William Tell and The are neither healthy nor cultured and cannot be scales, together with the ability to play them flawlessly would not be complete if we did not look into the more teacher Vn thil00 “ peda'L Advice from a S' In exceptional cases of very pronounced musical talent, is absolutely imperative. Munich also lays great stress Barber of Seville played upon an orchestrion. He im¬ mediums for the proper interpretation of art. Tf caref. i S point Is well worth considering. material side, i. e„ the school fees. The following de¬ these requirements may be waived by the board of upon the ability to play the- Cramer Etudes. tails have been somewhat roughly assembled owing to mediately sat down and wrote them out in the form of We can, of course, take our exercises “a la homeo¬ Pi e Tt w i,\CCUrte effort is mad« to memoriz directors. The foreigner must, above all things, possess In organ study, the pupil must have acquired a similar the fact that in many institutions there are various a piano arrangement. path”—the. strings and chords of notes in a piece can be wTll contffi lb 6 K°Und that the act of memoriz will continually become easier with practice. a sufficient knowledge of German to follow the work ability in piano playing as indicated above, and in addi¬ changes of the general schedule bringing about some 311 THE ETUDE 1. Hold both arms forward on a level with the the etude . , „rof the convention, and through the 310 recital m honor the weii-known American shoulders (palms touching), then throw both arms national CONVENTION OF musi¬ kindness of M ;c(ent in Paris, Mr. Charles W. backward until the tips of the fingers touch behind changes in the rates charged. The rate given is the cal CLUBS. singer and g lectj0ns at the Friday evening (about 30 times). , 2. Bend the upper part of the body forward, anct The largest musical organization Clarke gave ^f™c0nventlon will be held in 1913 at ^BerhSinging, 300 marks; Wind ins,ru"ien‘‘•^°n" while in this bowing position turn the body around trabass, 150 marks; for all other branches. 2» C°Thfofficers elected for the next term are: slowly without moving the lower limbs from then- T‘ie Kinney, Denver, Col.; first vlce-prosl- Cologne: Singing, 450 marks; Violin, Violoncello, President, Mrs. J-E. K^^y Pol.tlana Ore. ; second vlee- position (15 times). Organ. Harp, 360 marks; Theoretical subjects. 300 flent, Mrs, Frev, Syracuse, X. X.; third vico- 3. Balance the body on one foot. Throw the leg prasident. Sir*. v^Je Edaar Cooke, Fredoma, N. ; rccord- marks; for special work in the advanced classes (Mets- president, Mrs. Frank W R,etz Chicago ; corresponding as far forward and as far backward as possible (20 terklassen) the rate soars as high as 650 marks. ing secretary, Mis. Gilmian, Memphis, Tenn.j treasurer, Important Observations Upon Piano Practice times right, 20 times left). Dresden: Singing. 450 to 500 marks; Instru¬ secretary, ‘ Philadelphia : Hbranan Mrs. Claude 4. Let the arms hang at the sides. Swing the arms fclafetog^ OktaTauditor, Mrs. W. A. Hinckle, Peoria, ments. Organ, Harp. Contrabass. 3M marks^Theory. By DR. OTTO NEITZEL in circles, of which the shoulder joint is the centre. 330 to 350 marks; Violin. Viola. Violoncello, 300 to 450 Ilk' ’ ■ , Keep the arms as near the body as possible (20 marks. The charges in this conservatory are »uJJJ«ct to Among the delegates who attended are: [A continuation of the excellent article by the foremost German musical critic commenced in many special conditions and those given here are only times). _ n Kelsev Mrs. 3. E. Kinney, Mrs J. Leverett, the first “ Music of all Germany” issue (April).] ‘5. Place the fists at the shoulder. Thrust the arms cer has given munificently for the support of various Ml'S- C. B, Kjfisw , K1 tz Mw. A. Frey, Mrs. C. 'm^rankfurt-on-the-Main: Singing. 400 marks; Instru¬ Mrs, G, J. A. Moll. Miss L. C. Elliot, downward, outward and then upward, each ten times. phases of the federation work. The federat.pn now D Stull, Mrs, F. D. M„ge w. M. Ltadsy, Mina E. Dalton, HAS PIANO TECHNIC ADVANCED SINCE THE TIME pendent in every sense of the word, until it acquires 6. With head and feet held in a stationary position, mental classes and classes in theoretical subjects, 360 embraces two hundred separate ^bs, These clubs OF LISZT? the same strength and swiftness of motion possessed Mrs. S.A. GBradley, S?n"et Mrs.Mrs J Fletcher. Mrs.Mw F.. \y.S. AWardwell,. Hinckle rotate the body at the waist (like the rotation of a were represented by delegates to the convention. The Mrs. G. V. Harvey, Mis m j, Walker, Miss In general this question may he answered in the by the other fingers. There is also a certain resil- top). m&U*psic: Singing. 420 marks; for all other branches. Mrs. 3. P. Walker. Mrs. ft. | s Bu,,gin. Mrs. F. E. States with the largest number of cl“bs negative. Liszt may still remain upon his high iency which can only be obtained when the upper 7. The upper part of the body remains in erect 360 marks; for each additional auxiliary study, 6U those in the Middle West and in the Southwest A - F. Fair. Mrs- A. Payne. j., u 8By M,„. M. Foard. Tausig more toward the technical side while Rubin- stroke), In polyphonic playing it should be within the feet as far as possible behind you, bend down and vention was a concert given by the P^Udelphia MW. I; Wrtc Q Bandford. Miss M. i: French, stein represents pure romanticism. Therefore we the pianist’s power to play with each finger of the to 400 marks; all other branches, 200 marks. Orchestra, under the direction of Carl Pohlig, in Miss G. Graf, Mrs, ._ McCutcheon. Mrs. ]i. L. Gan- up, supporting your weight with your arms. Weimar: Singing, 420 to 500 marks- Piano, 250 to can only speak of separate methods of piano play- hand with a separate and distinct degree of force, It is necessary to perform these exercises with the honor of the occasion. Several other smahe^con- ing. The polyphonic playing of Liszt as represented That is, we should be able to play a chord of three 320 marks; all other branches, 120 marks _ An addi¬ greatest possible care at first. The number of times certs were given during the week at halls m lltere" pffiNMfeNr & sa in his masterly arrangements of Bach as well as notes with the same hand, but with different degrees tional charge is made for each additional auxiliary study they are repeated will depend upon the individual. It parts of the city, and many excellent artiste (molt 0* a s rmtss.%?■» his exceptionally fine arrangements of the Bee- of force with each finger, one note should be played Wurzburg: Singing, Piano, 120 marks; Theoretic^ M» £• !• a™ livli Miss C. Girard. Airs. S. H. is best to start with a few times, and to increase as them members of the National Federation) partici thoven Symphonies which illustrate the attention he forte, another note messoforte and still another note Studies, Organ, Harp, Violin, Viola, Violoncello, 100 pated. Together with' lengthy business meetings, the body becomes more accustomed to the exercises gave to orchestral effects at the keyboard, must piano. Ideal as this condition may seem, it is not marks; Contrabass and Wind Instruments, 48 marks. receptions and sight-seeing, the time of the delegates by their daily repetition. Everyone should study this remain preeminent for all eternity. Further ad- one beyond human grasp. In the case of the arm All auxiliary studies are given without extra cost. was completely filled from morning to night with matter in all seriousness and find the number and vance can only come through the following; New pressure, only one degree of pressure can be expected Vienna: Singing, 500 to 600 crows (» crowo is matters of delightful interest. The convention was kind of exercises best adapted to his use. I have equivalent to twenty cents) ; Piano, 400 to 500 crowns pianists must arise who shall discover new artistic at one time, as only one body effects this pressure, pronounced a splendid success." 7 simply given those which have served me best in Violin and Violoncello, 400 crowns; Theoretica! Studies, One of the most interesting events was the distri¬ and technical problems and who shall write new getting my body in condition for the artistic tasks l compositions based upon these problems. This has preliminary practice conditions in ALL KINDS 300 to 400 crowns; all other branches, 300 crowns.- In bution of the prizes allotted for original musical com¬ have before me. the advanced classes (Meisterscltule) the fees go as already been done to a certain degree. Rosenthal OF pianoforte practice. positions. These may best be tabulated as follows: (In the next section of this article Dr. Neitzel will and Godowsky have found out new combinations There are certain conditions which should precede high as 800 crowns. Hodklnson, Miss t Atcheson. Miss B. Byril, M ». J. M. give some of the technical exercises he has employed Prague: All branches for residents of Bohemia are CXAKS, Recipient. Amount. and effects by means of the employment of sev- all pianoforte study and which are just as necessary in his own work as a teacher and as a virtuoso. A 250 crowns. For foreigners a rate of 400 crowns is Geo, W, Chadwick, of eral themes from known works. One has only for the performer upon other instruments and for I. The Best , t»wF« short biography of Dr. Neitzel appeared in connec¬ Orchestral Work. Boston, Mass.. • ITOO.OO to mention the Vienna Waltz Fantaisies of Rosen- singers as for the pianist. Above all things, the It, The Best Kxamplo first prise to Ikjry A. rts’SrpM»: tion with the previous installment of this article.) ChAlmost all of the conservatories have a regulation of Chamber Music. thal and the Godowsky treatment of the Chopin student should never estimate his own genius from by which the student is obliged to pay approximately ttWSitK Mrs. Becond prise to Henry r»: A\k Etudes. hi’s own studies. Genius is a gift of heaven. But one-half of the regular fee for more auxiliary studies L. Litchfield, Mrs. G. Hail. B, Stearns, of Colum¬ The most important of all the new pianists is, without work even genius does not. become really MUSICIANS WHO HAVE BEEN VERSATILE. than one That is. one auxiliary study is allowed bia, Mo, . CHIP tin Horatio Parker, of Vale in my opinion, Busoni, because he has paid more great. Buckle, in his history of civilization, calls free; if more are taken, half rates are charged. HI. The Best Song University. 330.00 or Aria with attention to the musical than to the technical ele- genius an endless aspiration. Aspiration is abso- BY HAROLD WATSON. if I have lieen successful in making clear in the fore¬ OrcJmstre. ■ ments. For instance, in his arrangements of the lutely necessary for the development of genius. It The Custer Memorial Prise going passage all of the many considerations pertaining organ works of Bach, and the splendid critical com- is even more necessary to those with little talent, for the Best Bong Bolo, The demands of a musical career are so onerous to entrance to any one of the German conservatories, The Brush Prize for merits in his edition of the Bach Well-Tempered .. First of all, we have to show that our art is founded the Best Vocal Number. “Mrpssr.-.rftoo.oo. that, as a rule, composers and artists have little we may then safely pass to the careful consideration Clavichord, he has opened the way to a new musical to a considerable extent upon physical exercise, and opportunity to develop their abilities along other lines of what is really expected from the German student land in which deep spiritual and musical ele- that everybody who will attain anything has to keep The judges determining the merit of the compo¬ The mere matter of memorizing nuisicul facts and after lie has secured admission. ments are always represented. On the other hand, his body healthy, because a healthy body is always Nevertheless, many of them have displayed great ver¬ sitions included Frederick Stock, Victor Herbert, experiences does not lead to a complete i- ieal edu¬ we must not forget that both Reger and Debussy the Supporter of a strong and gifted artistic will, satility, and have proved themselves capable of achiev¬ [Editor's Note.—Pro/. Max Meycr-Olbersleben. Henry Hadley, Emi! Oberhoffer, Dr, Hugh A, Clarke, cation, The student must classify his knowledge hi ing results in lines of work widely dissimilar from in the continuation of this valuable article m the next, Frederick Converse, Reginald De Keven, Arthur have brought several new elements into piano tech¬ such a manner that the right fact is 1. mediately music. Schumann, for instance, was an excellent issue of The Etude, will present some of the most Uergh, Rosseter Cole, Arthur Parwell, Adolph Wei- nic through their compositions. Just what the real general rules for physical culture FOR available at the precise moment when lie wants it. critic as well as a composer, and Berlioz also shone interesting facts, statistics and descriptions of study dig, W, W. Gilchrist, L. A. Torrens and Adolph technical significance of the works of these new PIANISTS. For instance, the student may study the entire in this dual capacity. methods 'ever compiled for an American musical maga- Frey. Miss Daniels is to be congratulated for win¬ o mposers is, considered from the standpoint of Too little stress is laid upon the simple rules for system of seales and acquire a “rote” 1 ledge of One of the most remarkable cases of versatility in 'iite Ju fact this article should serve as a permanent ning first prizes in two separate contests adjudicated their relation to the piano works of Beethoven, the conservation of good health. We follow the them, but unless he classifies these different scale a musician was that of Sir William Herschel, a Ger¬ source of reference upon German conservatory condi¬ by two different groups of judges, Schumann. Liszt or Chopin, the most pianistic of habits and traditions of our ancestors regarding our facts in sueh a manner that he can apply his knowl¬ tions for many yean to come ] One of the most interesting phases of the work of all composers cannot be estimated. . Nevertheless, physical being without permitting our own intelli- man organist, who went to England about 1757, and the convention was the discussion of charitable.and edge In the study of a new composition, bis work it is evident that a similar technical development gence to rule as it should. The pianist's entire day after living an honorable career as an organist at philanthropic enterprises which' many of these large- has been unprofitable. If the student mould see to that of the great masters mentioned has not should be devoted to the furtherance of his purpose, Halifax, and later at Bath, he manufactured a tele¬ A SCALE CONTEST. hearted ladies conduct in connection with their elul such a passage as the following; arisen during the last fifty years. Without ignoring from the moment he springs out of bed in the morn- scope with which he discovered the planet Uranus. work, Especially to be commended are the services the new school, the present articles have been writ- ing to the time when he retires. We also should not Saint-Saens, the noted French composer, has won BY NELLIE L. WITTES. of Mrs, Jacob Custer, of Chicago, whose interest in ten upon the basic principles of that great school belittle the importance of the daily bath as a tonic great distinction as an astronomer, and is also an young musicians of the Amateur Musical Club of that founded by Franz Liszt, which still retains its full for the constantly taxed nervous system of the authority on Egyptology. In this latter capacity he Why almost every music student—great and small city has been as practical as it has been sympathetic. importance to-day as in the past. pianist. Just how these baths should be administered reminds one of Sir George Grove, who compiled the —dislikes scales has always been a source of wonder The number of deserving charities which have been depends upon the condition of the individual and famous dictionary of musicians, and at the same time to me; but it is nevertheless true. A scheme to helped by Mrs. Custer’s energies and means is very he should immediately identify it as a section of the NEW METHODS AND IDEAS IN PIANO PLAYING. „pon the temperature of the season. If the student won great distinction as a bibliologist- Grove was increase the interest in scales which I have tried has great. scale of D flat major, and know that, if ordinary con¬ In the most recent times, a movement has been has a constitution not. sufficiently robust to stand- also an engineer, and this serves to remind one of the proved so successful that I decided to tell the readers The chief subject for discussion in the club work ditions prevail, the fingering usually applied to the started, principally through the book of Breithaupt, in the rigorous cold bath, he may employ the friction fact that Cesar Cui, the Russian composer, is a gen¬ of The Etupe about it. , , J ■ ,, of next year will be “American Musie and American scale of D flat major will also apply to this little which the independent action of the different factors bath with a coafse towel. Fortunately for America eral in the Russian army, and acted for many years Three months before Christmas each child was told Musicians.” The club programs and outlines of section. in piano playing is advocated, and in which special and England, these nerve-bracing friction baths are as instructor in fortifications at a Russian military that a “scale contest" would take place at our Christ¬ study under the direction of Mrs. F. H. Wardwell attention is given to the offices of particular muscles. quite commonly taken. Other European countries training college similar to West Point. Sir Edw-ard mas party and all scales must be learned well, as a In the study of harmony the mere ability to recite contain suggestions and idea6 for the systematic According to Breithaupt, this will tend to do away have not as yet learned of their tonic values. The Elgar, the English composer, devotes a large amount prize would be given for the best scale playing. A a number of rules and restrictions which theorists study of the subjects selected by the federation. with unnecessary exercises and shorten the time for pianist’s nerves are taxed constantly, and he should of time to chemistry. week before the contest each pupil was told what have placed around musical composition means little A resolution was passed at the convention demand¬ unless the student is familiar with the application practice. Notwithstanding the fact that several per- employ every possible means for keeping his body in Occasionally one hears of musicians who have been scale he would be asked to play for the contest, and ing the performance of opera in English by the great of these rules to specific cases. formers who have completed the work in other superb physical share. successful in business outside of music, such as de¬ you may be sure that that scale was learned well. opera companies. To this was added the proviso The average business man has a somewhat l|xe,l schools have seen fit to study this method and prac- After the cold or friction bath, the next in import- menti, who manufactured pianos in London, and When the pupil finds out how to make one scale that suitable translations should be procured before opinion of the trifling value of a theoretical business tice according to its principles, it is nevertheless a ance is daily gymnastic exercises. The following Pieyel, who manufactured them In Paris. Viotti, the sound well, I have found out that he usually tries the opera in English enterprise should be launched. fact that we cannot as yet see any great success in are the exercises I employ every day. I considcr violinist, also attempted a commercial career, and set harder to get the new scales to sound just as well. Translation of many of the opera texts could at best education. He wants the clerk who has actual busi¬ the new method, and, moreover, all the important them just as necessary for my artistic work as any- up as a wine merchant in London. Back was deeply And then it 'is easier to learn other scales when he result in little more than, absurdity, but possibly ness experience, not the one who bases his transac¬ pianists of our time still base their, work upon the thing I do at the keyboard. They are of particular interested in the manufacture of organs, and also en¬ has one perfect scale. The expectation of the next some methods may be devised for making some of tions upon what he has read In books, established school, the principles of which are: value when upon a concert tour and it becomes graved music. contest always gives impetus to the task. Altogether the inane and ridiculous plots and phrases bearable l heory ig necessary, but practice Is even more im- r. Make no unnecessary motion of any part of necessary to keep the body in especially fine condi- the “scale contest” idea has solved the “scale prob¬ in English. ' ,Tbe average student could read a treatise Quite a number of musicians have shown remarkahl - upon enjbel Uhmcntg througll ,n )egs lhan one hour. the technical apparatus. (Fingers, arms, etc.) tion. I make a regular business of these exercises, lem" for me. One of the most interesting features of the con- powers as painters and sketchers. Mendelssohn had. — Through the foregoing means the student and do them about three hundred times each every certs given was the performance of the prize-winning I ut i wo 11 take him months to acquire a classified wonderful ability in this connection, and in Mac should reach the attainment of the greatest day in the fol'owing order: One hundred times in The majority of great poets have no taste for music, compositions of G. W. Chadwick and H. Parker by nowUdge of embellishments which would permit Dowell’s early youth it was a question whether his talent possible independence of motion of all of the morning two hundred before the principal meal and take -Measure only hi trivial airs or childish songs; the Philadelphia Orchestra. The compositions of the auth'nrL, nte,rpr®t the embellishment signs with for drawing was not greater than his ability as a C ]be members of the arm and body employed or one hundred at noon and one hundred in the after- nay, even cultivated and intelligent men who think other prize winners received great praise at the PedMWy ? ?ffect' The same might be said ol musician. Sir Henry Wood, the celebrated English in playing. noon. For those who are less vigorous it would orchestra .conductor, is also a clever painter, whih they really love music, cannot realize Its immense other concerts given dnring the week. Mr. Ferley of musfc!.? ,ra* nS’ Thythm and every other branch Dunn Aldrich, well known to Etude readers, gave a Beautiful passage flaying, for instance, cannot be 'doubtless be better to make fewer repetitions at the Caruso, the .eminent tenor, has shown remarkable skill power —Berlioz. o th Tk' Do not s'-, with the knowled* accomplished unless the thumb has become inde- outstart. the facts—learn their application. in caricaturing some of his friends. THE ETUDE the etude 312 sELF.REXIANCEJN music study. NO SURRENDER WITH SONG AND JEST-1. V. FLAGLER by CHARLES E. WATT. This is a brilliant concert polka of interme ia e MARCH R. S. MORRISON [STUDY NOTES difficulty, effective and showy thro“ghoUthad the , ,-nild was learning to swim—and sup- Flagler both in his organ and piano pieces, ha SumstNC a c cion should hojd him up continu. a, 3 l\ON ETUDE MUSIC 1 n l s 3 4 £ 2 happy faculty of evolving popular melodies*",d JL_ pose that his moment allowing him really to A 1 8Jfi V, senting them in attractive gu.se, smooth and play ally’ whirfhe could'do it alone or not, would he By PRESTON WARE OREM able. This polka may be taken at a. ^™ie wrist. . see whether t)lere are who would go so far as it will require clean finger work and a s pp CVer Z.t heS would never learn until he was literally :=■- Ss- t0, Say WnIhe deep water with his instructor near > L,:i> > > 5 Jfr Jf- GRAND POLONAISE—A. im KONTSKI. LAUGHING BLOSSOMS-L. B. JORDA. f p foIThe purpose of rescuing him if drowning became I jg- I j I- r f Antoine de Kontski, a remarkable pianist in many This is a pleasing movement in schothsche BIS ways, was born at Cracow in 1817 and died in 1899. rhythm, by one of the leading Mexican composers. imHowndifferent from this idea is the usual piano He enjoyed the favor of the public for many years, It is a graceful composition, very melodious and lesion as administered to the beginner! For many and finally, at the age of eighty, made a tour around tastefully harmonized. Mr. Jorda is a cev, f “ a teacher sits with pencil in hand, counting the world. He was a player of the more popular original writer and will be heard from again. Tnd fm the pupil from the beginning of the lesson .— -i type, showy, but somewhat superficial. He is best twhe end sayffig occasionally, “No, you should play known, perhaps, as the composer of the Reveil du FADING DAY-C. W. KERN. F sharp instead of F,” or, “No, you should give only Uon, or “Awakening of the Lion," a favorite show¬ This is a tender and expressive “song without a half count to an eighth, instead of a full count etc., piece with many budding pianists. His “Grande Po¬ words.” which should become very popular Ihe or perchance, calling attention to each mark of ex¬ lonaise” is really a well written work, which should first theme should be played very smoothly »nd wit pression or of movement as it occurs, thus absolutely make an excellent concert or exhibition piece for a some freedom in the tempo. The second theme Preventing in every possible way the growth of inde¬ player somewhat advanced, and also serve as a line should be taken in a more agitated manner. pendence in the child. This all comes out of a wrong chord and octave study. It is an illustration of the conception of teaching-the fact that the teacher massive or grandiose style in piano playing. In play¬ NO SURRENDER-R. S. MORRISON. should work for the pup,l being substituted for the This is an out-and-out American military march, ing pieces of this type the best tonal effects are other and true reasoning that the pupil should be attained by a judicious management and application full of vigor and go. Play it in double time. 120 halt- notes to the minute, counting two in a measure taught to work for himself. _ of the weight of the arm rather than by main strength Each new exercise which is given should he so Imitate as closely as possible the effect of a tun and rigid muscular conditions. For the rapid octave explained and illustrated that the pupil can ( m defi¬ passages a supple wrist will he required. Do not hurry military band. nite words) reexplain it before he touches finger to or blur the passages, but play in a dignified manner, BETWEEN FRIENDS—H. ENGELMANN. keyboard. Each study or piece should he analyzed in with firm accentuation. The “Polonaise" is a stately many points before the actual practice hep .is. The This is a useful teaching piece for an advanced dance of Polish origin. It consists of a sort of key should be so definitely determined thai the pupil second grade or early third grade pupil. The grace¬ stately procession in which all take part. Polonaises can easily pass a pencil along the score and point out ful first theme affords good practice in legato finger have been written by most of the great composers, which tones are made sharp or flat. I ; teacher work, and the middle section introduces a melody for from Bach to Chopin, in the latter of whom the the left hand. Mr. Engelmann always has some¬ should not only point to any note in the niece and idealization of this form reached its zenith. expect the pupil to he able to determine at once thing interesting to say, and his teaching pieces > > > : “112-1 what number or parts of the count it will receive, but xi have attained great popularity. THE TROUT—A. NOLCK. also be able to take a pencil and tap the counts, point¬  > > bit of tone-painting, sprightly and capricious, as it the rhythm very steady and accenting well. m m fingering and observes the two essential touches— should be. yet full of original and taking melody. A CROWN OF TRIUMPH (FOUR HANDS)—F. P. legato and staccato. good recital piece and just right for a spring pro¬ ATHERTON. He must, however, be taught to look deeper, and to gram. \>V 3 8 * 0 A number of Mr. Atherton's duets have appeared determine for himself many other things. Instead of Tv* (*) ft) ' in The Etude and all have been much liked, but saying “phrase here” (pointing with pencil) and “play A. FOREST LEGEND—W. D. ARMSTRONG. "Crown of Triumph” is one of his best. It is a stir¬ faster” or “play softer,” the pupil should be made to This is a delightful characteristic piece, very season¬ ring march movement, with a genuine uplift to it, the do these things through his own observations and able and redolent of all out doors, suggesting the sort of a piece that starts one’s feet to moving. Play deductions. swaying of trees, the twittering of birds, and with an it in the orchestral manner and let the secondo Don’t count aloud for a pupil. Make him - mint for air of romance. The composer, Wm. D. Armstrong, player bring out the counter themes strongly. This himself. Don’t keep the place with your pencil. Let is a representative American musician, born at Alton. will make a fine opening piece for commencements him do that with his eye. Don’t, in short. . pect him Ill in 1868. With very little adaptation this piece or exhibitions. to swim if you hold him up so completely that there would make an effective number for the pipe organ. is not the slightest need of his doing any work himself. ANDANTE (VIOLIN AND PIANO)—L. VAN And a little later, don’t tell him the meaning of MOONLIT WAVES—T. W. RUSSELL. BEETHOVEN. every mark in the piece just as it comes along. Be¬ fore he really tries to play it with am agree of This is another characteristic piece, of different This i? the theme of the slow movement from the finish, go all over it with him; look up afi the dic¬ type from the preceding. In this number we find a celebrated “Kreutzer Sonata" for violin and piano. tionary terms; explain all the*marks; require him to single graceful theme used twice over with two sepa¬ This sonata is so called on account of its dedication to the celebrated violinist and teacher, Rodolphe reexplain them all to you; and then, when he really rate forms of arpeggiated accompaniments. 1 he Kreutzer. In the complete sonata this theme is fol¬ plays, don’t say “slower” or “faster” or “louder” or effect is peculiarly wavelike and rolling. A really lowed by a series of delicate and intricate variations. “softer” or any other of a hundred other possible poetic nocturne, the work of a promising Canadian The theme alone, however, is sufficiently interesting things.^ Simply say, “Do you think that movement is woman composer. From an educational standpoint, to be played as a separate number. It is well within right, or, “Have you observed vour dynamic signs this piece will afford useful practice in arpeggio the range of the average player and wonderfully as you should?” playing, also in the production of singing tone; fur¬ beautiful. thermore, it will serve to accustom students to a -this ’S tke difficult way to teach is certain: somewhat unfamiliar key (B major). There is an that it is soul-wearing is true; but it is the only right PRAYER FROM “DER FREISCHUTZ” (PIPE way, and you, I am sure, want to do the right way, unwarranted prejudice against the sharp keys °n tne ORGAN)—C. M. VON WEBER. part of intermediate grade students, which would be 'f 1 d°eS take more of your vitality than mere On another page will be found ipuch interesting sitting through lessons” would. advisable for teachers to endeavor to overcome. information concerning Weber’s masterpiece, “Der ou will never know what real satisfaction in your Freischfitz.” The “Prayer” is one of the most charm¬ playing.v • “ is;j until you cultivate self-reliance. InIn fact. M ARIOXF.TTES' WEDDING MARCH—B, V. ing of the many good melodies in this opera. As arranged for the organ, it will make a popular and SeF^Iv phl os°Pller> Emerson, says in his essay on GIANNINI. ./-Reliance: “Discontent is the want of self- This is a quaintly characteristic and very taking useful soft voluntary, with an opportunity for effective registration. infirmity the will.” Cultivate self- march movement, with a jolly lilt to it. The themes first stl an■ °ne which the ordinary games Pieces of the lul'.aby type are numerous; practi¬ ration. His new song, “She’ll Wear a Rose in Her thing wI cllP’ay, ,tt,e part' ]> ^ said that the only cally all composers write examples at some time or Hair To-night,” is a good specimen of his work, the difference a °U d r?use Verdi from his habitual in- other but once in a while one meets with a particu¬ refrain being especially appealing. passing thrmT8 ,ch'ifihood days was the occasional larly charming specimen. Such is the case with the Mr. Schmidt's “At Last I Knew ’Twas You” is an would fbllow^he^nsr"386 °f a" <)rgan-grinder' ^ “Lullaby” by Mr. Mal'ard, an American composer. artistic recital song, emotional in melodic contest carry him Tt ■ nstrument as far as his legs would very skillfully harmonized. Mr. Schmidt has not been It is simple and unaffected, but melodious and telling, old and famon? mt®rf tinE to note that when he was with just the correct rhythmic swing and not too previously represented in our pages, but singers will lengthy. Plav it quietly and with the singing tone. welcome this excellent number from his pen. t0 end his day’s ^ ^ retired t0 his native vilIagf Copyright 1911 by Theol Presser itinerant musidaiis^ n°ted f°r h'S kindness *° British Copyright Secured THE ETUDE 314 MARIONETTES’ WEDDING MARCH LA NOCE DE PIERROT ET PIERRETTE B. V. GIANNINl 
4 . 4__ 4 4i ^ » J--j: g: - 
" cr > t itt f-f = = =^=: u=M= r2 > v_|___ 44^ British Copyright Secured -- 5 Ht 14^ THE ETUDE m THE ETUDE CROWN OF TRIUMPH CROWN OF TRIUMPH MILITARY MARCH MILITARY MARCH 
Copyright 1911 by Theo. Presser Co. British Copyright Secured THE ETIDE THE ETUDE 321 THE ETUDE 3*20 ten. dolce ma mar cat o MOONLIT WAVES reverie T. W. RUSSELL Andante con moto M.M. J-=TO a 8. THE ETUDE 323 THE TROUT LA TRUITE THE ETUDE 325 
AMITIE WALTZ THE ETUDE 32? To Miss Bonnie Bradley FADING DAY REVERIE CARL WILHELM KERN Op. 222 11 1 z_ A I '""A 4l~Y r.rs ^. i - - - -r ^8. gj 
Aa/malo -== -pi* ppjF ± JL ± L S * > -T jfr- • r tr 4 2 —r' 7 _ YafrT 5 * * --I1--- * 1 L_ __ 
? 1 -— ^ > ~-r~—j ^— ■7^ u^t h*? , 8p£=|=^-3 —4-J-t.#4.= K A •>§: Ip: li: “ ‘ 
JJJJ JJJJ cresr. e acccl. 
Copyright 1911 by Theo. Presser C British Copyright Secured THE ETUDE 84» ETUDE 3*>8 THE GRANDE POLONAISE THE ETUDE 331 THE ETUDE 331) To D. It. Martin. Esq. LAUGHING BLOSSOMS A FOREST LEGEND THE ETUDE THE ETUDE (Swell to Principal Prepare]Great Diapasons 8 'Pedal Bourdon 16 PRAYER ANDANTE L. van BEETHOVEN, Op. 47 Arranged by from “DEB FREISCHUTZ” akthur HENRY BROWN C. M. von WEBER Andante m.m. J = 88 
3 2 THE ETUDE 835 THE ETUDE 334 feWT fr r r ir p r pit >~t p in.::.; ^ ’neath the glit-ter of wealth and light, The world will call her fair,_ A 
.-j-ijg JUb* S ■-=:ir— v IF* *—■-UL-f u- J —p- ,■„— Lc=/ft „ 7tT~T— :=£t * « -Am- * —, S3? r. t 
(ggi (r i --T-.-i r r ? = =m . —»r=\ r -^-pr=^=H-1 3 
 smile for each glance that fond eyes re-peat, While lip« whis-per wrords sweet and clea r, She’ll 
=jf h j .| « 1 « - . —4>- -4v-, i^—°=y=L_ /f f Y? • . w" 
^ j p rail._L_/TN 
 wear a rose in her hair to - night,While I am so lone - ly, so lone - ly here. / Lj L ^ -f f f • lU-*-J-ivT f f—-£ J LF :*3-- 3 3 — ( — .7/0 *p rail. 
L. .fa f 1 f f ■ ~yc; : .— =|-j-^—■ T-S --I mu r 11 a m j H I KNEW AT LAST ’TWAS YOU 
EDWARD G. SIMON 
British Copyright Secured THE ETUDE 33; 
 ten vital tests in finishing a piece. ing? Am I holding down the pedal “to make it loud” when the composer has marked a BY CAROL LINCOLN. pedaling designed to give “atmosphere,” or a blended tonal picture? Have I neglected How can the student know whether he has done all a con sordini or’ a una corda sign ? that can be done for a piece? One most excellent IX. THE TEST FOR HISTORICAL TESTED ADVERTISING. way is to consider the piece from every standpoint. PROPRIETY. A chemist in testing an unknown compound will ex¬ Do I understand how music of the epoch To the Editor of The Etude : amine it from the standpoint of weight, density, fluid¬ in which the piece was written was custom¬ I have been much interested in the articles on adver¬ ity, or friability, often before he attempts to analyze arily played? Am I playing a piece written tising which have appeared in The Etude front time it. with a view of determining the chemical elements in the era of the harpsichord as though it to time. While I agree with most of them, my own of which it is composed. was written in the era of Liszt, Rachmaninoff practical experience has shown me that the form of Many pupils work entirely in the dark. They blun¬ or Sapellnikoff? Do I know the musical advertising by means of circulars is superior to news¬ der through their compositions, and after they have characteristics of the composer? paper advertising. I do not -refer to magazine adver¬ worked upon a given piece a certain number of times X. THE TEST FOR “EXPRESSION." tising, but to real newspaper advertisements. The only they pass it by as though completed, without even Am I following the expression marks given seriously considering it from the many sides which really valuable newspaper advertising is obtained by by the composer? Do I know whether he reveal themselves to the trained pedagog. No worthy a sort of “scratch my back and I’ll scratch yours” intended it as program or illustrative music musical composition is effective unless its various process. That is, you contract for so much space and Mendelssohn’s Spinning Song, Jensen’s The phases have been studied separately and treated then obtain either favorable or at least not unfavorable Mill, Beethoven’s Pastoral Symphony, etc.), properly. comment in the news items. It would probably pay or was it written simply as pure music This detail work is a part of the process of original to use the news columns for advertising if one took the (Bach’s Fugues, Brahms’ Intermezzos, etc.) ? study. When the piece is played as a whole in its time to word it so as to disguise the fact that it is an Do I see the picture the composer saw? finished condition these details have become so care¬ advertisement. The pupil who makes a copy of the headings of the fully and thoroughly developed that they become sec¬ As I was manager of a floral establishment which above (printed in capitals) and makes an occasional ond nature, and demand little special conscious control test of the leading pieces he is studying, he will reach went “by the board” during the panic of 1908, it became during performance. a degree of perfection never before attained in his necessary to change my business or my location. I had The following is a series of tests which any ad¬ work. Write the headings out on an ordinary sheet taught music before my college days and rather liked it, vanced student may apply to his work with profit: of paper, and as each step is tested and mastered cross so decided to reenter the profession. My only anchor¬ I. THE TEST FOR NOTES. off the heading. Never pass from one heading to the age was my church position, which paid me $3 per Sun¬ Is every note exactly as it should be? next until you are very sure that further progress is day at that time, and the post of organist in our This is the simplest of all tests, but it not impossible at the present. Masonic lodge, which averaged half as much per infrequently happens that a careful student week. I secured the supervisorship of music and makes some little mistake with an accidental drawing in the local schools, devoting one day each and play the mistake over and over until it week, at $20 per month. Through this position I secured becomes a part of his conception of the piece. The Last Message several private pupils, so that the salary was net. T We know of one very talented young man of the next went to another city, and arrived at the psycho¬ who learned the Bach-Saint-Saens Gavotte logical moment when the former pupils of a deceased in B minor, in the key of B major, and was Famous American Virtuoso musician were anxious to secure a new instructor. amazed to find that he had never considered WILLIAM H. SHERWOOD Since January 1, this year, I have also had more public the signature properly. school work, gaining a few additional private pupils. Shortly before the death of the distinguished II. THE TEST FOR TIME. American pianist, Wm. H. Sherwood, THE ETUDE I employed a practical circular and plans similar to Is the time exactly as the composer wanted learning of what was then believed to be but a te ro- those expressed in the valuable articles of Mr. George it? Am I taking my own tempo or am I porary illness, requested Mr. Sherwood to devote C. Bender (from the Business Manual for Musicians), some time during his convalescence to the prep¬ and have had excellent results. Until 1 get in a posi¬ following the tempo which the finished pian¬ aration of a special article. He replied that he ist would demand? Many young players are was too sick to consider the matter at that time. tion to employ legitimate musical magazine advertising, all at sea on time. They either play too fast A few days later he wrote that he was able to sit my circular must suffice. I feel that I have succeeded up in bed for a short time, and felt that he had an remarkably well, and below I give my income for the or too slow, and when they hear the piece important message to communicate to American played at the right time their jaws hang in music students upon the subject of Rhythm. He first year after I reentered the musical profession. astonishment. also wrote that he felt impelled to do this as he Doubtless all those who employ the ideas which was sure that one of the greatest shortcomings of Mr. Bender suggests can do equally well. III. THE TEST FOR RHYTHM. students lay in their failure to place sufficient Is the regulation of the recurrence of the stress upon Rhythm. Shortly thereafter we re¬ September $4000 accents as demanded by the type of the piece ceived his article, “The Spirit of Life in Music- Rhythm.” We little realized at the time that Mr. October . . 79.85 exactly right? Am I playing a mazurka so Sherwood had written it upon his deathbed. It November 100.00 that anyone hearing it might think that I was indicates the virility of his mind to the very end. December trying to play a valse? Is that polonaise This last message of the renowned American 89.00 artist and teacher will appear in January . 96.75 played with such little attention to rhythm February THE JUNE ISSUE OF THE ETUDE 107.67 that it loses its national character? The March rhythm test is one of the severest of all, and 107.50 many advanced players “fall down” upon this Few businesses in which a young man located in a important point. small town might engage could show' a larger profit in STUDYING HARMONY AT HOME. TV. THE TEST FOR PHRASING. the first year. An: 1 making the meaning of the piece It is not certain, but a student can study harmony I have been excessively idealistic in my day, but my clear by observing the phrasing in the man¬ from books just as well as he can under the direc¬ business experience has made me more practical. I ner intended? Am I forgetting that the im¬ tion of a teacher; and a poor teacher, one who do not look upon good business methods as inartis¬ pression I am making must be upon the ear makes the subject obscure and dry, is worse than tic or unworthy of adoption. I believe in publicity, if of a- listener?. Can the listener hear the no teacher. If one studies harmony by himself, or it is dignified, and free from extravagance or bombast. • proper phrase division, or am I making my with one or two companions, it is well to have two I also believe that when one cannot speak good of a piece a muddle of mixed sentences? or three text-books by different authors, take up a rival that silence should prevail.—/. (7. subject and see what each says on the subject, and V. THE TEST. FOR ACCENT. then work out the solution until the whole matter Have I investigated the proper execution is understood. One can go from one branch to an¬ of the accents? Do I realize that phrasing other—from scales to intervals, and then to triads and rhythm depend very largely upon getting in their various forms—and reach the knowledge of the right accent in the right place? . all in the spare time of one winter. It is worth 1 r c ,—, -v -iicni Ui leacinng tne treoi VI. THE TEST FOR DYNAMICS. giving that time, too. There are many excellent clef first and the bass clef afterwards for the follow Have I estimated the gradations of force text-books to be had now, and many new ones ap¬ mg reasons: demanded by the piece itself as a whole and pearing every year. The study of theory should 1. Many pupils who learn the treble first and wh. by the dynamic marks (cres. dim. forte, not stop at harmony, but should go on through have had numerous treble clef parts in duets to pla piano, etc. ) which the composer has inserted, counterpoint and form. One who proposes to use are amazed and discouraged to find that they have ii or have I left these very important matters music professionally should carry theoretical study front of them a still more difficult task to chance or to the fatal “inspiration of the as far as possible. He may bear in mind, however, 2. Most pupils study music for but a very short tim moment.” that all knowledge is comparative. He can never at the best, and the custom of postponing the stud VII. THE TEST FOR TOUCH. know all. More than that, the new things in music, of the bass clef often leaves some of them with Am I sure that the touch I am employing the new discoveries in music, will keep one at some half-way training which only proves an annoyance. is the touch indicated for a given passage, phase of theoretical study all his life.—Tubb. I think that it is much safer for the teacher t and am I sure that this touch is the one teach both the bass and the treble clefs together. designed to give the best results? Am I It sometimes takes a long time for a composer to Mrs. F. R. McGowan. neglecting staccato or portamento marks? he discovered. Waldteufel, the celebrated composer VIH. THE TEST FOR PEDALING. of some of the most tuneful waltzes ever composed, Have T followed the pedal marks as indi¬ published his first works at his own expense. They Music and theology have often gone hand-in-ha Gounod went through a course in theology wl cated? Do I really understand what I am were so successful that he finally devoted himself to trying to effect in employing a certain pedal¬ composition entirely. lasted two years, and it was generally thought would enter the priesthood. TH E ETUDE 339 338 THE ETUDE come his faulty muscular conditions, but he must the successful artist (!) in this direction how to contract the soft palate in remember that he has been several years acquiring is he who maintains just enough to order to close the passageway to the them Unless willing to undergo a severe treatment' make people believe that the quality nose except when sounding the legiti¬ similar to this I have outlined, he will never overcome was always natural to his voice. Some mate consonants. He will first have teachers take this view of it, and there¬ to learn how to keep it closed while pronouncing words in which it should fore make no attempt to eradicate the FOURTH GRADE. be open, “m’s” and "n’s” becoming “b’s” defect. and “d’s;” to be able to talk at will t hivp one pupil who Is about completing work The remedy for the “choke” is first in fourth grade by Czerny and is studying Haydn as though he had a bad cold in the sonatas1 Would vou advise taking up parts of the to rouse the singer to a realization that Tempered Clavichord of Bach? Would the head. The contraction of the soft it u a defect, and then teach him to RENEWING MUSIC STUDY AT 27 YEARS. palate is conclusively proved by the FINGERING SCALES. “let go,” to stop doing something ability to prevent sounding “m’s” and which is as unnatural and as unneces¬ In the February Issue of The Etude you speak The Well Tempered Clavichord is much too diffi¬ “n’s” in a whole page of reading matter. of not having seen rules of fingering the scales lu sary in voice production as a child’s print that would fit any considerable number or _. Mozart Sonatas anil compositions of a cult to use during this, stage of progress. It should This should require only one command keys. Do you uot regard the rules given In similar character. At 27 I asain wish to take sticking out its tongue when first try¬ of the will—not a new admonition to Mason’s "Touch and Tecbule,” Volume II. page ai, up my music seriously. Although seven years not be used until after the pupil has completed THE TENOR. that he doesn’t know how to sing ing to use a pen. One of the best have elapsed since my last lesions, yet I have Cramer and Clementi. Some do not use it until after the soft palate every time a nasal con¬ as answering? I have used these rules as covering kept my wrists and fingers supple. I take Thb ’’falsetto;” and quite naturally so. for exercises is the open, shallow “a” as all necessities, except certain minor scales, Where Chopin’s Etudes have had' preliminary study. For sonant is approached. If real control certain differences occur. 1 will Jot these down. Etudio and rarely find the compositions therein BY J. C. WILCOX. what is'“falsetto” in other men is in in the word “hat,” first spoken at about I do not understand why Mr. Mason did not see too difficult for me. I read well at sight. Can this grade of study you should use first Bach’s has been gained, the soft palate is con¬ the necessity for these exceptions. But I think his you give me any Ideas of my chances for success, his case a vibrant, resistant upper reg¬ the middle of the compass, then sus¬ tracted at the beginning and does not how long Is It likely to take, and whether or not Little Preludes. Next Bach’s Lighter Compositions. When a tenor applies for help with idea of definitely fixing the place of the fourth ister. He has no “falsetto” unless fu¬ taining the tone upon the same shallow relax until the end of the test. It is finger as occurring only once In each octave makes you would advise the attempt? My love for music to be followed in Grade VI, in Standard Course, by his high tones the first question to be the fingering clearer to the average pupil. has grown, and I wish to become a professional sings above his “high c.” On the other vowel sound. It will take a great deal as though “m’s” and “n’s” were impos¬ musician.” C. M. the Two Part Inventions, and in Grade VII by the settled is whether he produces them in. Exceptions In fingering minor scales: hand, the tenor who has been in the of patience and many attempts before sible of production owing to a path¬ F sharp minor. It. II, Melodic, fourth finger Three Part Inventions. The Sonata. Album you will the upper register or in the lower reg¬ on D sharp; Harmonic, fourth finger on fl sharp. I assume that in becoming a professional musician habit of carrying up the lower register he can realize the difference in sound ological impediment. The impediment, find most excellent. For technic the constant ister carried up. If he has a good high C sharp minor. It. II.—Harmonic, fourth finger it is your desire to become a teacher rather than is keenly alive to the difference be¬ and muscular sensation between his however, exists in the soft palate itself, on D sharp. practice of scales, arpeggios, chords,- octaves, etc., voice, what Is the use of knowing this? E flat minor. L. H.—Fourth finger on third note. a concert pianist. In regard to the latter I would tween his “regular voice” and “fal¬ free production -in speech and the which is rendered by will temporarily should be kept up. As a compendium of such ex¬ In order to give an opinion as to the setto;” and where this difference can B flat minor. T,. II.—Fourth finger on sixth note. say that unless you have the most extraordinary “choked” production in singing; but, immovable. A flat minor. V.. IT.—Melodic descending, fourth ercises there is nothing better than School of Technic, class of work he will be able to do, a finger on seventh note. E. I,. B. talent you are not likely to become a brilliant player be brought out in connection with the granted intelligence on his part and The control thus gained is to be ap¬ after twenty-seven. With the exactions of modern by Philipp. second tenor, while young, may be able other tests the evidence of his using painstaking illustration by the teacher, I had forgotten the rules of which you remind hie, plied in all singing, making the tone piano music, and the brilliant results achieved by to carry up the lower register and sing the lower register in the production of success is certain. because for many years I have given the scales BROKEN CHORDS. pass through the mouth only, the soft so many whose names are now great, the highest successfully music that will be impos¬ his upper tones is conclusive. There are some people who oughtn’t entirely by dictation, using the Mason as a book of palate relaxing for “m’s” and “n’s,” but aims cannot be reached unless one begins when Will you please explain how to play a broken sible for him a few years later, when A good many second tenors could, to try to sing. It is too subtle and reference, not allowing the pupil to refer to the notes chord? I have noticed some play them fhev returning to its former position imme¬ young. But this is not all there is to the musical he should be in his prime. Where he with the proper practice, repeat the delicate a mental process for them. in any case. After learning the formation by means do scales, lifting the fingers after each i diately the word containing them is profession. There are many excellent musicians who raising the hand high a* has no ambition beyond choir or small process which was carried out so suc¬ This kind of an applicant with a of C major it is a simple matter for even a small finished. do not play any better than you, granting that concert work, the lower register can cessfully in the case of Jean de Reszke “choke” is hopeless. If in ten lessons child to learn to build the scale on any key that may We have thus dealt with some of the you can give a finished performance of the selections generally be trained to a point sufficient —and other tenors not so well known or so he has no glimmerings of an be given. You will say—this has nothing to do with more important defects or limitations you mention. With thoroughness of study I see no for his purpose, but he must not expect —and develop “to order” that upper awakened consciousness of tone quali¬ the fingering. True, but the reason for not using This depends upon whether the pedal is used or not. of the vocal student, not in the expec¬ reason why you should not become an excellent to. be equal to oratorio or opera after register upon the possession of which ties, then he’d better learn to play the the Mason rules follows out of this. They are, in my If the dampers are raised from the wires which you tation that in so short a space enough the. age of thirty-five or forty, nor will the true high tenor voice depends. mind, too complicated and confusing for young teacher, and at the same time play exceptionally well, know is effected by pressing the foot on the pedal mouth-organ. If he can learn to sing could be said to make all the points any.new scheme of “placing” the tone This is to be.advocated whenever the a clear, shallow “a” as in “hat,” how¬ pupils, whether small or large. The rules divide the even if not from the virtuoso standpoint. Many to raise them all at once, it will make no difference perfectly clear, but rather as a sugges¬ who would never dream of rating themselves with differently give him ease and staying transition from one register is com¬ ever, he can be led on to “a” and the scales into three classes. This will do for an with the resulting sound whether the hand is raised tion of how to study. The deeper we power above f. paratively smooth and there remains advanced pupil who already has some familiarity the virtuosi, at the same time play well enough to from the keys or not. The sound will continue as other vowel sounds, until finally the go into singing the more fascinating Tenors often speak of the upper enough power in the upper register with all the scales, but they would mean little to a take part in local concerts with much more than long as the pedal is kept pressed. If it should be whole voice will be absolutely free. does it become; and a realization that register when, in reality, they are only to promise a successful development in pupil who knew none of them. It is difficult to ordinary success. They can also accept a position necessary to change the pedal during a given chord, Nasality in singing is much too fre¬ we carry around with us a musical in¬ “closing” the lower register at e or f a year or more. The only recourse of classify knowedge that a person does not possess. with a concert company, if they so desire. I see you will be obliged to hold the keys down with quent nowadays to speak well for a strument of wonderful possibilities de¬ no reason why you cannot make for yourself a and carrying it up. A change of register the tenor who does not possess a True, he learns this unconsciously while proceeding your fingers. Whether the keys should be held science of singing unless, indeed, it is manding only intelligent application to fine place in the profession in this manner, if you means a different mode of vibration of usable upper register and is too old to from one key to the next, one by one, but the fol¬ down or not often depends largely on the context. put into voices on demand. Perhaps disclose them is the strongest incentive give yourself up to it with seriousness and earnest¬ the vocal chords,'and to the man who develop one is to properly “close” and lowing which I use involves no classification. When the public is expected to enjoy that to cooperation with the painstaking has once had his attention drawn to carry up the lower; but he must be a student has learned the fingering of the scales he ness of purpose. As to the amount of time it would adroit admixture of nasality with the vocal teacher and an inspiration to all PRACTICAL HARMONY. it there is an undeniable sensation of instructed to “close” at the proper quickly forgets all classification, remembering the take, I am not in a position to help you much, as tone which is the usual result of the those who seek a complete outlet for I cannot tell how rapidly you might advance when How can harmony be made of practical use? At change in the way the tones are made; point, and—in order to keep the tone teaching of “nasal resonance.” its fingering of each in a thoroughly unconscious, present I can do nothing but write exercises labor¬ they seem to come from a different the music in their souls. almost automatic, manner. The rule in regard to the giving yourself up unreservedly to your practice. iously. L. L. as free and powerful as possible— advocates will assure you that they point in the throat, like the “head” fourth finger being used only once in each octave is The degree of your advancement in playing would with as much shading toward the open don’t teach students to sing through tones of the contralto, when contrasted excellent, but in my experience causes some flounder¬ depend upon your power of application, your in¬ By learning to work out all exercises at the key¬ adjustment as is consistent with clear the nose; but, all the same, this is dustry, your ability to concentrate your mind upon board and continue the practice of them until you with the “medium” register carried up. pronunciation and musical standards. what a number of their students suc¬ ing at first, if used alone. It is obviated by adding If at the voice test it is found that the following, which seems easier to the unaccus¬ your work, and the amount of your natural aptitude. can play them easily and freely. Learning to write The trouble with “closing” in any voice ceed in doing. From many sources the'-student has difficulty in singing tomed pupil who finds the whole problem of the These are matters concerning which no one can is only half the battle. It is difficult, to be sure, is the liability of getting too much of one hears that such and such a singer above f or g the evidence is strong scales vague. I spend several weeks on the, scale advise you without personal contact. After this but you must continue to work at the exercises in a good thing. One hears singers' of “has a good voice, but sing's through '-*» w supreme, ana in¬ that he uses the lower register only. of C, working for position, etc., after which its finger¬ comes the endeavor to work up a business, and your the first chapters until you can play them as easily both sexes who have been trained on the nose,” or “he sang well, but I deed many of the masters of the much If it is discovered, however, that he ing is thoroughly learned. G is learned in a similar success in this will be largely dependent upon your as you do pieces you have learned. I do not the “closed” vowel sounds so continu¬ didn’t like the nasal quality;” people, maligned “old Italian School” stated has always been able to sing to a, b Hat manner, by which time students may. be ready to personality, and the energetic manner in which you mean you must play the exercises you have written, ously that the whole voice from top to these, who have never heard of the their preference for this voice above all or higher, without strain and without pass on more rapidly to the other keys. In con¬ devote yourself to your duties. In the business but you must learn to add the three upper parts bottom is "squeezed in,” the actual misnomer “nasal resonance,” as well others, and considered the bass, tenor, the voice breaking, it is equally prob¬ structing the scale from the formula that they have side of one’s affairs everyone has to work out his from the bass given, or {he three lower parts if a production of the voice interfered with as those who reprobate its teaching. alto and baritone as the inferior voices’ able that he changes somewhere into learned, they find it easier to do so by building or her own salvation. Bender’s recently published melody is given. A thorough understanding of the and the words unintelligible. Of course there are others who speak The range or height of pitch does the upper register. If he is conscious upwards with the right hand alone. As soon as they “Dollars and Music” will be invaluable to you in chords must first be gained by writing, then also Tenors ought to be able to sing a with unction of the great improvement not determine the nature of the'voice of the change or if there is noticeable know the notes of the scale, I tell them that in this latter connection. work them out at the keyboard. You should also good lo-w c and d. Many are unable to in some voices: “Now that the nasal as many seem to suppose. The quality’ to the ear a difference above f or g, the order to learn the correct fingering they may let study out the harmonies in hymn tunes, gradually do this, because they make no use of passages are being used; makes such a timbre or tone-color of the real soprano evidence is conclusive that the upper the thumb fall on the white keys next above the t HEAVY TOUCH. progressing to more difficult music as your knowl¬ the lowest registe-. When these tenors brilliant and carrying tone, you know; is peculiar and unforgettable. It is register is used. If the range is high black keys. They find it simpler to keep track of edge increases. are trained to depress the larynx for wonderful teacher,” etc., etc.; but they quite different from that of the mezzo- but the change not readily apparent to their lowest tones the ease of produc¬ the fingering by means of the thumb that strikes attribute a real improvement in the soprano, although some mezzo-sopranos either singer or teacher, it may take a tion and increase in power are manifest twice in the octave, than the fourth which is used You will first have to secure the willing and hea MINOR SCALES. general performance of a singer who are able to sing higher notes than some but once. In the twelve major scales, C, G, D, number of tests (b determine just how alike to singer and listener. has studied with some such teacher to cooperation of your pupil. Any amount of effort ‘.‘*1 Should a pupil learn both harmonic and the upper tones are produced, whether sopranos. The dearness and bird-like A. E, B, F sharp, (or G fiat), D flat, A flat. E flat, your par.t will prove fruitless unless the student melodic forms of the minor scales? the wrong thing! A magnetic person¬ purity of tone is one of the best indi¬ B flat, and F, this simple suggestion, which is hardly J-’ Islo it” iw*w'* vi -L* Importance to understand or not the change is made, and at what THE "CHOKE” AND SINGING THROUGH ality and convincing manner will fre¬ willing to devote himself patiently and industriou !,e-!?ti0ns of e omjurmajor aimand minor sscales than point. THE NOSE. cations of the genuineness of the so¬ a rule, applies to all except the first two. In the to following out your directions for as long a per: the differences between the forms of t quently establish a self-confidence in prano voice. left hand the reverse suggestion, that is finding the of time as may be necessary. Then he will need mlnor^at^aU?1'11 '* *S dlflicu,t for one t0 Iearn tbe Such tone qualities as throatiness the singer which was lacking before, Many failures have been made by fingering by playing the descending form one octave, THE TEST OF THE TRUE HIGH TENOR. work for several weeks on simple finger motions < tJnthWhen dottcd ete'itb notes followed by a slx- and nasality result from certain wrong so that the nervous tension under mezzo-sopranos who have attempted to which is simple enough after the right hand has ciliated to develop suppleness. Devote at least a b a!c accompanied by triplets covering the The plan generally successful is to adjustments Other than incorrect regis¬ which he or she labored will be relaxed sing soprano roles. Composers of abil¬ made the scale familiar, letting the thumb take the th? iastan’ntmay, R'*u‘emh not® bc played with tration or vowel shadings. Anyone hour each day, and longer, if several hours are sp of Vi.thee triplet? have the student sing up to high g or o, and the voice be permitted to come out ity make themselves familiar with the first white key following the blacks, applies to all who gives the impression of having a at the piano, to practicing these exercises on a tal .“■ ““on'd a chromatic run start in the left hand noting carefully the degree of effort freely. Singers with already good characteristics and range or tessitura twelve keys except four, C, G, D and F. As C and Afterwards on the keyboard with a touch so li; third?’’ fl£th flngfT’ or m“y It start w^th^the required on the upper tones—whether mouth full of mush when he sings can voices may be benefited by such teach¬ of a voice. • All of their special efforts G were learned before the suggestion was given, that the keys are not depressed, following this v they show a tendency to break or not; hardly be considered sans reprache as ers; not, however, by learning to use are then directed toward writing for there remain only two exceptional keys for the a. Only advanced pupils should learn both forms of a vocalist; yet it is surprising how just enough strength added to produce the soft then trying if an additional half tone the nasal passages in tone production, one particular voice. Tesiitura means student’s extra care. As it has not been my custom possible tone, and again increase to normal pressi ScaIes’ 11 is ^tter to use only one to begin nr tone is forthcoming with a little many singers are addicted to this qual¬ but by learning to think aivay from texture. In connection with singing to teach the minor scales until the student is with. Most teachers use the harmonic form. Ad¬ Gradually work into scales, arpeggios, etc. The N additional effort, but still without that ity. They seem to have an idea that theniselves—to relax and give their real it refers to the range of notes which thoroughly conversant with all the major scales, I vanced musicianship demands, of course, that there be it lends a touch of sympathy to the Cradus ad Parnassum of Philipp will provide adrr evident strain which one who deals voices a chance.' The nasality they may be woven around the most ef¬ have never had any difficulty in teaching them to a knowledge of all scales. tone. At any rate, in one case, after able exercises for advanced pupils in this kind much with voices gets to recognize acquire is merely a trimming—some¬ fective tones of a given voice. Thus it learn them without a definite principle to work from, having inaugurated the process of re¬ work Every day for weeks, even months, the Pl yes Y°Ur Sec0nd fluestion may be simply answered, immediately. This may be supple¬ thing stuck on—that some people may sometimes happens that when a sons the exceptions being so numerous. The same prin¬ moving the “choke,” the gentleman should place his hands in playing position on the kt mented by having him sing a song tak- like, but without real influence on the written for soprano is transposed for ciple for right hand, however, will apply to eight c Not ordinarily, If the tempo is very rapid the complained that his teacher was taking actual production of the tone. and perform up and down motions with each fin mg some g’s and a’s—noting carefully a mezzo-soprano the .song loses it* out of the twelve minors, the four exceptions being last notes of each groups may be played simultane- all the sweetness out of his voice. individually, twenty-five to fifty repetitions each fi the presence or absence of strain, flat- The remedy for such acquired nasal¬ effect. The' role of Carmen is reallv A, B, D and F.. In the left hand the reverse will, in goj faltering on the high tones. A The “choke” may be successfully ity is to reverse the process by which producing no sound, and then a very light one.’w foiiy’ i U!1(ler average conditions the sixteenth will a mezzo-soprano role. It is rich and only apply to five out of the twelve. In following produced by beginning to swallow and it was gained; but where the nasality the utmost freedom of feeling in the hand and fingi follow shortly after the last note of the triplet. urther aid to diagnosis is to ask him full and suffused with a kind of oriental this, procedure no classification will be found *° smg g, a or b in “falsetto.” The then singing with the throat held in has been habitual and there is no dis¬ 1 he Phihpp exercises should also be practiced in ' e run may start with whatever finger afforas sensuousness. Transposed a few notes necessary. same manner. It will take several months ■to ov tions °St convenient fingering under the given condi- enor who possesses a well-developed that constricted position. Of course eased condition of the nose and throat upper register will generally tell you there are degrees of-constriction, and present the student must be taught !^Vc«a"y of Ca™en'- 341 340 THE ETUDE THE ETUDE MANY VOCALISTS AFFLICTED. there her voice, strained by the soprano PHYSICAL FITNESS. When he has made a confirmed habit SINGERS WHO LOST THEIR good. He agreed to give her two lessons Maurice Renaud told me that he once parts assigned to her, suddenly failed. The only thing which could defeat of this correct carriage, and of keep¬ VOICES. a week, and made it clear to her that it lost his voice for a whole month, and ing the frame of the chest steadily ex¬ was not overwork that had hurt her. Fol¬ A theatrical manager in that city there¬ the perfect effectiveness of the sys¬ A TONIC Requisites it took two years to restore it to its panded without strain, comfortably and lowing his instructions, she was soon able upon advised her to become an actress, tem indicated in the preceding articles BY HENRY T. FINCK, IN "NEW YORK former condition. This was when he easily, he will have taken first great to practice her exercises hours every day and in 1835 she made a successful debut was about thirty. He said that singers, for acquiring spontaneity in singing is Horsford’s Acid Phosphate EVENING POST." step towards freedom and spontaneity. for the without undue effort or fatigue. To a as Lady Macbeth. especially men, are apt to have vocal physical incapacity. If any part or Madame Sembrich attributes the pres¬ If his bane has been over-tension or Half a teaspoon in half a glass of friend she wrote: troubles, more particularly between the parts of our vocal machinery are out The breakdown of Caruso’s voice some stiffness, either of the breathing mus¬ “I have to begin again, from the be¬ ervation of her vocal powers during a thirtieth and thirty-fifth, and up to the of order the machine cannot work water, refreshes and invigorates the Music Teacher time ago was the musical sensation of ginning; to sing scales, up and down, career of nearly three decades to the fortieth year. Most vocalists, Mr. properly as a whole. In a case of mal¬ cles or of the vocal instrument itself, entire system. A wholesome tonic. BUSINESS MANUAL FOR MUSIC TEACH¬ the day. It has been said that a singer slowly, and with great care; then to fact that she always knew what roles and Renaud has observed, had these losses formation, or of any obstruction through this new habit will release the stiffness ERS. $1.00. This book is a compendium of the dies twice—the first time when he loses latest and best ideas upon the most practical methods practice the shake—awfully slowly; and songs were suited to her voice, and of voice for periods more or less long. disease, if a trustworthy throat and lung 01 tension; if, on the other hand, slack¬ of compelling your professional work to yield you a his voice. avoided the others. Madame Melba did to try to get rid of the hoarseness, if "It has a very bad effect on both the specialist cannot see his way to remedy¬ ness and sluggishness have preasserted BROWN’S not always do this, and for her mistake CLASS AND ACCOUNT BOOK. E. M. One night, over a year ago, when the possible. Moreover, he is very particular artist and the public, for the public hears themselves, it will vitalize and induce Bronchial Troches on one occasion she suffered serious, but ing the evil,'singing should be abandoned. Sefton. SOc. Pocket size, contains record of all famous tenor, though feeling tired, sang about the breathing. I trust I have made flaws which it did not notice before, and new impulse, strength and flexibility. are invaluable to Buffi business transacted by a music teacher. luckily not permanent, injury to her But if. as happens far more frequently, trouble. Bronchitis anc at the Metropolitan Opera House, he al¬ a happy choice.” sometimes purely imaginary flaws. The With this much achieved, the physical PUPIL’S LESSON BOOK. Price 10c each, the physical incapacity is simply the convenient form and $1.00 per dozen most collapsed after the curtain had She doubtless had made a happy choice. machinery may be regarded as fit to grateful relief. Warn artist never dares again to do what he result of bad habits, the singer must or anything harmful. THE STANDARD LESSON RECORD. (35 dosed on the second act. “I cannot fin¬ She was soon able to write: “My voice do whatever is demanded of it in prac¬ MELBA’S BRUNNHILDE had done before, even if he feels quite take these in hand with the determina¬ records with stubs.) 25c. A practical method ish this opera,” he sobbed, “I cannot do is clear and sonorous, with more firm¬ competent.” ticing, provided the singer is never for jhe teacher to keep a complete record of pupils, ness and much greater agility.” It was at the time when the De tion to overcome them. This should it.” During the intermission he recov¬ tempted to pay attention to or interfere LESSON AND PRACTICE RECORD. One day there came to Garcia, a girl, Reszkes were here and Wagner was all be done, apart from singing, as a bad ered his spirits, and the last act was LILLI LEHMANN’S ADVICE. with it, but steadfastly relies on the (Package of 25 cards.) 25c. who had strained her voice by singing the rage, so that even Melba longed to or sluggish action of the bodily machin¬ THE STANDARD PRACTICE RECORD. sung, none too well. He should not have guidance of his ear and tone concept higher than her natural voice. He told appear in one of these roles that brought In her book, “How to Sing,” Lilli ery which is confirmed must first be VOCAL INSTRUCTION (Pad of 100 slips ) 15c. Furnishing a weekly sung it at all. He was endangering a for every variety of vocal sound and form upon which to record directions for practice as her not to sing anything in a high reg¬ their interpreters so much glory, while Lehmann refers to the harm done to set-right in its own department before IN PARIS well as results. delicate vocal apparatus that gives joy to expression. It is not possible in so tens of thousands of opera-goers on two ister. Once only she disobeyed, and the Calve likewise talked as if she was in singers and their sensitive throats by it is fit to do normal work for us; and GEORGE E. SHEA (Georges Chais) BILLS AND RECEIPTS. (Package of 100.) “the rehearsals which are held in abom¬ brief an article to deal with anything 25c. continents, and that is worth to its owner next time she called on him and had similar mood. The Frenchwoman re¬ all we need ask from our bodies is nor¬ 5, rue Gounod spoken a few words she was surprised to frained, but the Australian succumbed. inably bad air.” She counsels singers more than the fundamental principles BLANK BILLS. (Urge size 6x9, package about $200,000 a year, including more mal fitness for their task. To apply the One of the first American men to sing in Opera in France of 50) 25c. see his face flush with anger. He re¬ One day Jean de Reszke suggested to against rehearsing on the same day on of singing. than $50,000 for singing into the sound words of Hamlet to our bodies, “the MUSIC TEACHERS’ DESK TABLET. proached her with having sung soprano. her, half jocularly, maybe, that she which there is to be a performance, a There is one thing more that I would (Package of 100.) 15c For all memorandums. reproducing machine. readiness is all.” That which relates to Surprised, she asked him how he knew, should try Briinnhilde, in “Siegfried.” thing done regularly at our opera houses, add, however, here and now, and it is FOR POSITIONS NEXT YEAR On the steamer going home he said flexibilitj and nicety of adjustment in CLARKE’S HARMONY TABLET. Pad of and he answered: “I heard you speak, She promptly made up her mind to do to the advantage of the ensemble, but that as the vice of undue tension in all 100 leaves ruled music paper, 7x10, 25c. that the idea that he might never be able the vocal action is accomplished solely -REGISTER NOW- that is quite enough.” He told her that so, and had a clause inserted in her con¬ the detriment of the stars. Next year, parts of the body, but particularly in STUDENT’S HARMONY TABLET. Pad of to sing again was ridiculous. He joked through the ear and the musical sense 75 leaves ruled music paper, 7x7, 15c in ten years not a note would be left of tract securing that part for herself. To when there are to be more perform¬ the breath-controlling muscles, is the about the matter, declaring he was going her brilliant voice. As she promised not in practice. BLANK MUSIC COPY BOOKS. sing that role one must have a voice ances than ever, this danger will be in¬ most common and harmful. I would Music Teachers’ Exchange Prices 15c to 35c. to Bayreuth to study Wagner roles, and to disobey his instructions again, he Now, how are we to know just what DEPARTMENT OP THE pliant and strong as a Damascus blade. creased. Some of the Metropolitan urge my readers to adopt a very simple BLANK MUSIC PAPER. I 14 or 16 lines maintained that if his voice was not at agreed to take her back, on condition Melba’s was pliant, but not of steel, and singers, during the past season, found our bad habits are, and how to break and Vocal size, 14x22 Inches, per quire60c. and effectual means of testing just how CHICAGO MUSICAL EXCHANGE BLANK MUSIC PAPER. its best now, that was due simply to that she would study a whole year with¬ it broke in its contest with the Wag¬ that the only way they could stand the them up? This is not difficult, as the E. A. STAVRUM, Manager his having worked too hard. Possibly out interruption before appearing in pub¬ much tension belongs naturally to a 100 leaves 7x8% with wide spacing. 25c. nerian orchestra; she had to retire for strain was to spend nearly all the time bad habits can easily be recognized as 1014-15 Steinway Hall, Chicago B1 ANK PROGRAM FORMS. For Concerts lic full inflation of the lungs, and how Caruso’s confidence in his recovery is the season and make it whole again. they were not singing at home in bed. belonging to one of two kinds. One or Pupils’ Recitals, Sic per hundred. After a few months she left London much is superfluous. High Grade Positions for Music Teachers based on his knowledge that many other There were not wanting critics who They have to deny themselves all social kind is stiffness or undue tension of DIPLOMA FORM. 21x10. Price 15c. Parch¬ to spend the winter on the Continent, Many have reported success from and Supervisors of Music EXCLUSIVELY ment 25c. singers have not only damaged but prac¬ asserted that Wagner was to blame. If diversions, and often cannot find time nerve and muscle, out of which all She hoped he would take her back on practicing the following from “The TEACHERS’CERTIFICATES. 11x8%. 5c. tically lost their voices and recovered that was the case, are Puccini and Verdi to take the exercise necessary for the clutchings, all spasmodic movements her return, but he sternly refused, tell¬ Philosophy of Singing:” MUSICAL PRIZE CARD. 6%x4% inches. 10c. them completely. to blame for the present predicament of maintenance of health. It is a strenuous, and disorderly actions arise. REWARD CARDS. Litho in Colors, set of ing her that he never went back on his Caruso? “First, close the mouth. 15. SOc. exacting life, but it has its rewards.’ The other kind is a slackness and THE CASE OF JENNY LIND. word, and adding: “You will probably “Second, draw in a deep breath MUSIC WRITING PENS, per dozen 60c. get engagements, but do not base your SANTLEY’S RECOVERY. sluggishness of nerve and muscle, • through the nostrils. PROFESSIONAL OR VISITING CARDS. 50 The most famous case is that of Jenny future on singing.” which renders the response to the will for 35c, 109 for SOc, 500 for $1.25. Neatly At one time, early in his stage life, “Third, when the lungs are well in¬ printed in the four most popular styles of type Lind. She was only ten years old when “Time proved that he was right,” THE VALUE OF SIGHT READING. slow and ineffective. Those whose Graded Melodies the eminent English baritone, Charles flated and the whole frame of the body RUBBER STAMP AND INK PAD. On, line she made her first appearance on the says Mr. Mackinlay. “After a few years For Individual Sight Singing Santley, suffered from an abnormal ac¬ In his excellent work on “Musical habit is of the latter type almost invari¬ expanded, close the nostrils with the 30c, two lines 40c. three SOc. A boards as an actress. Four years later she began to lose her high notes rapidly, Prepared by article for putting name and address on orders t< tivity of his salivary glands, which Education” Lavignac makes a strong ably stand with a sunken chest and dis¬ thumb and forefinger so that no breath she began to sing on the stage occasion¬ and soon her voice was completely GEORGE OSCAR BOWEN threatened to terminate his career. The plea for the study of sight reading by tended abdomen, and sing without can escape. Supervisor of Musie, Ionite™, S. Y. L«t of a pari of oar publirat ally, and at the age of nineteen she aban¬ gone.” nd for de»erlptlv* lUt and p muscles of his throat seemed to relax, the singer. Conditions being even sad¬ proper contact of the vocal cords. “While the breath is confined in the In eight (8) parts carefully graded for class use. Among the many pupils of Garcia rarts l, ll and III now ready. In convenien doned plays altogether, and thenceforth and the voice, instead of issuing with der in this country than in France, his The resultant voice is unpoised, weak, lungs, say, during ten seconds, relax whose names are now recorded In portfolio form. Price, 75c per part. acted in operas only. Soon she became freedom and vigor, appeared to recede, remarks are interesting: and quite incapable of expression or the diaphragm and every other part THEO. PRESSER CO. so popular that the directors could not musical histories and dictionaries is producing a choking sensation, very un¬ .“How often we hear at the Con¬ color. And let me add here that this where you feel tension as much as pos¬ The A. S. Barnes Co., 381 Fourth Ave., New York resist the temptation to give her more Johanna Wagner, the niece of the great 1712 Chestnut St. • Philadelphia, Pa. favorable to the delivery of a sustained servatoire, before the full board of ex¬ type of habit is very apt to exist sible without giving up the breath. The work than was good for so young a composer.' He engaged her at the phrase. For some years after his return aminers, absurd reasoning, of this in persons of an antemic tendency. sensation of comfortable strength with¬ voice. Fortunately, she recognized the Dresden Royal Opera (of which he was from America in 1872 the inconvenience nature: ‘I did not come hr re to learn Where, however, it exists in one whose out undue tension that you will ex¬ danger in time. Realizing that her gifts then conductor), when she was only =WHAT IS= seventeen years old, and it was she who increased to such an extent that at one music, I came to learn singing.’ What circulation and digestion are good, it perience up to the moment when you were only half developed, she made up created the role of Elizabeth in “Tann- time he thought he would have to retire would singers think of a comedian who is pretty sure to be the outcome of . choose to let out the breath is precisely "Gambleized Music?” Standard Concert Etudes her mind to go to Paris and study with from the public exercise of his pro¬ the same that you should have when hauser” in 1845. Shortly afterward she was stubborn enough not to want to faulty instruction and bad example. IS A QUESTION MANY ARE ASKING. FOR ADVANCED STUDY Manuel Garcia. One foolish thing she fession. you sing on a full inflation.” I strongly was sent to Paris, at the expense of the learn how to read, and by that very Now, how shall we tackle these bad hemstitchw'd^ will probably define it as a did at this moment; she gave a series habits of either class? First and in urge my readers to make this test daily, Royal Opera, to continue her studies course prevented his own access to all each is attached1 Uj'the'otheirihrmljfyef flexibly! of concerts in the Scandinavian provin¬ of them starved him, another stuffi each case, let us look to the breathing in order that they may be constantly , Si.00 with Manuel Garcia and his sister, literary study? That would scarcely ill like CAMBLEIZED SHEET MUSIC cial towns, thus still further exhausting Viardot. In 1869 she married a lawyer him a third dosed him with quinin muscles, tor in these we have the im¬ reminded of the correct sensations be¬ ood qua A col lect ion of advanced etudes and bound study be any more stupid. But that does not her tired vocal organs; but she needed named Jachmann, and two years later strychnine and iron until he almost lo mediate underlying cause of both types fore beginning their practice. happen. This is a trait of carelessness the money this brought her, to pay her she lost the voice that had made her the sense of taste and the sight of foe of disability, and the remedy for each Clara Kathleen Rogers. Mathews Studies *° f°ll°'' °rade Te“ °f and laziness peculiar to the singer, who ’1 .™101116 expenses, and she did not know how near famous. This induced her to start on nauseated him. He was advised to tal would therefore be the same. Let the This volume contains the pick of the difficult thinks himself the king of all creation studies and conceri^pieces oul of aU the celebrated she was to the brink of the precipice. a career as an actress She got ah en¬ a sea journey; there were ominous hin student begin by creating for himself of fatal malignant disease, but finally 1 as soon as he possesses a very strong HOW TO STUDY A SONG. Paulist Choristers She found that out as soon as she gagement in Berlin, and for ten years the new habit of carrying himself in Chorus-and many THEO. PRESSER CO. reached Paris, and called on the famous she was one of the most admired came across a real doctor, who four and roaring voice. the manner best suited to a flexible « they like "Gam- that his trouble was simply due to i, 1712 Chestnut St., Philadelphia, Pa. Spanish master, with the request that tragediennes on the stage. In 1872 she “Singing students are not willing to and efficient action of the breathing BY GEO. CHADWICK STOCK. activity of the liver, and-in a short tin he take her as his pupil. He made her retired from the stage, but her singing recognize that this ignorant vanity tnuscles and of the entire bodily ma¬ te usual quantity disc voice had come back sufficiently to en¬ sing some scales and an aria from Tnd°h dMS rhealt,h’ His V0ice rec°vere places them in a condition of real in¬ chinery, thus: When you have selected a song to THE “HIT” OF THE SEASON able her to accept Wagner’s invitation and he did (so he boasts in his “Ren “Lucia,” which she had sung in public feriority, and that it condemns them, in Let him draw himself up to his full learn first read the text over carefully "LITTLE DOLLIE to sing at his model performance of the miscences”) more and more varied wo: nearly forty times. This time she broke addition, to remain perpetually under height, without stretching, and expand again and again. If the lyric is a good One of the best popular songs written. ninth symphony that year, and to take than any singer before the public e- MoSthly^haig.-'Smla'aoHoilS1, ’'hat down, and Garcia pronounced his crush¬ the tutelage of someone—an accom¬ the chest, without unnecessary tension, one you will find enough in it to employ Fascinating, Pathetic. Graceful, Easy to play. the part, in 1876, of the first Norn in the cept Sims Reeves. GAMBLE HINGED MUSIC C0„ Publishers* ing verdict: “It would be useless to panist, a tutor or a singing master of by drawing back the shoulders. This SPECIAL OFFER: 10 CENTS (coin) Nibelung Festival at Bayreuth. He is still singing, though seventy-fi, your best thought and imagination. C1IA8. I. JOHNSON', teach you, miss; you have no voice left.” their theatre—and all because, incapable position favors the falling in of the Next go over the melody associated L. Box 1*4. Olkas*- City, Katin. With tears of disappointment in her as they are of reading for themselves abdomen, the proper contraction of the WHY CHARLOTTE CUSHMAN BECAME Sofspeak of himhta asl takingL “partd“ in a coi with it time and again. If well written eyes she implored his advice. Could he AN ACTRESS. cert at the Crystal Palace on Goc and understanding their parts, they diaphragm, and the fullest expansion of you will .find it closely wedded to the not bring back her voice? He knew that Friday when he sang Gounod’s “The must always be piped to like scholars. the throat in respiration. Let him as¬ meaning of the text; the intervals, time, BROOKFIELD SUMMER SCHOOL OF MUSIC Charlotte Cushman is now remem¬ such cases are apt to be hopeless; but Is a Green Hill” and the air It is not till later in the course of sume this position consciously at every rhythm and accent bring out the bered chiefly as an actress, but she be¬ HERBERT WILBER GREEISIE he felt sorry for this poor girl, hurled and Arms,” from Handel’s “Samson their career that they perceive the epportunity; let him consciously mean thought contained in the poem, giving gan her career as a singer. As a girl director from her Swedish triumphs into the trouble caused by this lack of primary to maintain it habitually, for this will it additional color and interest. With she had a voice of unusual compass and It will be remembered that Jean’ c VOCAL NORMAL WORK A SPECIALTY. Write for Prospectus. abyss of despair, so he agreed to hear instruction in musical matters, and train his “instructive mind” to com¬ this preparation you mav begin to sing richness, with a full contralto register. H. W. GREENE, 701 Carnegie Hall, New York City ; after June 1st, Brookfield Centre, Conn. her again in six weeks, if she promised then, laboriously, clandestinely, also, pel his muscles to hold him up when the song. To the intellectual grasp Friends of her father, one of them John they again take up, and without boast¬ inot thinking about his body. you add the singer’s instinct or faculty, to speak during that period as little as Mackey, in whose piano factory Jonas ing. about it to anyone, the study that While he is acquiring the habit of car- and the song becomes thrice valuable, possible and not to sing a single note. Chickering was then foreman, provided Vocal Studi. their simple braggadocio had led them D’tng himself in this way, let him prac- for you have endowed it with the com¬ Established This she did, spending her time study¬ her with good musical instruction, and 1893 lce inhaling and exhaling slowly and bined power of three mighty forces— GEORGE CHADWICK STOCK ing French and Italian; and when she she subsequently appeared in concerts, mu ^'s^a’n at the favorable moment. HLL instruction r principles a Lhere is not a single person who can asily without dropping the chest, the Poet. Musician and Singer. It is diffi¬ invoices. Th .—s to give pleasu— :- returned to him they were both delighted as well as in operas. She went with an scribahle quality ’• those who have heard him ,spec voice which we say is music. WheiSerThe v'&t b cultivated or not! if it to find that the rest cure had done some opera company to New Orleans, and f°"tradict me.” — Front Lavignac’s fame of which should be kept station¬ cult to say which is the greatest of private say his voice is1SgL!mg j Musical Education,” Copyright. I9°2> these, but it is true that most devolves for -eal success. aa gooa as eve ing a^'? in outbreaking and inbreath- I5^le^',®PPUraGons by D. Appleton & Co. upon the singer. >n THE ETUDE when addre THE ETUDE 343 342 THE ETUDE GENERAL KNOWLEDGE OF HARMONY REGISTRATION OF BACH’S served, within the limits which we have inant chord when the melody required INDISPENSABLE. The -- ORGAN WORKS. defined, for the joyous chorals of the a tonic, and vice versa; and, 1 re" Church Organs In modulation and extemporization, BUILT BT It is well known how important is feast-days; the organists were gov¬ Wirsching Organ member correctly, they each ended in as'well as harmonization, a knowledge erned by the necessity of adapting DEPARTMENT FOR HUTCHINGS ORGAN CO. the role played in the execution of THE PIPE ORGAN OF a different key. of harmony is necessary, and this I organ music by the registration and their manner of playing to the joyful boston, mass. Did you ever hear a tune like o t. class as the sixth essential require- the skillful combination of the key¬ or mournful solemnities of the liturgi¬ ORGANISTS W fit* «» for any desired Information about organa A intis or Ellerton sung in unison by a ment of an organist. When one under¬ boards. cal year. INDIVIDUALITY and EXCELLENCE large congregation with varied har¬ We know how Bach brought out the Edited for May by CLIFFORD DEMAREST stands harmony, sight-reading be¬ Bach left but few directions upon Merits and invites investigation. monies on the organ? It is truly in¬ comes easier and transposition, har¬ significance of these chorals, inter¬ this subject; with their aid and the Literature, Specifications and spiring, and an organist who can do monization and modulation are pos¬ preted with such supereminence, by assistance of other hints derived from Estimates sent on request. . . . this, which means harmonizing a sible. It also helps one to understand MAKERS OF H tradition or found in works of that the deft combination of the parts. The THE EQUIPMENT OF A CHURCH the service, in which case they are melody at sight, possesses a valuable the music found on the printed page period we will try to form an idea of execution of a design did not make ORGANIST. welcome additions to the available PIPE ORGANS The Wirsching Organ Co. asset. and better to interpret the thoughts of what Forkel calls “the exquisite art him oblivious of the interest attached material. SALEM, OHIO the composer. Closely allied to har¬ with which he combined the various to the coloring.—From Johann Sebas¬ With the technical ability should ADAPTING PIANO ACCOMPANIMENTS. mony are counterpoint, canon and tian Bach, the Organist, by A. Pirro. also be included the ability to read at registers of the organ, and his manner Fourth, adapting piano accompani¬ fugue. A knowledge of these subjects of treating them.” And our task is The organist who plays in a small sight fairly difficult music. is also very helpful in interpreting the THE STACCATO TOUCH IN ments to the organ has becorne an Pipe Organs of Highest Grade Only now the more delicate because we can¬ church in a rural community, where It often happens that a singer conies standard organ works, as well as the ORGAN PLAYING. FREDERICK MAXSON nothing elaborate is ever attempted, essential requirement for an organist. not draw our conclusions from expres¬ prepared to sing a certain solo, but appreciation of music in general. Our Instruments comprise all features which There is a common superstition, as to might be considered competent, as far some circumstance will arise which sions which bore, at Bach’s time, a Nine-tenths of the accompaniments of If in addition to all this an .organist are flf real value. Many years of practical the value of staccato playing in order to CONCERT ORGANIST as that position is concerned, if he is makes it necessary to substitute some¬ significance quite different from that sacred solos and many anthems are has a broad musical knowledge cover¬ experience. Write for specifications. keep a choir in time, and those who only able to play hymn tunes and thing else, perhaps a solo unfamiliar which we ascribe to them to-day. Instruction in Plano, Organ, Theory written in piano style and have to be ing history, form, the organ itself, EMMONS HOWARD Westfield, Mass. accept it frequently hold an opposite 1003 South 47th Street, Philadelphia, Pa. simple voluntaries: but if he should be to the organist; if he hasn’t the sight- Furthermore, we would not lay down adapted to make them effective on the choir training, church music and some¬ superstition with regard to solo-playing, called upon to play in a large city reading facility it is more than likely any absolute rules in the matter, which thing of orchestration, the equipment that all true organ music should be church he would find it necessary to he will make a “mess” of the accom¬ organ. . yy,_ BUILDERS OF in truth is, above all, subjective, the is now pretty complete. legato. The staccato touch is occasion¬ be equipped in many other things be¬ paniment. Not only the ability to play The writer has recently published a artistic province of the executant. ally of great value as an artistic device, fore he could fill such a position. Most accompaniments at sight will suffice, little book called Hints on Organ Ac¬ To make a success there must be kimball Pipe Organs First of all, the term Organo plena, but do not degrade it by such a use as organists in obscure positions long for but he must also be able to play four companiment, which contains suggestions character and devout purpose behind COMPANY For Churchet, Audi- sometimes the sole indication given by the chance to get into the big city for those seeking aid in this branch of the work; without these a person can¬ Bach for preludes, fugues or fantasies; to “drive” a choir, for which it is no real ESlOniusT parts from vocal score independent of churches, where there arc broader op¬ the accompaniment. Suppose, as it organ playing. not command respect, nor will there one is often tempted to interpret it, help, a good, firm legato being quite as Stearhs Bldg.. Portland, Ore. portunities, belter organs, choirs and ' often happens, a choir be sincerity in the work. cn modern organs, by calling into re¬ telling. On the other hand do not be INSTRUCTIONS: PIANO AND ORGAN salaries. This ambition is natural and needs help in a difficult There must also be inspiration and th* United States quisition the uproar of. all the registers slavishly bound to the legato when the enthusiasm, without which all music staccato is clearly desirable. The value commendable. Any one who is satis¬ passage where the ac¬ Plans, Estimates, etc.. Furnished on Application. combined, to whatever family they fied simply to play hymn tunes, easy companiment is inde¬ is dead. A choir must be led, and if may belong. of each is enhanced by contrast with the other. No one knew this better than voluntaries, or occasionally a simple pendent: and misleads the leader has inspiration and bound¬ Prices from $1,500 to $100,000 Let us see what was understood in accompaniment, does not deserve the rather than assists them ; less enthusiasm the atmosphere will Bach’s tune by organo plena, or voiles Bach, as his works clearly testify.—Dr. The Musical Leader -PUBLISHED WEEKLY ..in . name of organist. To such as these an organist who cannot envelop the choir with results apparent Werk. “The voiles Werk,” says Mat- Madeley Richardson in Modern Organ Accompaniment. $2.50 a Year this article will make no appeal, but pick out the four-voice in the rendering of the music. theson, “consists of principals, Sor- my object is to bring before a large parts and play them alone Church Organs Ten weekz’ trial subscription, fifty cent* These last requirements are gener¬ LATEST IMPROVEMENTS dunen (the bourdons of to-day), salic- number of younger organists, who are is not fit for the posi- ally natural, but the technical ability ORGAN PRACTICE FOR BUSY The Recognized Authority on all Musical ionals, octaves, quints, mixtures, Matters for the Central and Western States. in a rut, or perhaps working blindly must be acquired through years of Scharffen (small scale mixtures of TEACHERS. toward improvement, a standard con¬ THE ORGANIST MUST hard work; without this nothing of three ranks), of the quintadena, cym- Many organists who are engaged in In conjunction with ETUDE, advantageous CLUB OFFER: sidered necessary of attainment before TRANSPOSE. value is ever gained. bale, nazard, twelfth, sesqtiialtera, and teaching are often so situated 'that they one can be considered a competent Main Office & Works !>,AoSK LEADEB, rnmUr price v club Price Second, an organist of super-octaves; with the Posanneti in', cannot get as much time for organ prac- organist. This standard is set forth Ami KTITtfe, rnpilnr price’ 41,50 ? $2.80 should be able to trans THE PASSING OF ALEXANDRE the pedal, but not upon the manual; ' tice as they would like to have, and at in the requirements of such examining H ASTINGS L/O. . ) FOR BOTH pose simple music, such GUILMANT. for the Posannen are reeds, which are the same time are awake to the fact that bodies as “The American Guild of Established 18Z7. All Sizes. Address THE MUSICAL LEADER as chants and hymn Alexandre F£lix Guilmant, probably not drawn, upon the manual with full they must be continually adding to their Organists,” “The Royal College of Or¬ McCormick Building. CHICAQO tunes, at least a whole the most famous organist of his time, organ, where, on account of the higher repertoire. It is a good plan, therefore, ganists” and others. KutfUlll.hwl Son York, 1SSI St. l.nuli, 18111 tone up or down. It is died March 30th, at Paris, in his sev¬ to do as much work as possible away Let us assume that this standard is pitch,’they would be too rasping; in hardly necessary to ar¬ enty-fourth year. Guilmant was born GEO. KILGEN & SON from the organ. If there is a new piece something worth striving for; those the pedal, on the contrary, through the LYON & HEALYS gue on this point. Cases at Boulogne, March 12, 1837. and was to be learned some effort should be made who work for a goal like this, even Pipe Organ Builders sonority of their tones, they produce occur constantly with the son of a well-known organist. At to plan out the registration, to mark in though they fail to attain every point, ST, LOUIS, IVIO* a majestic effect, especially if the GOOD CHURCH most organists which de¬ the more intricate pedalings, and to prac¬ are bound to become better organists, the age of sixteen he held the post of One ftf tbw mitat Complete Pipe Oi'irnn Plant* In the United mouths of the pipes are covered, as is mand the ability to do States. He*t of ItcrciNmm. tice any difficult keyboard passage on the as well as broader and more capable organist in an important local church. desirable.” this. The organ may be piano. musicians. In 1860 he became a pupil of Lemmens The combination indicated above too high in pitch to ac¬ In this way, on going to the organ, ORGANS for a short time. Ten years later he Teachers Your name should appear In was, moreover, in accordance with At Reasonable Prices commodate a “wouTd-bv” the least possible amount of time is lost. SIX PRIME ESSENTIALS. went to Paris and took the position of general usage; it corresponded to what This practice has an additional advantage, tenor, so we play his solo organist at La Trinite Thereafter he Di.il.-d. PROFESSIONAL the French called the plein-jeu. What are the requirements neces¬ a tone lower. Some Pianists DIRECTORY inasmuch as it quickens the musical imagi¬ became Professor of Organ Playing at This absence of the reeds from the sary to equip a church organist? hymn tunes often sound nation. No work should ever be played the .Conservatoire. His organ sym¬ Organists (seepage 350) voiles Werk, to which other writers There are six absolutely essential re¬ better when transposed in public at a service unless the organist phony, sonatas, masses, motets, etc., also bear witness, is, from a practical I; Fine Parlor quirements, and several which are val¬ to another key. To gain has a truly artistic performance to offer. Hand Organs at have been very widely played, and his point of view, worthy of perpetuation, hatVp'VI "C Hew. uable assets to possess. facility in transposing, Far- too many organists seem to' believe tours of Europe and of the United especially if we consider the very con¬ LYON 4 HEALY, 32-34 A s SI., Chicago First, an organist should be able to let me suggest that a few minutes be spent ORGANIST MUST BE ABLE 1 that so long as they do not absolutely play in an acceptable manner several States (1893, 1897, 1904) have given the siderable place in certain modern or¬ each day in systematically taking one- MODULATE. rising organists of many countries op¬ have a breakdown at the service they are standard organ sonatas or pieces of tune from the Hymnal and transposing Organists are giving as gans occupied by this family, and the fully earning their pay. Fifth, the ability to modulate portunities to become acquainted with intensity of timbre due to their har¬ this character, a number of Bach’s it to several keys as far as a third up preludes and fugues, and at least be another essential requirement. Tli his remarkable powers. His ability in much attention to the monic construction. and down. It will take about one year surely needs no argument. About fif THE ORGANIST OF BACH’S DAY. familiar with all 'the important works the well-nigh lost art of improvisation In old-fashioned proverbial guise to go through the average Hymnal, per cent, of the churches in this cou How many organists nowadays would for the organ. In the repertoire should was extraordinary. One of the most wind supply of their or¬ Werckmeister shows us quite well and at the end of that time, if the try start their services with Old Hu be competent to fill a position as organist Austin Organs also be included transcriptions of well- interesting parts of his recitals in some what was expected from this class of student hasn’t profited by his experi¬ dredth, which follows immediately aft if the requirements of the twentieth cen¬ known songs, piano pieces and orches¬ cities was the improvisation of a fugue gans as to the organ itself, stops; slow of speech, of a sharp, cut¬ ence, he will never be able to trans¬ the Prelude or Opening Voluntar tury were the same as those of the sev¬ tral compositions. A few of the latter upon a given theme, presented to him ting timbre, they would not have pose. enteenth? In those days organ accom¬ could be Schubert’s Serenade, Prize Song n/rfV ‘heJPreIude is in D flat ar for the first time on the evening of the knowing that they cannot blended with the foundation stops The small builder who merely Old Hundredth in G, it is very di paniments were very rarely written out. from Die Meistersingcr Handel’s Largo, concert. Guilmant had many American combined with the mixtures—an en¬ HARMONIZING MELODIES AT SIGHT. agreeable to hear an abrupt start in produce good music unless and composers were content to mark in a assembles organs can put up some of MacDowell’s piano pieces, Pre¬ pupils, among whom are W. C. Carl semble which lends extraordinary har¬ after a soft ending in D flat. Here bass part, with figured indications as to as large a show in an adver lude in C sharp minor, Rachmaninoff; Third, an organist should be able to (whose devotion to his teacher was the wind supply to the organ monic fullness to the polyphony \yhen where the ability to modulate hell the chords to be used. The organist was tisement as the best equippeo Tschaikowsky’s Andante Cantabile and harmonize a melody at sight. Why? such that he founded an organ school the combinations are judiciously made. one very materially. It is much mo in New York, known as the Guilmant » perfect. The Kinetic expected not only to harmonize the work the Nocturne from Mid-Summer Night’s Because, once in a great while, in cer¬ The reeds were fitted rather to voice builder. Dream, music by Mendelssohn, artisttc to work up a crescendo fro at sight, but also to extemporize contra- tain hymnals, a tune is printed with organ school), G. Waring Stebbins and Organ Blower produces a serious and quiet melody, as a Solo. Many may wonder why it is consid¬ the soft ending of the Prelude and James H. Rogers. puntally on the figured bass. Bach and But he cannot answer your only the melody given, and the player a round, rich, steady tone, it Besides the reeds—trumpet, chalu- ered necessary to be able to play the same time to modulate into tl Handel were both past masters of this questions when you get down is expected to fill in the harmony. I new key while doing so. The effect of music in ancient times, thean, clarion or vox humana—-other art, and were able to obtain tremendous sonatas and Bach fugues. An organist is easy to install — inexpen¬ to details. who hasn’t the technical ability to play once heard this attempted by a young . A quiet anthem may follow a rou of which we read so much, is in no combinations were permitted for the effects, and the same was true of other lady who was otherwise a good player. way. traceable to any merits of that sive, and no bother to op¬ execution upon one manual of an ac¬ some of these standard compositions mg hymn, in which case a modulatic great organists of the period. Tt would We can—and we ask you to let hasn’t the ability to conduct himself But, horrors! the harmonization of that and dimumendo are effective in nr, music. .We must either consign it to companied solo. be interesting to know what would hap¬ erate. us send information if you are creditably in an ordinary church serv¬ melody would make Reger turn green paring for it. For those who wish 1 ^ re?ton of fables, or attribute it to By their particular qualities these pen in the great bulk of the churches and different combinations of registers, interested in the buying of a ice; for it requires the perfect freedom with envy; it was a masterpiece in dis¬ StUdJ subject thoroughly I recon the cooperation of poetry, or other in¬ Our Handsome Book—“Modern Or- chapels of this country if the same cus¬ now in higher, now in lower, relief, which' comes with technical ability to cords. It reminded me somewhat of mend Modulation, by James Higgs cidental circumstances. Modern music 9dn Blowing”— has a fund of in- tom should again come into vogue. Nev¬ pipe organ. were suited to the performance even carry through a service successfully, two old darkies whom I once heard The ability to extemporize at le- not only produces similar effects by rmation-sent free upon request. ertheless, the organist is often called upon of the chorals. In fact, it may be said especially where a choir may be de¬ playing. One had a violin, the other a few measures of interlude or a sno its own inherent power, but could pro¬ to extemporize even to-day, and a sad that without doubt the reeds were re¬ ficient or nervous. In regard to the a guitar. Neither knew what the other duce far greater ones if our legislators mess of. it many of them make! K ,Ui" "■■■""!■ in mit, had seen fit to exercise a judicious KINETIC ENGINEERING CO. transcriptions, many of them serve as was going to do, and as they had no AUSTIN ORGAN COMPANY preludes, and often an organist is notes, but were playing by ear. the supervision 'over public performances, Baltimore Ave. and 57th St. and thus to direct its influence, not L200 M0LLER PIPE ORGANS lYsiSS 165 Woodland St., Hartford, Conn asked to play a short recital before guitar generally came in with the dom¬ PHILADELPHIA, PA. B in New York; 45 in only to mere amusement, but to the “ “ ” ’■ ~ * 1 32 in Cincinnati; 18 in Washington Builders of the magnificent organs Ch|caB0 Office: 1444 E. Monadnock Bldg. ~~——— of America ■ -•■■■. - Promotion of morality.—P. E. Bach. 345 344 THE ETUDE THE ETUDE duties as teacher in the Hoch-schule. violins in the orchestra, all had been During the present season he played no have been published in numberless edi¬ AGING VIOLINS. pupils of Joachim, and the thirty violas tions.” less than eighteen different concertos in Otto, in his Treatise on Violin Playing, and twenty ’cellists had been his pupils The studies are so violinistic, and the public. gives an interesting account of his in chamber music. A tremendous fan- CARL HALIR. principal problems of violin technic fare of trumpets announced the en¬ are so thoroughly treated that the vio¬ method of “aging” or “playing in” new trance of the great violinist. The con¬ The remarkable artistic eminence lin teacher would be lost without them. violins, so that .they will have more of cert progressed with extraordinary en¬ achieved by Joachim, and his noble They are in universal use by the violin the clearness and perfect quality of old thusiasm and reached its climax when character, attracted scores of disciples, teachers' of all nations. Massart, the instruments. He would go over the the Beethoven violin concerto was who strove to follow in the footsteps great French violinist, wrote a work, whole violin, playing it in fifths, each of their beloved master as closely as played by Joachim. A banquet fol¬ How to Study Kreutzer, in which he fifth being played several hundred or possible. Carl Halir, himself an emi¬ lowed, attended by 800 guests, and the shows how the studies can be used with thousand times. He claimed that after nent violinist, was an example of such many different bowings in addition to festivities lasted until four o’clock in he had played a fifth a sufficient num¬ a type. He was born in 1859, at Ho- those indicated by Kreutzer, how they the morning. Such events as these sig¬ ber of times the two notes composing nalize the respect and veneration of a henelbe, in Bohemia. Taught at first by can ba played in octaves, or one octave great nation for its great artist, and his father, he afterwards entered the higher, etc. This work forms a val¬ it would be found of better quality and THE VIOLIN ART IN GERMANY. Joachim continued to reside in Leip¬ could not fail to impress students with conservatory at Prague, remaining uable supplement to the Kreutzer clearer tone. The theory is held by a great number of authorities, atlhough In violin playing all roads lead to sic until 1850, studying the violin with the dignity of their profession. The ex¬ there untir he was fourteen, when he studies. Berlin, and the other great German Ferdinand David, and composition with ample of such a life as that of Joachim went to Berlin and became a pupil of BERNHARD MOLIQUE. disputed by others, that it is the con¬ cities are little behind the capital in Hauptmann. Frequent concert tours created a new type of musician in Ger¬ Joachim. He played in the Bilse or¬ Bernhard Molique, one of the great tinued playing on old violins which im¬ interest and enthusiasm for the violin throughout Germany, and in France many, those who were gentlemen, men chestra in Berlin, and afterwards held names in violin playing, notwithstand¬ proves their quality, and not simply art. In almost all other branches of and England, brought the young artist of honor, and considered themselves as positions as concertmaster of orchestras ing his French name, was born in Nu¬ age. human activity the shibboleth, “Ger into notice, and Liszt was so pleased devotees—high priests—of a noble art. at Konigsberg, Mannheim and Weimar. remberg, Germany, 1807, and spent1 the A few years ago a violin maker in¬ many for the Germans,” holds good. with him that he engaged him to go to Joachim was on the most intimate He had the honor of playing the Bach greater portion of his professional life vented a machine to artificially “age” Not so in music; a great violin artist or Weimar as concertmaster of the orches¬ terms with the leading composers of double concerto at the Bach festival at in that country. His father was a mem¬ violins by causing a lever to pull, the composer of violin music is welcome in tra Liszt directed there. Joachim, find¬ his day and enjoyed life-long friendship Eisenath with Joachim. Halir had ber of the town band and taught the bow backwards and forwards across Germany, no matter where he was ing himself out of sympathy with the with David, Schumann, Liszt, Berlioz, many successful tours as a concert vio¬ boy, who afterwards had lessons from the strings, which were stopped in born, or what his nationality. Germany new school of music which was fast Brahms and Mendelssohn. As a linist, including one of the United Spohr, Rovelli and Kreutzer. He made fifths by a clamp, as Otto suggests. States. His playing was marked by and France are hereditary enemies, and developing in Weimar, left after two teacher Joachim formed an immense frequent concert tours, and built up a The inventor established a factory in yet Henri Marteau, a French violinist, years to accept the post of conductor number of eminent pupils. great intellectuality, and his interpreta¬ European reputation. He was equally Indianapolis, and a great number of was chosen director of the violin de¬ and solo violinist to the King of Han¬ Joachim’s compositions were princi¬ tions of the great violin classics, ab¬ successful as a soloist, quartet player violins were sent to him from all parts partment of the Royal High School of over. Here he remained for twelve pally for the violin. His most notable sorbed as they were from Joachim, were and teacher. His compositions are of of the country to be “aged:” Just when Music to succeed the late Joseph Joa¬ years, during which time he married work is his Hungarian concerto, for marked by true art. He was held in the great merit, especially his violin con¬ chim, who was himself of Hungarian Amelia Weiss, a celebrated contralto. solo violin and orchestra, a composition highest esteem throughout Germany certos in D minor and A minor. He the business was getting well estab¬ birth. Choosing a Frenchman of all In 1868 Joachim found his life-work, which is in the repertoire of most con¬ and all Europe. was for many years the leader of the lished the factory burned down and all others for the most prominent educa¬ that of director of the Royal High cert violinists, and which will bear the Royal Band at Stuttgart. He left five the violins were burned with it. tional violin post in Germany was cer¬ School of Music of Berlin. From that test of time. RODOLPHE KREUTZER. violin concertos, six string quartets, a Just why old violin! are better than tainly one of the most extraordinary in¬ time until his death he resided almost A great critic in writing of Joachim new (some authorities say they are not) Rodolphe Kreutzer, although born at symphony, an oratorio and other leaser cidents in the history of music, and continuously in Berlin, except when says: “He evinced that thorough up¬ seems to be as far from solution as Versailles, France, in 1766, may be works. goes to prove that in art matters Ger¬ absent on concert tours. He entered rightness, that firmness of character ever. Some claim the superiority lies justly claimed try Germany, since his Modern Germany, and especially Ber¬ many is a republic, and not an empire. into his new duties with the utmost en¬ and earnestness of purpose, and that in¬ in the wood, others in the varnish, still parents were Germans. He was one of lin, numbers in its musical ranks an Violinists from Russia, Poland, Italy, thusiasm, and brought the violin depart¬ tense dislike of all that is superficial or the great violinists of his time, and the immense number cf eminent violinists, others in the amount of playing they France, Austria, Sweden, England ment of the Royal High School to a untrue in art which have made him not gathered from all over the world. art of violin playing owes to him an have had, and others again in the tuning America—from all nations, in fact—are point where it was celebrated through¬ only an artist of the first rank but in a Among others Carl Flesch, of Berlin, inextinguishable debt for his “40 of the top and and back of the yiolin to welcome to the German Republic of out the world. The fees for attending sense a great moral power in the a Hungarian violinist, is rapidly- forg¬ Etudes” for the violin, a work which certain notes. Music. It is this which has given Ger¬ this celebrated institution are nominal, musical life of our day. ing to the front as a great violin solo¬ has been called “The Violinist’s Bible.'' One thing is certain, however, and many her wonderful activity and pre¬ but the candidate who is accepted must ist and master of the violin. His tech¬ and which occupies a unique position in that is that the best violinists will not eminence in the violin art, an activity have undoubted talent, and pass an ard¬ nic is enormous, and his interpretations the literature of violin studies. Kreut¬ play on any but old violins. They often which has never before been seen in uous examination. The violin depart¬ show the soundest taste and' musician- the world’s history. ment of the Royal High School, while The position which Joachim filled up zer passed the greater portion of his life recommend and endorse the new, play Last month The Etude gave a short Joachim was at the head, was, without to the time of his death, as director oi in France. He was the third in order on them sometimes for advertisement the violin department of the Royal High of development of the four great repre¬ or in orchestra, but when all is said and sketch of the career of several German- doubt, the most celebrated school of CARE OF THE VIOLIN. born violinists. In the present issue a School of Music (the Hoch-schule) is sentative masters of the classical violin violin playing in the world. “How does your violin look when you done, for solo work they go back to number of violinists are represented now filled by Henri Marteau, an emi¬ school of Paris, the others being Viotti, JEWELRY take it out to begin your practicing? Does their old loves, the old violins. It is who, while not born in Germany, have nent French violinist. His position in Rode and Baillot. JOACHIM AS A VIRTUOSO. it look fresh and clean and fit, the cher¬ doubtful that the musical instinct of become closely identified with the prog¬ the Hoch-schule naturally gives him Kreutzer’s first teacher was his As a violinist Joachim possessed un¬ For Music Lovers ished tool of a careful workman; or is the thousands of violinists of all coun¬ ress of the violin art in that country. great influence in the world of violin father, who was a musician, and he doubted genius. His superb technic it dulled with the dust of ages, soiled tries of the world can be wrong in this playing in Germany, as this is the most later studied with Stamitz. He made a was always subordinated to the true and frayed of string and clogged with matter of the superiority of old violins, JOSEPH JOACHIM. important position of the kind in the successful debut at thirteen, playing a spirit of the composition he was play¬ ancient rosin? Don't believe that age and their accumulated verdict should entire empire. Marteau was born in concerto. He soon achieved a Euro¬ In the development of violin play¬ ing, and he would never stoop to play Rheims in 1874. His early talent was and pedigree are necessarily inferred prove without doubt that old violins ing in Germany the late Joseph Joa¬ compositions full of dazzling technical pean reputation, was appointed a pro¬ from dirt and defacement. Many of the have a better quality of tone and arc cultivated by his father, who was an fessor at the Paris Conservatoire, and chim was one of the giants. Although display unless they were first of. all amateur violinist, and by his mother, most valuable old violins would not be¬ the best mediums of expression for the Hungarian-born, he may justly be good music. The favorites of his reper¬ with Baillot compiled a method of vio¬ tray their age to the uninitiated except, violinist. who was an excellent pianist. When a lin playing for the instruction of pupils claimed by Germany for her own, since toire in his later years were the con¬ perhaps, by some exquisitely knitted crack mere child Sivori, the.eminent Italian to that institution. the labors of the long life of this il¬ certos of Beethoven, Bach, Mendels¬ violinist, heart, him play. He at once or a thinning of the varnish here and lustrious violinist were given to his Later he turned his attention to writ¬ AN ARMLESS VIOLINIST. sohn, Spohr, his own Hungarian Con¬ recognized _ his talent, presented him there at points of greatest contact. No, adopted country, and he was as closely ing grand opera, was made the director certo, the Brahms Concerto, the Bach with a violin, and persuaded his parents he or she who has been lucky enough Speaking of the different ways in identified with the musical develop¬ of the Paris Opera, and was decorated solo Sonatas, and the two Beethoven to let him become a professional vio¬ to become possessed of a mellow-toned ment of Germany as any German-born with the Legion of Honor. While in which violin technic can be accomplished. Romanzas. In the interpretation of linist. Marteau, while still in his boy¬ instrument, numbering any decades over violinist. It is doubtful if any violinist, Vienna he became acquainted with Ralph Wylie writes as follows in The these he was unrivaled, as he was also hood, was sent to Paris, where he be¬ fifty, will be advised to keep it scrupu¬ not even excepting Spohr, has had as Beethoven, who dedicated to him his Violinist: in the whole range of classical chamber came a pupil of Leonard. At the age of lously clean and to handle it with ten-: powerful an influence in developing and celebrated “Kreutzer” Sonata for violin I recently contributed a series of papers music. 18 he won the first prize for violin play- derness, remembering also that it is liable popularizing the art in Germany as It may be said truly that Joa¬ and piano, a work which is in the rep¬ on bowing fundamentals to The Violin¬ at Hie Paris Conservatoire, and to be affected by a warm or moist climate, Joachim. During many years of his ertoire of every serious violinist of the ist. It war virtually an exposition of chim elevated the violinist’s profession Massenet, the great French composer and in such circumstances keeping a long and busy life, while he was in his throughout the world. He had a singu¬ wrote a concerto for him in conse¬ present day, and which was made the particularly watchful eye on any old the so-called Joachim bowing. Soon prime, he was universally regarded as larly fine character as a man; he was quence. He soon won a European rep¬ basis of a sensational novel, The Kreut¬ cracks which may be inclined to re-open, after that I heard the violin playing of the most eminent violinist of his time. gentle, modest, unassuming, of the utation, and many concert tours fol¬ zer Sonata, by the late Count Tolstoi. and on the close adhesion of the ribs a man who had been born without arms. Joseph Joachim was born in the vil¬ strictest integrity, and imbued his hear¬ lowed, including two to the United Kreutzer was a brilliant solo violin¬ to the front and back tables. The case, Of necessity he played with his toes, and lage of Kittsee, Hungary, in 1831. His ers with something of the same venera¬ Mates, where he became a great favor- ist, and an excellent musician. His in¬ even* when closed, should not be kept by did not know Mr. Joachim. He played genius developed early. He commenced tion for the great compositions for the dustry was very great. He left thirty- an open window, but in a sheltered corner De Beriot’s Ninth Concerto with fine to study the violin at five and appeared violin which he himself felt. He was Marteau has a large, brilliant tone of nine grand operas and ballets, nineteen of a warmed room, and should be well in public in a concert at Pesth at seven. a popular idol in Germany, and in Eng¬ grasp of nuance, faultless intonation and singularly appealing quality, and great violin concertos, fifteen trios, fifteen lined, or else the instrument itself care¬ At the age of ten he was sent to Vienna, land, to which country he made an an¬ perfect good taste. I do not know how stiing quartets and many other compo¬ fully wrapped up to exclude as much where he studied tinder Bohm, who de¬ nual tour. On one occasion his ad¬ ST hHlS technic is wdl developed extensive his repertoire was; but I have and he has a mastery of the principal sitions, besides his celebrated Forty as possible of the outer air. Transition veloped so many successful violinists, mirers in England arranged for a dem¬ heard that work played by student and Etudes or Caprices for the violin, on from outside frosty air to a crowded, for two years. He then went to Leipsic, onstration in his honor, presenting him re?£tmre °f great violin works ' teachers1 whose performances compared When Joachim died, to the great sur¬ which his fame principally rests. His where he met Mendelssohn, who at with a superb Stradivarius violin, for overheated room affects both strings and with his about as favorably as that of prise of violinists all over the world violin concertos form excellent teaching wood, and should be graduated and once recognized his great talent and the purchase of which $6,000 had been our competitor compares with the plac¬ his position as director in the Hoch- material, but are not sufficiently in¬ minimized in any way that the circum¬ did what he could to bring the young subscribed. On another occasion, in ing of our favorite artist. Since hear¬ schule was offered to Marteau He ae teresting to be heard in public at the stances afford; but that must be left en¬ artist into notice. At the age of little 1899, the sixtieth anniversary of Joa¬ present day. ing him I have not adapted his technical more than twelve Joachim appeared in cepted the position, refusing, however' tirely to the discretion of the player. chim’s first public appearance, one of A well-known critic has said of these system, as I still believe my own is more one of the Gewandhaus concerts in o become a naturalized German sub- *When returning the violin to its case the most remarkable demonstrations in orty Etudes: “These studies have been conducive to both grace and facility. I Leipsic as a finished artist, playing the history of music was made in Ber¬ after practicing, not only dust, but the Swf "man «- recognized and adopted as the basis of am changed, however, in having gained a Ernst’s Othdlo fantaisie. This perform¬ lin. A grand concert was given, with moisture of hands and of the breathing nil solid execution on the violin by the ance won him great renown. two hundred performers. Of the ninety Marteau appears frequently in public should be removed; the bow hair should broader and deeper understanding of the >n Berlin, notwithstanding his onerous masters of all schools—French. Ger¬ be relaxed and the stick wiped with an ancient truth that “there are more ways man, or any other nationality—afd old silk rag.”—The Strad. than one of skinning the cat.” Please mention THE ETUDE when addressing our advertisers. THE ETUDE 347 346 THE ETUDE Pianoforte Instruc- Every young IN NATURE’S GARDEN. Beasts did leap and birds did sing, Rkyal Opera. Frederick the Great, Old Trees did grow and plants did tion During the teacher feels the Fritz,” as he is lovingly called, founded A May Day Recital. spring, First Months. necessity for a the opera, and it has been “Royal ever __ Everything did banish moan By Rudolph Palme. book outlining DEPARTMENT Save the nightingale alone, the special re¬ S1Theaseats°areeVaeiiyloldSbefore we get (The piano and violin selections in the Lean’d her breast against a thorn, quirements of study during the first FOR CHILDREN there,6 and we chase about for scalper’s lowing program may be found ,n The And there sung the dolefullest ditty PUBLISHER’S NOTES months. “What to do” and “how to Edited by . tickets. We buy these from a wheezy Etude of 19IU.) That to hear it was a pity. A Department of Information Regarding do it” are the matters of chief concern. MISS JO-SHIPLEY WATSON old” man who seems in terror lest the 1. Recitation. Fie, fie, fie, now would she cry; Not to know how results in hundreds In the garden to and fro, police should see us. He walks us three Tereu, tereu, by and by; r#i New Educational Musical Works S» 5* of compromising dilemmas. Every pupil Fluting low, thrushes go. blocks in a drizzling rain to a safe place That to hear her so complain 0 is, of course, a case unto himself, but HOW AN AMERICAN GIRL WENT Listening to music in Germany under the shadow of the Catholic Church, Scarce I could from tears refrain. there is, moreover, a certain broad path In the garden we can spy, TO THE OPERA IN serious matter; one learns there to respect and there buy the “forbidden by law of procedure which every teacher Circling high, swallows fly. Barnefield. GERMANY. the performers, the audience and tickets. mmmMMmmmsw. should know. Ludwig Palme, a re¬ . . . . self; after all is it not a great i We hand them in at the door and who 17. Piano. The Nightingale and the In the garden all aglow nowned German pedagog, born in 1834, institution like spoji anyone’s enjoyment of a: is the wiser? And does not the very Rose. Lieurance. New Gradus Ad Two volumes of Songs of Praise We have come into outlined this path in a booklet. This Row on row roses grow. (Etude, December.) big part Spire Ju,y-> one of the most interesting and useful for women’s voices, etc. Our immense The conductor paused, stopped the when the long pause comes. Fraulein '■+. Piano. Dragonflies. Krentzlin. W^ut0,1isten for errors, but to listen this that this new book is intended to sets of studies by this most popular chorus of two hundred voices and stood 1,0 exception, only she is . Success never comes all al- once. Three °r the beauty in the pieces I play. stock is at the service of those who are economical of the most succe, " ic t,. (Etude, June.) fill. It contains all the necessary ma¬ writer. There is a. Tarantelle and a facing her with folded arms. There was ar|d brings one with her. successful operas of the age interested in obtaining good music for proved to be fai'u 13. Piano. The Beetles’ Dance. Holst. i.„ ' * ,res°Iye to make to-day’s work terial, including holding notes, all sorts Caprice in the set that are worth double absolute silence except for her now .. c ' la,'ures 0D the first produc-1 better than yesterday’s. any special occasion and we are always (Etude, June.) of finger exercises, scale work and the price of the wJiole work. There is audible steps. After the exit was reached AN IMAGINARY VISIT TO THE OPERA l'aust> Carmen, Madam Butterdv ready to send copies for examination, ' I nstan and Tsnl.de ..... „ _ , . 1 y■ 16. Recitation. arpeggio work. a freshness and vigor in all of Sartorio’s there was one loud hiss and the chorus In imagination let Tristan and Isolde was rehearsed S subject to the usual discounts. It is As it fell upon a day a dnU- Sa'd *bat Schubert’s mother was The special introductory price during works which makes them very accept¬ recommenced,* “0 Mensch bewein dein’ five times in Vienna when Wagner f ' none too early to plan the commence¬ American girl to a gala performance. In the merry month of May, rieH C !n a'Private family before she mar- the current month is 30 cents, post¬ able for modern study. Siinde gross.” it, and was then given up as ment program and we solicit the cor¬ is the anniversary of the founding of the to ebuhert’s father, a peasant who rose paid, if cash accompanies the order. If Sitting in a pleasant shade The special price in advance of pub¬ respondence of every one interested in Which a grove of myrtles made, De a country schoolmaster. charged, postage will be additional. lication is 20 cents, postpaid. the subject. THE ETUDE 349 348 THE ETUDE ber is quite limited and those that come On Sale Returns As the close of the uniform satisfaction. The pric.e is only Theodore Presser The last week in publication during the current month their valued orders during the current early will have first choice. and Settlements, present teaching made possible because of the large Choral Society. March marked the will be 25 cents, if cash accompanies the season. Theodore Presser Co. America's Young music teachers season is but a few number printed at one time. close of the first order. If charged, postage will be ad¬ Summer Musical The Publication -of New Musical in this country have no weeks off, it may be not untimely to Special Notices regular season of the Theodore Presser ditional. History Study the Standard History Characteristic Studies This set of Independence, idea of the wonderful mention for the benefit of those who RATES—Professional Want Notices five cen’ PUBUCflTIOHS JUST ISSUED Choral Society. This organization now Made Popular. of Music, by James for the Pianoforte. splendid stud- Musical This is a most change in conditions perhaps do not thoroughly understand numbers 65 voices, and meets weekly Francis Cooke, has. By F. Sabathil. ies for mod¬ Picture Book interesting little pertaining to the purchase of mUsic n,,r “ON SALE” plan with regard to during the season for the study of part resulted in the formation of hundreds erately ad¬ for the Pianoforte. book for begin- which has occured in this country the return of “ON SALE” music and MAY, 1911 singing, taking up secular and sacred of highly successful History Clubs and vanced students is now about ready, PROGRESSIVE TEACHERS invited to By Octavia Hudson, ners. The little during the last fifty years. One of the settlement of accounts, that returns and Correspond with I.OU1S ARTHUR RUSSELL, Any of our wof choruses, part songs, and other smaller History Classes. This work is so sim¬ and the special offer is hereby with¬ Carnegie Hall, Manhattan, or the Publish¬ teachers, upon req pieces are of a most notable of these is the rise of complete settlement is expected during professional discom: works for mixed voices. The member¬ characteristic type and most of them ple, so direct and so entertaining that drawn. Teachers working in the inter¬ ers, regarding the introduction and use of the American music publisher. pub_ June and July for all ON SALE music the Russell Systems of Music Study for Pian¬ Use the number, m ship is restricted entirely to employees are accompanied by appropriate text. the entire subject is invested with a mediate and advanced grades who are lishing firms have been in existence in that has been retained for two seasons. ists, Vocalists, and Theory Class Work. The PIANO SC LOS. of the Theodore Presser Co., and the Most of the work is for single hands or new and lively interest. It is admirably in search of new and attractive material Russell books are coming into use among the musical field since the earliest days If your present selection, however, has earnest musicians throughout the country. musical director is P. W. Orem. The for alternate hands, but the general adapted for special summer courses of should not fail to give this work a care¬ 1 Young Troubadour of the development of musical art in been sent you during the present season, society • has made excellent progress effect is quite pretty. These pieces may study. Entirely apart from its ‘possi¬ ful examination. We will be pleased to WANTED—MUSIC TEACHERS, quali¬ America. William Billings, whose com¬ and is satisfactory, it is not necessary fied by best training and experience to fill during its first year and is now capable be used with very young children or for bilities for increasing the income of send copies for this purpose. of doing really remarkable work. Two positions were but little better than to make the returns, and you can by responsible positions in Educational Institu¬ kindergarten work. The book will be the teacher or that of turning a period Playing Two The problem of tions. Address Boston Musical Bureau, Trc- caricatures of good music, was pub¬ making a suitable payment at the close successful private concerts have been printed in oblong form with large notes, which has previously been one of out¬ mont St., Boston, Mass. lishing his music in America long be¬ Against Three. playing triplets 8838 Bon Bon. Caprice, I miner.... 2V4 given. Some interesting work is making the music very easy to read. go to one of earning, the direct bene¬ of the current season, in June or July, SERENATA POETICA. Fine violin and fore the birth of Berlioz, Gounod, By Chas. W. Landon. in one hand 8835 Farmer Boy, Galop, Immer.. 2% planned for the next season. It seems The special price during the current fits to the pupil are inestimably great. retain it a second season, thus saving piano solo, and Angels Prayer, charming 8825 My Lady's Favor, Mazurka, Chopin, Schumann, Liszt, Wagner or against couplets piano piece: 25 cents copy. Samples free. peculiarly appropriate fpr a house month will be 25 cents, postpaid, if cash A class started in the latter phrt of transportation charges both ways. The Luigi Tutela, 217 Hunterdon St., Newark, Atherton . 2'Y Mendelssohn. Lowell Mason, father in the other is one of the greatest 8824 Grand Promenade, Atherton. 2Vi which is engaged in the publishing of accompanies the order. June will keep the teacher’s pupils amount of .such payment on the ON 8822 A Bit of Nonsense, Atherton 2 Vi of Dr. William Mason, met with large stumbling blocks in pianoforte playing. music to encourage a taste for music* together during the better part of the SALE account is to be determined by CORRESPONDENCE LESSONS in Har¬ 8820 College Boys’ March. Atherton 2 Vi New Organ Pieces. Organists will be success as a publisher. Yet it is only In order to. overcome the difficulty and to endeavor to promote a knowl¬ summer and still allow individuals direct correspondence. mony and Counterpoint. Stanley_ T. Reitf, edge of it among its own employees. By I. V. Flagler. glad to know that there must be scientific attention given Mus. Bae., Lansdowne, 1: enough time for a sufficient vacation. within comparatively recent years that For the information of those who do We mention this organization think¬ we have recently to it. First of all, there must be an nut_ St., Philadelphia, Pi '2 Enchanted The Standard History has already been our American publishing houses, by desire to make returns we will say: ing our readers might be interested to come into possession of some manu¬ analysis of the mathematical division of endorsed by some of the foremost dint of their persistence, high ideals, Returns should be sent to us by the EXPERIENCED PIANO TEACHER do- rs73 Ectmes^f’the Hunt. learn of it, and with the hope that it scripts by the late I. V. Flagler, the the notes and a clear mental picture of _1 posittoi- (705 La Fugitive, Valse Caprice educators and has been extremely suc¬ broad policies and indefatigable labors, cheapest way, either by mail in four- American and .European training, Lesche- may serve to stimulate activity along popular Chautauqua organist and con¬ what is to be done must be had. Then WeutH . cessful in actual practice. It demands have won a position of commercial and pound packages; by express, at printed tizky Method. 8874 Dance of the Indian Malden, similar lines among other corporations cert player. Mr. Flagler enjoyed pub¬ there must be suitable directions and Etude Wcyte . absolutely no previous experience in artistic significance comparable with matter rates, two ounces for one cent; and business houses. We have been inter¬ lic favor to a high degree and was exercises given. The whole problem is 8702 The Fickle Shepherdess, teaching musical history on the part the venerable houses in Europe. The or by regular express, charges prepaid. SIJMMER STUDY WITH LOUIS AR¬ Wekerlin . ested to learn of the symphony orchestra much in demand for organ openings. quite easily solved if gone about in THUR RUSSELL. Author of “Russell 8703 Shades of At altz. of the teacher. Perhaps you have not editions of the classics, as well as the Packages that have been sent out at and military band recently organized in On these and similar occasions he was the right way, but it has given more Books" for singers and pianists. Address Mr. had a chance to take up history teach¬ editions of current copyright works, printed matter rates are privileged to Russell at Carnegie Hall, Manhattan, for par- 888(5 GavotP Poo connection with a large steel industry, also accustomed to play certain show pieces, uneasiness and heartache to the average ticulars regarding Normal Courses (June ing as yet. Now is a splendid time to are in innumerable cases as carefully come back the same way. In making of choral societies in a number of large which, during his lifetime, he never piano player than anything else. Mr. July), circulars, etc. make your plans for a Summer History edited, as excellently printed and as returns from Canada or Mexico, unless department stores. published. These are admirably suited Landon has given this problem the best Class. A little enterprise, a little well published, from every sense of the the package is very large, it is best to Summer The New Music On Sale for recitals of a popular character, and exposition that it is possible to give it, Id True March. Becker energy, a little “I will” and a few talks word, as the best products of leading return in four-pound packages by mail, New Music, plan is so popular dur¬ for other special occasions, and we have and the little book we will publish will •e ceased t< apparatus devised solely 8832 L - with the parents of your pupils may European houses. The tables have as the express is more likely to go entertainment. Its edu- rolle, Dec ing the winter that it in preparation four of them to be pub¬ cational signlficat has been recognized by 8865 Moonlight turn your summer from waste and loss turned, as it were, and the music which through the custom house, thereby be most valuable to any one. has been found necessary for a number lished in sheet music form. These are Our advance price will be 25 cents the manufacturers ,u sum an extent umi “Concert Variations on America,” to profit and pleasure. The classes your grandparents used to import from causing delay and frequently expense. an educational department has been estab¬ of seasons past to continue the general postpaid. We will most likely with¬ lished under the direction of one of the most “Paraphrase on Robin Adair,” “Alpine may be held on the porch, in the garden, Europe in great quantities at absurdly PLEASE BE VERY SURE TO PUT idea of New Music On Sale for the draw this offer from our next issue, so brilliant musical educators of the country. Fantasia and Storm” and “Festival on the lawn, in the woods, anywhere. high prices is now printed in America YOUR NAME AND ADDRESS ON Teachers desiring to know how they may benefit of the teachers who continue and sold at the lowest possible margin send in your order this month if you use the Victor Records to educational ad¬ wallows' Flight, lt'ej Overture.” Let us send you our “Special History EVERY PACKAGE RETURNED so vantage. will receive full Ir¬information gratis 8887 Bubbling Spring. Op. 04. Kern 3V& their work during the summer. As of profit. desire to have it at special rate. usual, during the coming summer, be¬ We are not offering these at special Club Plan,” which furnishes you gratis that it will be at once identified and by applying to the Victor (_,Company at Cam- 8794 Flowery Pathway, lilts. 3V4 Thus, we may observe that America’s den. New Jersey. Hundredsds of teachers a.»are 8880- —.Zephyr’s Whisper. ..Martin - 3 VS ginning with June, we will send a small price, but will be pleased to send them with the means for securing a class. delay in entering credit avoided. Suggestive This extremely at- making their work better, more interesting 8847 From an Old Love Letter, musical stride is by no means con¬ package each month to all who desire for examination to all organists who It is none too early to write to-day. Finally, let us suggest about returns, Studies for tractive and useful and more profitable by adding the Victor Lieurance . •” The price of the Standard History of fined to our superlatively fine opera Talking Machine to their Studio equipment. 7470 Nlbelungen March, Sonntag.. ■ it. This will be made up only of our may be interested. that unless there is some special reason Music-Lovers, book might have been The new records of Farrar, Scotti, Homer, 8829 Menuet in G, Minctti. - companies, our orchestras, which have new issues. They will be sent at pur Imaginary Mrs. Alethea Crawford Music is only $1.25, so all pupils may or purpose in view that you wait until called “Music Made McCormack, Goritz and Tetrazzini are con- 8922 Entry of the Gladiators, Op. have one. Special introductory pro¬ won the enthusiastic encomiums of the June 1st statement is received, when sidered the best ever made. Tetrazzini gave 68. Fuclk. < usual large professional discount, re¬ Biographical Cox (co-author of this Delightful for Those Who Commence ” ’ ' > insure the making 8881 Evening Glow, Meditation, turns to be made either at the end of Letters From work with Miss Alice fessional price by the dozen. Europe’s best critics; our native-born full and complete directions will be Music-Study Late in Life.” The whole singers, who hold first positions in given for use in making returns. "in’o’ the summer or, if more satisfactory, at Great Masters. Chapin) possessed pe¬ Our New For some months we have work is so ingeniously planned and <»rsl;i . European opera houses, or our com¬ DICTIONARY-CATALOGUE OF 28.015 the end of the teaching season in the culiar qualifications for Building, been actively at work on conceived that it is difficult to describe, OPERAS. Having now completed the issue 8725 Moment Musical III posers and virtuosos, who have won Seasonable Helps Certificates of to subscribers at $7.00, I am selling out the Mi.. Wtmzknirskl . following June, 1912. A postal card writing these letters. Mrs. Crawford Cox, the plans and specifications except to say that it was aimed at a 8840 Convent Bells, Reverie, international recognition, but extends remainder in priority of application at half will place you on. our list for summer together with her sister, Miss Rebecca of our new building, which will be for the Teacher. Award, 9 x 12 definite purpose and hits the aim price. On receipt of a postal-order for $3.5(1 new music, not more than ten pieces to that branch of musical endeavor inches in size, wonderfully true. Too few teachers the book will be mailed, prepaid, to anv ad¬ 87 24 Moment" "' Musical' ‘" II Crawfotd, conducted one of the most erected by this company during the dress on earth. John Towers, Compiler. Lock UoHSkotcski . a month, either vocal or piano, or both. successful select schools for children in present summer. The building will be which only too often receives but to be filled out by the teacher., .ea., 5c know about this work. Every teacher Box 495, Morgantown, West Va., IT. S. A. 8920 Habaficra. Spanish Sere All who are interested in the Choir slight recognition from the musicians Course of Study Certificate, \3% x New York. A part of the regular a complete fire-proof building of the has pupils of mature years come to TEACHERS! Do vou have to refuse should be on our octavo new music school work was lectures upon the themselves, i. e., the publishing branch. 13% inches .ea., 10c PIANO DUETS. first class. The dimensions are 65 x 54 him for study. The teacher finds that students? Our teachers do. Some 50 ner rr4 Hungarian Dance, Horvath. list. A small bundle is sent out four lives of the great composers, illustrated feet. There will be nine stories, with a For nearly a century we have been in¬ Diploma Forms, 21 x 19 inches, 15c; the average beginner’s book is entirely year. Proofs and why for stamp. Specifi- boh Slow Movement from 'Cell times a' year. dependent in the manufacture of mu¬ cations, all sizes, extension piano pedals cost¬ Concerto, Schumann. with lantern slides. These weekly cellar and sub-cellar, or, in all, 11 floors. parchment .ea., 25c unsuited for them. The Beginner’s ing 20 centR, postpaid 25 cents. • Quickest, Beyer’s This work is now ready lectures became very popular; that This building will be occupied by our sical instruments. American pianos are Musical Prize Cards, 6*4x45-4 book has very obviously been prepared surest music memorizing system extant. 25 unsurpassed, and our teacher-readers Everything guaranteed, or money 882' Pianoforte and the special offer is work of these two enterprising teachers business. In our present building we inches, containing steel engrav¬ for very young minds, and the pupil’s refunded..x rr,— j„S£ once. System, should know that the American pub¬ PIANO STUDIES. Method. hereby withdrawn. We feel became extremely successful, eliciting are very much overcrowded, and the ing, miniature portraits of great intelligence is insulted by nursery ex¬ >, Ind. 8058 Eight Melodious and Char¬ lishing houses offer special facilities sure that those who have the attention and enthusiastic praise of new building will be an annex to the composers .ea., 10c planations. This book avoids this, and FOR SALE—RARE OLD ITALIAN acteristic Octave Studies. ordered this work will be pleased with such men as Dr. William Mason, S. B. which are unequaled by the publishers Reward Cards, set of 14, litho. in Sartorio . : present one, as it will be erected imme¬ also includes a vast amount of addi¬ VIOLIN, genuine Joseph Guadagnlnl. 1740. 8848 Interpretation and Mecha¬ our new edition. It is excellently gotten Mills, Henry Holden .Huss, Albert Ross of any other country in the world. Address C. L. Merkel, 379 Thirty-first St., diately in the rear of it, the two build¬ colors, containing the portrait tional information which could not be Milwaukee, Wis. nism, Bggeling . 4- up, and contains all the good features Parsons, etc. From this enviable ex¬ ing will be connected by a bridge, over Letters From Let us suppose and birthplace of great masters.. 50c included in the average book. The VIOLIN AND PIANO. of the old book, together with some perience, covering many years, the Teachers’ Certificates, 8*4 x 11. .ea., 5c FOR SALE—New VirmI Clavier, mahog¬_ 8868 Noctun..... _ a small street. This new building we A Musician that the reader of adult mind grasps certain things in a any finish: cost $80: price, Address‘ ” 8892 Romeo Gavotte, lifnguct. 3 useful additional material, and all care¬ child’s poi#t of chief interest was ob¬ Blank Program Forms for Concerts expect to be the finest music publish¬ to His Nephew. these lines is a jiffy and is annoyed when it is con¬ Clavier, care The Etude. PIPE ORGAN. fully edited by the well-known educator, served and the result was these splendid ing house in the world. Everything By E. M. Bowman, student who de¬ and Pupils’ Recitals, two different fronted with a long array of juvenile 8733 Regina Gavotte, Lacey.3 Chas. W. Landon. We anticipate that ACCOMPANIST (lady! desires Dosition letters, which will prove so interesting that goes into the construction of the sires to have his designs, four pages to each form, material. It also is curious to know for July and August. Address A. W., care SONGS. this edition will be extensively used. and inspiring for children. They are building will be of the first order without printing, per hundred.... 50c of The Etude. 8705 An April Fancy. Sutltlit. 3 views upon piano study made secure something about the essentials of 8858 Will You Come to Me? Remick 3 Mexican Dances We will shortly the products of real “know-how,” writ¬ There will be a restaurant on the ninth by comparing them with the most com¬ We do not do the printing; the pro¬ harmony, rhythm, and musical form ARRANGING. Get your Song, March. 8885 Roses and Love Waltz Song, for the Pianoforte, publish a set of ten by women with a warm sympathy floor for the employees, and also a roof monly accepted pedagogical methods gram and the title to be added in writ- which could not be included in a chil¬ Waltz. Two-step or Medley arranged for Band Petrie . 3 for little folks. The advance of publi¬ and Orchestra. Send fnr particulars. Geo. 8807 If Love Lies Dead, Ferbcr. . . 3 By Luis G. Jorda. original Mexican garden. There will also be a small and systems of our time. In that case mg, multigraphing or typeprinting. dren’s book. These things are very F. Briegel & Co., 1367 Broadway, New York, 8870 Persian Serenade. Cooke. 3 Dances by one of cation price is 40 cents. amusement or recreation hall The the student will find in Mr. Bowman’s 3700 Captive Maiden. Chipmun.... 3 carefully expounded in the Norcross 8924 Come, Ye Faithful. Minetti. . 4 the foremost native Mexican writers. Summer By the time this issue building will have light on all sides and splendid letters upon piano teaching a Suggestive Studies. It will make all at¬ 8707 Thou Art. Colerhlqe-Taylor. . 4 There is a certain fascination about the Mail Orders, reaches our subscribers will not be used for mechanical pur¬ wealth of information mined out of tendance at concerts much more profit¬ --"ockice.il. 3 dances of the various Latin-American hands. One dollar, postnaid. Esse the Spring Sessions will poses, but mainly clerical. We expect real experience. Experience gained T, coming very popuh able and interesting. The book con¬ ing Co.. 854 Carnegie Hall, Manhattan, New and Tenor, Rockwell.’._ countries:- The rhythms are subtle and be almost closing and all will begin to have the building finished by the first not only from the celebrated masters these pictures are low only in pric tains fine selections from the great York. N. Y. OCTAVO ITEMS, CHORUSES AND in some cases complicated, partaking making plans for the summer. This of January. During the process of with whom Mr. Bowman has studied, or Quality and workmanship they a masters—real music, tastefully arranged, PART SONGS. largely of the characteristics of the MIXED VOICES (SACRED!. house realizes that many teachers con¬ building the business will not be inter¬ but from the thousands and thousands hot excelled by any picture in any kit so that the music-lover with a slight various Spanish Dances, but modified rupted in any way. AMATEURS’c««i““::S 10117 O. For a Closer Walk With tinue their work, in fact, it is our ex¬ of lessons he has given in his wide ot Printing. technical advancement can play it with Band. II. Bauer, 185 East 84th Street* ]Vew Y " 1, Laming. 3 somewhat by certain Indian and Negro perience that some teachers do more . A d«tailed description of the build¬ educational work. If, perchance, you interest. You will need this book, and - 10118 O. ,'orship the King, Cal- features, both melodic and rhythmic. These pictures are photogravur braith . 3% work in the summer than during the ing w.11 be given in some future num¬ are a teacher you will find the Bowman Printed in photo-brown. The pictur you know of many who need it now. SCHOOL OF PIANO TUNING 10110 Plow Beaut if lit I'pou the In view of the growing interest in all winter, months. We want to say that ber of The Etude. letters “cram” full of just the kind of Mountains. Wolcott. 3 things pertaining to American music, P hshed so far at a uniform price Bear it in mind—the Norcross Sug¬ 10120 Thanks Be to God (Easter). our equipment for the busy winter hints which will prove of real help in a study of these dances will prove of Music We are offering, during the Tl? are as fohows: “Schubei gestive Studies. We are not placing it Marcliant . 3 season is such that'the summer season, actual teaching. Every page of this educational value, in addition to the Stands, current month only, a reduc- the Maid of the Mill,” size 11*4 xl5* upon any special offer, as the book has notwithstanding vacations, finds us book will contain something you will real pleasure to be derived from their tion on Japanned Music Stands .£°?art at Salzburg,” size 11*4x15} been published for some time. But we better able to look after our trade in want to know, something you ought to musical worth. There are seven of They are the folding stands of the usuai Wstons of Wagner,” size 11*4 x 15? think that our readers ought to have MEN’S VOICES, mail order music supplies than at any know, something which you will he the these dances and they will be published type and they weigh about two pounds in have 'n stock these same pictur an opportunity to become better ac¬ How to make perfect Piano Polishin, 115 Away ! Away! Schoebel .. . other season of the year. We take this better for knowing. The very low ad¬ best Moth Powder; household necessitie 17 < If Love Lies Dead, Ferbcr.. neatly and elegantly in book form. We will furnish these stands, complete 7r P °*°8ravure, but hand colored, quainted with it. The price is $1.50. itable side line or mail order business foi opportunity of thanking our many vance price of 20 cents will hold good NEW BOOKS. The introductory price in advance of „ . ®ac^‘ These pictures were first a It is a fine book for the teacher to use Each recipe, with full instructions, $i .oo patrons who are Etude subscribers for foronwT’ fHng the present mo"th “Anthems for Congregations,” for only 45 cents, postpaid. The num¬ only until the date of the issue of the sold two months ago and we ha in illustrating various phases of musical plement to every Hymnal. An first copy from our binder’s. undreds of them since, all givii study. “Sacred Duets for All Voices an in THE ETUDE when addressing ot 351 350 THE ETUDE THE ETUDE an opera by an American composer has recently been produced in a small theater in Philadelphia. The work in question, entitled SairoiM, ls by Legrande Howland, an Amer- of Berlioz’s Benvenuto Cellini. opera was originally produced PROFESSIONAL DIRECTORY A new Danish nerve cure consists in lay¬ It Monte Carlo, and has been heard practi¬ cally all over continental Europe with great ing the patient out on a grand piano white success. The composer is having the great¬ a musician discourses sweet music. A London _ARTISTS AM) TEACHERS est possible difficulty in gaining an American paper says there has only been one fatality hearing for the work. Why this should be and that was the pianist’s fault. lie played it is hard to say. as the opera is exceedingly tuneful, dramatic in character, and certainly ARAMENTI letter than many others which have been produced in this country with much pomp and circumstance. The work will be given ce ue was deploring rue ATLANTIC CITY' again in Philadelphia, this time at the Acad¬ musical conditions in New York. Apparently emy of Music. Mr. Klein Is unable to find the room which he believes should ex I he Jaques-Dalcroze system of rhythmical t Barhe-Bleu. The gymnastics has been installed at the Cologne produced in Europe four years ago. It is a Conservatory, under the personal inspection variation of the old Bluebeard story dressed of the founder, Dr. E. Jaques-Dalcroze. up to suit modern taste for symbolism. triune not only opens the forbidden door, but when Bluebeard returns and discovers year for a long series of concerts under the her misdeed, she declines to be in the least direction of Loudon C. Charlton. He has overawed by his threats. When Bluebeard been immensely successful In Europe during again leaves her, she re-enters the forbidden the last year. chamber and finds his wives apparently re¬ signed to a life-long Imprisonment. She The Musikpedagogiseher Verband (Teach- discovers a secret door which leads to the ers Association) of Berlin is planning to ex¬ open air. Bluebeard again returns and alarms tend its work by getting in touch with everybody but Ariane, who Is not Impressed American teachers’ associations with a view by his bullying efforts, particularly as he is to fovming an International Music Teachers’ wounded and helpless. The other wives Association. The secretary of this association cower round Bluebeard, evidently as fearful is Anna Morsch. Only on the Victor of leaving him as of staying with him, but Ariane disdainfully chooses the open door, while Bluebeard, surrounded by his other or on the grand-opera stage can you hear the wonderfully wives, to whose charms he is now indifferent, vainly pleads with her to return. sweet and powerful voices of Caruso, Calve, Eames, Farrar, ■lea. He has submitted -j librettist M. Kologrigowa. It Is Gadski, Homer, Journet, Martin, McCormack, Melba, eading directors of Kn¬ The first Spring Festival announcement to hoped that the opera will prove more musical owing clause should be in¬ come to our office is that of the South At¬ than the names of its authors. Plancon, Schumann-Heink, Scotti, Sembrich, Tetrazzini contracts : “Any singer, lantic States Musical Festival, which is has appeared for more held each year at Converse - College, Spartan¬ and other world’s famous operatic stars. GOODRICH' America can no longer burg, S. (under the direction of the able ... leading European tbea- musician and educator. Mr. Arthur L. Man¬ But not even at the opera can you hear in one evening HARGRAVE t rao. cuLeipiising impressarlo seems to chester. The New York Symphony Society ignore the fact that if the leading singers Orchestra, under tin' direction of Walter Damrosch, and the Converse College Choral such a celebrated group of artists as you can hear on the KAUFMANN " ‘ -ading theaters In Society of 200 voices will participate. Among xs in Europe will the artists engaged have been i.ilian Xordlca. Victor anywhere at any time. POM_Alice Nielsen, _Antonio __Scotti, __Florence kroeger',;: Ilinkle. Christine Miller, Albert Quensel, Ar¬ American musicians visiting London for . today ,to the nearest Victor dealer’s and hear these famous artists sing thur Middleton, George Barrere and others. the coronation will have an additional reason !,f«n,ghed urT'- ,And ,f Jou haven’t heard the Victor recently, you’ll be COFFEE CONGESTION The principal works to be given will he Elijah, for going to the British Museum, inasmuch astonished at the height of perfection reached in the art of Victor recording. MATHEWS and orchestral and vocal numbers from the as King George has recently loaned the splen¬ if Victor recording. Causes a Variety of Ails. great masters. The Festival occurred on the did musical collection of Buckingham Palace Victor Talking Machine Co., Camden, N. J., U. S. A. 26th, 27th and 28th of April. Great cred.t to that vast storehouse of interesting things. MATHEWS is due to Mr. Manchester for Ills labors in The Buckingham Palace collection is an ex¬ “ !? f. fin*Uy decided about 2 years aS° to their future rarity. Alas, work of this kind in Harmony, Counterpoint, Composition STERNSDORFF must be a labor of love, and Mr. Towers, Etude is very glad to extend its congratula¬ ROBERT B01CE CARSON, Tenor, - Director received. The musicPls “mXn” but at’the ba"don the use of coffee entirely, and who has devoted so much to this object, can tions to the composer, but at the same time and Orchestration. Special Courses for NORTHWESTERN “~ delighted1 the audience*310815 melodlolls> and as 1 bad read a great deal about Postum hardly hope for more than a very trifling regrets having made an error. We will do Teachers and Supervisors of Husic in RHEA CARSON, Soprano, - Auistan better next time, Mr. Lecocq l Public Schools. For terms and general Pioteh Christian Lutkin the ,, J concluded to try that for a breakfast P®8?.018’ roward. even if  and 1 am (not Dutch) pioneers of the early days. ful during the past veer d?cldedI.v success- thankful that I am once more a healthy Presenting. Humperdinck’ heMuinSwnPrk0ghams g’hav® been" gj'yen,°fand 'VOman- 1 kno 'W my wonderful restora- 8100 000° season ended In 11 Ioss ot Konigskinder, is apparently not without its purely educational Hues ac<:omP1|shed 'along *10n to health came from quitting cof- difficulties. When the work was produced in Cosiv. nr New Y’ork the real, live geese, which appear - ,ee and using Postum.” Name given Wiml , vvAGNEn, the widow of Richard on the stage during the performance, behaved whirl, ’ s suffering from a hemorrhage, admirably. In Berlin, however, nt a recent .N16 Postum Co., Battle Creek, Mich. a sWi Ml,,red whiIe she was out walking performance, the regular Goosegirl felt ill. There’s a reason.” and it is this. °rt time ago. nnd a substitute was engaged. To this the Coffee has a direct action on the liver geese objected strenuously, and cackled so “ mi'.Vl at, L1VJ11 UIl LI1C loudly that the orchestra was obliged to stop. tn some people, and causes partial malt tho°li f tbe death of Alexandre Guil- founa in «, ??''ated Freneh organist, will lie It was only on the appearance of their old congestion of that organ, preventing d in the Organ Department of this issue. friends, the Woodchopper and the Broom- maker that the geese resumed the quiet, dig¬ It is said that t-im _ , -tothe natural MUioutlet ofui tnethe secretions,secretions. nity and grace which is so becoming to them. ingsHfo™ .c<»mrt halls, with new build- notahSS is to, bf a Pantomime!' w.R'l'ba,.'d , ,en may follow biliousness, sallow Inillt for th! „iCade?y ,of MhSiL are to be A world’s Congress of Musicians is to be earlier ooerasS wer^* intemif!i'at manv °f°his * II1’ beadaches, constipation, and fi- df $1,000,000. ^ 0f Vlenna at a total cost held at Rome early In April at which repre¬ Send for Itemized Price List de^rihedhas nPeras’, an/** Change of thc 1)1 °nd corpuscles, sentatives of all countries will be present. ZABEL BROTHERS Austria-Hungary will be represented by Gold- ^anv^o^e.feve^at r^'evr3 Pr°Stration” runs ^^Venn8 Di*Si, now P°Pnlar in Germany mark and Adler : Belgium by Tinel, England Strauss dann n^hard’,.,dann V’ngner; wenn by Elgar, MacKenzie, Parry and Stanford; Sftici^rio1^6^^ i? spite ofw!iK.f„etl1.ei ltt,ibook;j;The,Road to aid, then W»«reJ°ha?.n ! That is, “If Rich- France bv d'lndy, Dubois; Massenet nnd Saint- INTERNATIONAL MUSICAL ues to receive royalty checksStrauss “ntin- son „ ' n PkSs- There s a Rea n W agner; if Strauss, then Johann !” Saens; Germany by Humperdinck, Reger and MUSIC PRINTERS Strauss: Italy by Boi'to and Puccini; Russia ml Randolph St, ousiy42,”^^ the Russian composer, is seri- by Glazdunow, Paderewski, Scriabine and Si¬ EDUCATIONAL AGENCY AND ENGRAVERS binld" “*JbV°atfoUnp>™'arolS pS|roo?awhobycome nnEVer read the above letter? A new I’l-lncipai ,St- I’Ptcrslnu-gh. His duties as belius; Spain by Pedrell. The United States MRS. BABCOCK a shoemaker. HiTi’oveWfm. tke business of °"C appe?rs from time to time. They ate being attenoine<;toil of the Conservatory representatives will be A. J. Gantvoort, of Offers teaching positions. Colleges. Conservatories to purchase a talking-machine and todreptm lnt getlUine> true- and full of human Present. att nded to by a substitute for the Cincinnati, and O. G. Sonneck, head of the Schools. Also Church and Concert Engagements! Music Section of the Library of Congress. CornisbCo.^:: CARNEGIE HALL, NEW YORK IE when addressing our advertisers. 352 THE ETUDE TH E ETUDE 353 
HENRY T. FINCK, OF THE EVENING POST, WRITES No Musical Education MAUD POWELL IS THE GREATEST, THE MOST TEM Testimonial^ PERAMENTAL AND SUCCESSFUL VIOLINIST OF HEI JrftBJACHj SEX ANYWHERE.” NOW 1911-1912 H. Godfrey Turner, 1402 mm mi -•HOME STUDY-t coSf as rwr r Pearson, Kan. to live only for the ideal and rDo You Desire-1 uBiicscBoSc 
T^,;in- whole heart and soul>their v« 
 i3nSr£|k£HtS PROFESSIONAL DIRECTORY ON PAGE 350 inserted 12 Tim^ Befme^MiiUo. Musical 35.12Sttl ‘sssss* mmmven with t Ktsts ■ HUGH A. CLARKE, Mus. Doc. SCHOOL OF MUSIC LESSONS BY MAIL ShenandoalTcoHegiate Institute In Harmony, Counterpoint and Composition 
4632 Chester Ave., Philadelphia, Pa. 
NORTHWESTERN UNIVERSITY aGEMMMn vSiZFJSB SCHOOL OF MUSIC Redman's '‘Dictionary and Pronouncing ably due to'his infirmities. At all events, we read of him that in his e SfSZA“hTZ '£& 
 for Viotin'and’piano" H? Straus Vir£U0S,0 DAME NATURE HINTS When the F^s Not Suited- 
 man a'“Mus°cal'S*IMcUoiiary/L5*e^1rjt*1|>^^" When Nature gives her signal that 
‘^ environment is perfect and social ad- 
P. C. LUTK1N, Dean, I niCfsfP’FSSS' 2?Kbe irrepirabl''A” Ariz“ It to my MaSS^JiS^T^£SSa&v “For years 1 could not safely eat any DANA’S MUSICAL INSTITUTE, THE OLDEST SCHOOL OF MUSIC IN I Music taught in all its branches. Instruction . to that purpose. Fine dormitories for the pupils, g||fH own farm. Maintains a large Orchestra and two fn Send for a 64-page catalog and the blue book ’ 
SBFJS%AV.i'l'.'.'T 4S S# ... .i. nmewneft* rj^^KS-s.-ssi mim Ms SSS32 iSKiSSS© pSSSSS SqI ?m delighted with “Studies in Florid Grape;Nuts make a delicious as well as 
BEETHOVEN CONSERVATORY gfstf iss'r SSi-$j! cSg'Jp'* i'”tum Co" B‘“,e -St, largest and best music school in the West. All branches of music taught. I°am more than menu a ... ^ Get the KttJe book. “The Road to Specially Low Rates for Beginners FREE Handspmelylllustrated Catalogue -s^'in tk!- *R'" EMERSON PIANO CO.rTJT “d I received both tt Ever read the above letter? A new high grade Grand and Upright Pianos. Catalog on request. Please mention THE ETi —rfSEr_1 ts IS? JS _ 560 HARRISON AVENUE. BOSTON Please mention THE ETUDE when addressing our advertisers. 355 35- THE ETUDE THE ETUDE 
Summer Schools Baby’s Comfort NEW YORK • FRANK DAMROSCH, Dire Useful Recital NEW STUDIES for 15 Cents is secured by A N ENDOWED SCHOOL OF MUSIC IN THE SECOND AND an unusual opportunity the one soap that never foils to Th* opportumtie. of the Institute are intended only for students of natural ability with an earnest purpose to do Music foi TEACHERS OF SINGING and ork, and no others will be accepted. Application for admission should be made not later than October Isttoinsu THIRD CRAPE S help the most delicate skin—and ADVANCED VOCAL STUDENTS never harms nor irritates. It is STUDIES FOR THE EQUAL DE¬ both safe and economical to use Ceittralfctng School of flDusic VELOPMENT OF THE HANDS Technique) has produced such remarkable re¬ Mills; Valse, E flat. Op. 58 (violin), DeBeriot; ERNST HEUSER sults will conduct her Summer Course this year Polka de Concert, Bartlett; Concerto, & Op. 299 Price, 80 Cents at her house in the environs of Washington. minor, Saint-Siiens; Mazurka de Salon (vio¬ Here amid ideal surroundings for pleasure and lin), DanbO; Cascade, Op. 37, Pauer; Bar¬ This set of studies is intended chiefly for study, she will carefully and thoroughly develop carolle, G major, Rubinstein; Paraphrase, the cultivation of the legato and for strength¬ ears the voices of her pupils to highest efficiency. Waltz (from "Faust”), Jaell; Capriccio Bril¬ ening the fingers in both hands. It also The intimate home life during the term will in¬ liant, Mendelssohn; Berceuse, Grieg; Polo tends to^cultivate^ the dynamic and rhythn deed be pleasant. A gymnasium and tennis S OAP naise, A flat, Chopin ; Concerto, E flat, Liszt ANNA PARKER-SHUTTS, Secretary, Suite 612 Fine Arts Building, Chicago, III. ual increase in speed, thereby laying *.*1? courts are also provided. 15c, a Cake for the Unscented — stantial technical foundation. It is jUoi< One or two more advanced students can be ac¬ about a grade below Czerny Op. 299 and cepted, if correspondence is opened at once. For detailed information you may address Pupils of Miss Annie Bundy- may be used as a preparation for this All pieces for the left hand alone. Study. MRS. SUSANNE OLDBERC Mrs. Crosby Adams; Valse, Arthur Foote; Your Music is Torn! Melody from "Oberon.” Weber; Isolee, Ha- Studio, Belaseo Theatre Building IT WILL TAKE ONE MINUTE vina; Minuet, Rheinberger; Home, Sweet Washington, D. C. TO REPAIR IT BY USING Home, Wehli; Solfeggieto, Bach; Romanze. Arthur Foote; Gavotte, Alden. EXTENSION STUDIES MULTUM-IN-PARVO BINDING TAPE Say Peasant. Gurlitt; First Melody. For Small Hands Thome; A Night Idyl, Lindner; Love Song FOR THE PIANOFORTE (violin), Franklin; Intermezzo, Engelmann: F. P, ATHERTON Transparent Adhesive Mending Tissue Flower Song, Lange; Fairies’ Serenade Gfdbel; Trumpets March, Doppler; Countrj Op. 165 Price, 75 Cents Dance (violin), Ilelns: Spanish Dance, No ,, The* “ftes, for promoting extension II your music dealer does not carry it, sen, 2 (violin), Moszkowskl; Mazurka Opus 7, No through the development o£ strength and elas¬ 1. Chopin; Gavotte. D minor, Bach ; Fileuse ticity at the keyboard, are based upon ra¬ THEO. PRESSER CO., Philadelphia. Pa. Cliaminade: Spanish Dance, Bohm; Elks tional technical principles. They are not HOW THE GREAT ARTIST GUSTAV DORE SAW GRAND OPERA Parade (4 hds.), Engelmann. severe and their use will not result in stiff¬ ness or cramped conditions. They mav be Pupils of Albert F. Smith. described as an elaboration of the “holding- The musician flung his arms aloft. “Those people in the next flat seem Austrian Hymn. ” ' bote principle. They were progressively ar¬ “At last,” he cried, “I have fame within Hofmann; The Lo__ ranged and logically carried out. Coni ’ to have a regular program of popular^ use of these exercises will infallibly my grasp.” Central School M shelbyv.lle.ind. Scherzo, Rohde; Sonatina, Op. 76, No. < in material increase in stretching powe songs,” the visitor remarked. Schytte; Victoria Gavotte, Mattel; Reverit ^ s^Dom “I7ow so asked his wife, who had Schuett; Danse Caprice, Grieg; Grande in general muscular development of the “Yes,” said Brown, “every evening.” Valse Romantique, Gregh; Etude Mignonne. Mrs. Oldberg s Studio 'ieard the same thing before. Schuett; A Little Story, Friml; Gavotte d< “You know Mendelssohn’s ‘Wedding And he lapsed into silence. la Heine, Abelle ; Gigue from French Suite. FIRST GRADE STUDIES March’ and the marvelous repute it "By the way, what time is it? asked No. b, J. s. Bach; Hunting Song, Mendels¬ FOR THE PIANOFORTE SUMMER COURSE sohn ; Love's Token, G. Marschal-Loepke; L. A. BUGBEE brought him?” said the musician. the visitor. Gavotte ia B flat, Handel; Drifting, Friml; Romanze, Saran ; Ballad, Redman. Price, SI.00 \ MASON METHOD “Yes. What of it?” Brown roused himself with an effort. This work is the result of many yi Pupils of Miss Pauline Knabe. practical experience in teaching begim “Well, I am going to write a ‘Divorce “Let me see!” he said. “It was half¬ Jolly Little Raindrops, Spaulding; In a The everel.es e,.e all original and manj Marfch.’ ” past She’s My Daisy’ a little while ago; Boat, Homer Norris; A Good Day, Sidney company!ng ti Th., BLANK MUSIC PAPER m^.DhD me/1 The Young Trumpeter, Spauld¬ it must be nearly a quarter to ‘Put on ing ; Playful Kittens, Paul Lawson; Butter¬ Professor—Have you heard my last Your Old Grey Bonnet.’ Don’t hurry, fly Schottische, Engelmann; Dreams of composition? MADE IN 12, 14, 16 LINE AND VOCAL, SIZE 14x22. zouth, A. Sartorio; Autumn Leaves, ,1. F. old man; it wants at least an hour yet Be sure and get that manufactured by this house. Zimmermann; Spring's Awakening, Espen; Gruff Critic—I hope so.—London Sabbath Chimes, Behr; Belles and Beaux ghu. n of ‘Farewell, Farewell, My Own True Engelmann; Gentle Breezes, Lang; Falling Opinion. Love.’ ”—Answers. TABLETS, ETC. Tetals. J Anhart; Gondellied. Oesten; May MELODIC STUDIES Clarke's Harmony Tablet, 100 leaves 7x10% inches in size.. Day, (6 hds.), Rathbun; Dreams of Home, For the Equalization of the Hand e. y , „ _ Including Synopsis of Harmony. wm. Cooper ; Heavenward March, C. Kinkel; Simple Confession. Thome; Beautiful Spring FOR THE PIANOFORTE “ & Reverie, Goerdeler; Farewell My Dear Old ARNOLD SARTARIO Home, Engelmann; Rustle of Spring, Sind- Price, S1.00 PROFITABLE VACATION COURSES ing; Lustsplel (6 hds.), Keler Bela. The apparently inexhaustible flow of me BLANK MUSIC COPY BOOKS ody which characterizes the compositions c THE FLETCHER The best copy books on the market in every way—paper, ruling, binding. of ¥*%? B- F\ Austin, the popular composer of these studies THE STANDARD HISTORY OF MUSIC 8 staves! 24 SS ! ! ! ! J£ I I §5c mm " . Kowalski; Sex- always in evidence, whether lie writes piece -Luriuef‘!i La“Pe™°°r- Donizetti- or exercises. While tending to develop veil A FIRST HISTORY FOR STUDENTS AT ALL ACES Presser’a Fir.t Blank Music Writing Book .... 10c Engelmann; v. , Mendelssohn ; Snow city m a melodic and interesting mannei Flakes, Bohm; , Carl Rossi; these studies are so constructed as to dine By JAMES FRANCIS COOKE. PRICE, SI.25 MUSIC METHOD comp^eufexpianadotToFthe 3S££ Xtrio S"itable f°r either pen °r Pentdl use. A Moorish Dance, Kern ; tne work equally between the hands, thu Mark's Writing Book valuable for equalization. Eac Contains alternate pages ruled for music writino- r,.- KSSSgS? numper represents the working out of som manner of writing the characters and signs used in Music are hmluded. tIOnS ** t0 th6 proper particular point of technic. Th- * . FACTS KNOWN BY THE AMERICAN PUBLIC Koeiling;aTh?ne oZ\ of moderate difficulty, suitable ie take Lange:&Lange. ; TTai„Pi^ eai?’Dennee; Seagull, Engel- Eight Delightful Weeks of History Study ! L*"«b°e Silic,«t.WFoldin'g Music Slate, . 5 *?"** eaCh' pef mann; Kami by third-grade pupils. Ustrow, Reubenstein. „ following outline, based on the forty story-lessons in the very successful THEO. PRESSER CO. ^ Philndelphia, Pa. of Miss Ella Lively Holroyd. first velocity studies standard History of Music, may be employed by any teacher, anywhere. The Goat Ride, Bristow; The Flv Tran 1st Week. How Music Began. Music in the Early Church. How Notation Bugbee; Midnight Hour Waltz, Beliak- A for the pianoforte Little Journey, Wachs; Three Blind Mi,.. CEZA HORVATH Was Evolved. The Tioubadours and Meistersingers. Polyphonic ♦ ft ,°n the Playground, Lictmer*’ Price, SI.OO Music. Palestrina. Early English Music. ended t ea Week. Opera and Oratorio. Scarlatti and His Contemporaries. The Bach Business Manual for Music Teachers pupils a Family. Early French Music. The Story of the Organ, the Violin and the Piano. ♦ DiTwV’LSftu mat'erial has been co By GEORGE C. BENDER Piled and edited by a successful Europe «eek: LS' ,Blch- G’ F' Handel, F. J. Haydn, W. A. Mozart. ?r and composer, who has made a mi ri!i! Hi ek’ G*uc^» Beethoven, Schubert, Weber, Mendelssohn. The various methods for beginners that nave sprung from the Fletcher 3tn Week. Schumann and the Ag* of Musical Romance. Opera Writers of the “ "■ *">"“■ 11 “'ll "?»•'"» a* taSSS tical, each number bringing out some tec R«h \m Nineteenth Century. Great Teachers of the Pianoforte. Pupils of Miss Abbott. tn Week. Chopin, Liszt, Wagner. Modern Italian Composers. Rubinstein. ♦ Sl“t°thCTFielli?g y-nr Pr°0ftSSto^ietd^oTakrge^TncFme.^t Dolly’s Music Lesson, Hall • Thp FimvHo *. _ . Great French Composers. of ^aaessFnl thisTorlf r6V6 t0 the practical teacher thegrlat desirability Week. Modern Masters. Brahms, Grieg, Tchaikowsky. The Art Song. Famous Pianists of Yesterday. Great Virtuosos of To-day. Great How to make musical advertising pay. Violinists. Composers of Valuable Pianoforte Pieces in the Smaller ♦ How to write advertisement, that will not fail to bring the right kind of pupil,. MELODY and VELOCIT dau », . Fo>-ms. Composers of Teaching Pieces. How to get up a business bringing booklet. 8th Week. Music ir »»—-- ‘ part, Grieg), Mozart; Idilio Lack- Twelve Studies The apparatus is unique and all-sufficient. How to conduct pupil,’ recital, with profit. FOR THE PIANOFORTE History. ♦ ” ' letter, which hold old pupil,. ARNOLD SARTARIO «t of the p Op. 872 Price, SI.OO s We Wil1 Help You in Securing a Class Clas Pi U--3 posta* retlllest for information regarding our “ Special History ,« ride of you >o that yc r profit* will increa an exceedingly valuable set of Pupils of Institute of Musical studies Which may be used for s n.an’ ar>d receive in return the material which will enable you to start at °-f purP°ses. Each study is an ini Profit3"*1 your P*ans for turning your Summer from Waste and Loss to Theme” m 'variations!' Ts0chaikowsk)vtl'iD ! wift P“Te o£ music’ melodic in charac dozen Pleasure. We have a special professional introductory price by the diploma,, programs, etc. with a pleasing harmonic structure. E s£ssz,.,us£i illustrates and works out some p The Fletcher Method i. « ,it»l n.eee.ity to the ,out.s beginner in Music. Nothing has been omitted from this work which could be of value to vou in Barcarole, Moszkowskv fBo& Fn^1118 ir point in velocity, such as the bro in , J*1® ?tandard History of Music demands no previous experience making your earning power greater. y ln Chabrier; Un Beldi VedVe™. . e Fantasque, once30Th9 musical history. Any music teacher may start a class at Butterfly,” Puccini; Violin Solos°ITrttMa<3ame ♦ ♦ Remember, it is not the most learned teacher who makes the most monev Brahms ; Rhapsody Brahms . 0 ’ tntermezzo, Emil e T"e wor*c has been endorsed by leading educators, including If you are wondering why your teaching does not pay, get this little bo?k and Chopin. P y’ Iahms ’ Second Ballade, L. C p?Uer’ Ar1hur Foote, I. Philipp, E. M. Bowman, W. H. Sherwood, Summer Normal Course During July and August you wil! doubtless locate the reason It once. Siari’j- j0n* H- T- Finck, and many others. The London Musioal Pupils of Mrs. C. C. Bean. seduct' says °* ■*: “ It is expert in the way it makes facts appear For prospectus with list of endorsers and full particulars, address Blossoms. En^mami ;KKlsa of'sorln ’ oApple thi-n..„u We can imagine an intelligent beginner going steadily THEODORE PRESSER CO. Jingle Bells, Terris • DanLSp Bo'fe ; _g“9h the book for the sheer enjoyment ol it.’’_ Wolcott; Lehigh Polka (6 hd?i S2?beams. 1712 Chestnut St. - - Philadelphia, Pa. New State Waltz Gibson* i\»Dreshei*; MRS. EVELYN FLETCHER COPP 31 York Terrace, Brookline, Ma.s. ^nthony; Snow Flake”^ Crist” Bvl n«, ®tes’ 17 ™E0D0RE PRESSER CO. ™EO. PRESSER CO. Philadelphia, Pa. or * * to°x 1336, Boston, Mats. Side, Schubert; Convent EchnAQ o Sea 1712 Chestnut St., Philadelphia, Pa. Pleas, mention THE ETUDE when addressing our advertisers ’ B“tt Please mention THE ETUDE when • advertisers. p THE ETUDE 357 356 THE ETUDE 
WILLIAM H. PONTIUS, Director Department of Music. CHARLES M. HOLT, Director Department of Oratory and I THE EXCEPTIONAL FACILITIES, COMPLETE ORGANIZATION AND COMPREHENSIVE COURSES MAK CINCINNATI CONSERVATORY of MUSIC established leer. Miss Clara Baur, Directress. MINNEAPOLIS SCHOOL OF MUSIC Mi Faculty of International Reputation Eighth SI., S. ORATORY AND DRAMATIC ART Frederic W. Root SUMMER SESSION OF SIX WEEKS OPENS JUNE 18th, 1811 All Departments Open During The Summer Courses In all branches of Xmdc, Oratory and Dramatic Art, from Elementary to Post-Graduate, equal in standai Suimofifliools courses given in European Sohools and Conservatories of first rank. Faculty of Forty-four. Each department nnd< wide reputation. Recital Hall seating 600. Two-manual pedal pipe organ. Fully equipped stage for acting and op Elocution MUSIC Languages -1. - -*.ny time. Send for Illustrated Catalog E. PUBLIC SCHOCL MUSIC NORMAL WORK -n^HiElii^TRADITIBIAL UTEBPflETATIBNS MISS CLARA BAUR. Highland Avenue and Oak Street. CINCINNATI. OHIO LORENA BERESFORD ftSS, America’s Greatest Singer Composer Vi '‘Superior PianoforteTeachi ng” ' y CARL V. LACHMUND 8ing, during June, JulyUjLd Xgul.C°aCl1' VON ENDE VIOLIN SCHOOL Teachers of Singing' LOW RATES TO ALL SUMMER PUPILS. Lawrence ADDRESS . rePm”W' (Violin, Voice and Pianoforte) MRS. STACEY WILLIAMS JULY 5—IS Sherwood Music School, Fine Arts Bldg,, Chicago The Eminent Teacher of Singing Conservatory The plans, devices, illustra¬ ALBERT ROSS PARSONS IN AMERICA DURING SUMMER OF 1911 tions, material, etc., given by Mr. Root are from an Only Earnest, Serious Students Accepted unusually wide experience in Europe and America. The Delights o summer demands from all parts of By CAR(^HERMAN the country for work with Send for Circular when the student works her during the Summer i-,onths, -Mrs. Williams has decided to forego her Success people are not so much annual season of teaching abroad and will continue her work at her Chicago Kimball Hall, - - Chicago the children of Fate as many like surroundings, or undert: studios during that time (June. July, August and September). to imagine. new branch of study. Thousands of active t< Qualified Pupils placed in Opera, Concert and Church wor Think over most of the success¬ ful men and women you know tribute their present success to the ESPECIALLY ATTRACTIVE NORMAL COURSE Mr.D.A.CLIPPIN(iER you will at once be struck with tlic special work they have done in the fact that they are the ones who summer season. MRS. STACEY WILLIAMS SUMMER STUDY have applied themselves to their The writer knows of Suite 406-408 Kimball Hall, CHICAGO, ILL. for singers and vocal tea —FOR VOCALISTS— American Conservatory beginning July first and e business with the greatest regu¬ particular. A young teat KIMBALL HALL, 304 S. WABASH AVE., :: CHICAGO, ILLINOIS August fifth. The full cour eludes fifteen private lesson larity. we shall call Miss M., taught for Just why some students should two or three years and then came Superior^Teacher^Trainh BUSH TEMPLE CONSERVATORY C TWELvfeeSTATES rei elect to waste the summer season, to the realization that she was not 800 N. CLARK STREET, CHICAGO. KENNETH M. BRADLEY, Director 0 SUMMER NORMAL the time of the year when the advancing at the rate THE LE AD I NG m MW TCIC1 to In,y -*• I~turesa CONSERVATORY OF IVIUSIL/ whole world is at the very height hoped for. Instead of sil of growth and fruitage, is hard to and moping about the : ACTING, LANGUAGES and EXPRESSION DENVER, COLO. tell. To most success people the railing at the abuses of Fate, she SUMMER NORMAL, Five weeks, beginning June the 19th. studied her own position with the SUMMER COURSE FOR PIANO TEACHERS summer is as much a development of Improved Music season as any other time of the greatest care. Detroit Conservatory of Music id Analysis titight by KENNETH M. BRADLEY, the Eminent Instructor and Theorist MRS.BLANCHEDIMGLEY-MATHEWS Finally she came to that very wise FRANCIS L. YORK, M. A., Director Dunning System Sludy for Beginners Will conduct her Summer Class this year. PUBLIC SCHOOL MUSIC AND DRAWING MADAME JULIE RIVE-KING’S class will be limited to twenty students. Those year in Denver, Colo., July 6—22,1911, Failure people wrap themselves conclusion which so few people ever The Summer Normal Training Class for Teachers will open July 5th, This justly celebrated course consists of a com¬ Two Year Course, which entitles to LIFE CERTIFICATE L NORMAL COURSE, *25.00. For further information address, E. SCHWENKER, Secretary prehensive and highly condensed examination up in the cocoon of indolence and reach, i. e., her failure was due to 1 IN STATE OF MICHIGAN. Students may enter at Chautauqua Lake, N, Y. the summer passes as a period oi herself, to her own ignorance, her There is a reason  t the “teaching points" in Piano Teachers’ Institute INCLUDING BOARD Normal, Professional and Students’ Conrses Study and ever f “Piece:” a Study of tl' ELEANOR F. GODFREYS - - - - Directors material and graded repe in Piano, Voice, Theory, Public School a Study in howl July 1st to August 5th 1911 lan°’ Voice, Violin Other Inatro and Choral Mnsic ; meats. Elocution, Etc. MAIL COURSES in "How to Toach Piano At Kimball Hall, Chicago and Harmony.” Our Frr- ' y step, with the every day problems GUSTAV L. BECKER PianodTcchnicCateT f0roPe- Leschetizky Booklet is filled PRIVATE LESSONS TEACHERS’ MEETINGS with valuable ideas. We zUylPractical'^ average PuP'ls- It is LECTURE RECITALS ,T ORANGE, June Send ior Circular B Address SHEPARD SCHOOLS OF MUSIC, ORANGE, Address EMIL LIEBLING Stefn wa y^aity New^Vbrk City^ before Mu yS h*) Kimball Hall : : Chicago iSmSSa,orS'“'«o^rli n THE ETUDE when addressi 358 THE ETUDE THE ETUDE 359 
WALTER SPRY PIANO SCHOOL Crane Normal 625 Fine Art* Building, Chicago, Ill. Learn to Compose and Arrange Music PROGRESSIVE MUSIC TEACHERS SUMMER NORMAL^ COURSE TAUGHT BY MAIL WALTER SPRY*"®! glT?a»”y 1c?iom in PUnrplay- Will be interested in the Courses of Methods Conducted and Taught by Institute of Music SUCCESSFULLY, PRACTICALLY, RAPIDLY CHARLES W. LANDON, at Silver Lake Assembly, New York State, July Potsdam, N. Y. WII^«T0^i:i«liT"n^“ho!d dally ^laj.es to the Send 2-cent stamp for trial lesson. Three trial lessons free. If not then convinced .yen'll succeed, you owe us nothing. You must know the rudiments of music and mean business, 17th till Aug. 12th, and at Coffeyville, Kans., Aug. 15th till Sept. 9th, 1911. SUMMER SESSION Courses in Art Touches and Tone Colors. The Improved Mason Touch and WILCOX SCHOOL OF COMPOSITION, c. W. WILCOX, Dir. August 21 to Sept. 2 Box E, 225 Fifth Avenue.New York City Technic with its Application for Art Effects. Musical Kindergarten. Harmony, Counterpoint, Composition. Phrasing, Expression, Effective Performance, and An opportunity for Music Supervisors to get Analysis of Forms. Daily Lectures on Musical Pedagogy and Psychology. lew ideas on Public School MusicTeaching. Music Teachers’ ] for advanced music students de- •esuccessfully taught by oorreapot For details and prices, address nter the school in September to complete th e Supervisor’s Course in one year ds their renowned profeiaor, but HAHN SUMMER INSTITUTE Course B for teachers of experience seeking Normal Mb 42U Ross Ave., DALLAS, TEX. CHARLES W. LANDON Kellogg Kansas modern methods of teaching. Institute {MjBT For Teachers in the Southwest ATLANTA CONSERVATORY ANNUAL SUMMER SCHOOL OF MUSIC Daily Private Lessons in Singing and Repertoire. CARUTHERS SCHOOL OF PIANO OF MUSIC AND ORATORY Five weeks Normal Course by eminent teachers. Piano, F. W. WODELL Supplementary Courses (I) Daily Class Lessons, Theory, Voice, Violin, Public School Music and Musi¬ How to Teach Singing, with Normal work; (2) given under the direction of Jul (Continued from page #;) who expects to reap rich returns cal Kindergarten, beginning June 5th. CARUTHERS BOSTON, By-the-Sea Lectures on Principles of Interpretation, and Juris 26th to July 22nd, 1 Vocal Literature, both Free to those taking in” one of the best vacations she where nothing has been planted marl outhbertsox j factors Bush Temple Conservalory, Dallas, Texas Send for circular outlining course c Slimmer Course Regular Course. had ever had. cannot fail to be disappointed? S BUILDING - - - CHICAGO Lessons in Choir and Choral Conducting. Since then she has spent three Most of the summer schools and 3 WEEKS Vacation trips on Sea and Land. Let me send you full SPOKANE, wash. more “study summers” in different private courses are so arranged that School of Vocal Apt information. F. W. Wodell, 610 Pierce Bldg., EFFA ELLIS SEATTLE, Washington Copley Sq., Boston, Mass. study centers (one of which, by the both the student and the teacher get Diaphragmatic Breathing. Correct Tone Placing. July 6-28 ELIZABETH GOODWIN JAQUES way, was located in a very delight¬ in a week or so of complete rest SPECIAL SUMMER SESSION iMLfSSS For Teachers and Students in BUMMER CLASS ful country district). if necessary. Mr*. Ethel Child Walt Music teaches the art of development most exquisitely.—D'Israeli. # — MUSIC EDUCATION — Her march successward has cor¬ People in tropical countries do KEYBOARD HARMONY *: Liberty Bid*., 3rd Ave. and l responded to her increased efforts. not work in the heat of the day, LOUIS G. HEINZE Director SUMMER SCHOOLS AND NORMAL COURSES Memphis, Tenn., May Ft. Worth, Tex., June She has developed in more ways but they often do work, and work CLEVELAND, OHIO, June 5th to Jnly 1st Buffalo. N. Y„ June 27th to July 15th wonderfully well, in the forenoons Heinze School of Music Portland, Oregon, July 5th to Ang. 4th than one. The widened vision com¬ Write for full particulars WEIGFSTER ing from her excursions to different and in the evenings when the tem¬ Effa Ellis Keyboard Harmony is a system for rapid, definite rea¬ Summer School parts of the country have, in fact, perature is greatly above that of soning based on authority. It builds and creates rather than imitates 712 Chestnut Street, Presser Building, Phila,, Pa. COURTRIGHT SYSTEM OF MUSICAL KINDERGARTEN our hottest days. The writer has and transposes patterns. Perhaps you havestudied Harmony and have made a different woman of Miss M. written melody from a figured bass or harmonized a given melody, VOCAL°MUSIC Her present position is looked always done his best work both as but can you make the construction of music easy and natural to students of all ages f Wouldn’t you like to present and use all of your Lake Pontoosnc, Pittsfield, Mass. upon with open-eyed amazement by a student and as a teacher in the knowledge and enable^your students to play chord successions and (In the heart of the Berkshire HUls.) July 24th to Sept. 1st (6 weeks). THE KROEGER SCHOOL OP MUSIC 2 TIME TO ENROLL some of her less enterprising sis¬ entrancing, inspiring days of the Effa Ellis Illustrated Keyboard Harmony enables children of 9 E. B. KROEGER, Director ’ J ’ and play chord successions which ad- Musical Art Building, St. Louis, Mo. ters who had regaled themselves bright and happy summertime. vanced students and teachers cannot do without this better A COMPLETE ANDSYSTEM- grasp on Harmony. Summer School Especially for Teachers with iced drinks and a palm-leaf As a matter of fact we really The teacher who can do these things is ho has students ATIC COURSE FORSINGERS making rapid advancement on the instrument. MADAME VON KLENNER fan while Miss M. was carving have very few real “scorchers” dur- a,-•*— •-— to interpretation, to say nothing AND TEACHERS America's authorized representative of the great Garcia Method of Singing great aid^n madtag^k^ckn phrased VedaT6i Memorize com- success out of the very opportuni¬ prebensively without a working knowledge of harmony. It must be ^ROBERT G." WeIgESTER^. SAN FRANCISCO, CAL. Announces her usual Summer School at Point Chautauqua, New York in a tangible form. Effa Ellis’ secret on keyboard harmony is so METHODS OP TEACHING UNCrtCP-oppm ,vn ties they were neglecting. simple it is “ scientific." Carnegie Hall, New York SCHOOL OF VOCAL ART REPERTOIRE AND INTERPRETATION ORATORIO—WEEKLY^ECITALS What shall your summer course more delightful than in winter. Add this keyboard harmony to vour teaching ideas and it will store profit for you. Write about Special Offer. # VOICE PLACING A SPECIALTY Address 301 West 57th Street.New York City Blooming honeysuckles, golden NORMAL SUMMER COURSE be? That of the progressive Miss LEOPOLD WOLFSOHN M. or that of her rivals, fretting canias, fruit-heavy trees, leaf-laden EFFA ELLIS ILLUSTRATED MUSIC SCHOOL Pianoforte Instruction and fuming because the thermom¬ boughs and the songs of the birds THE COLUMBIA SCHOOL OF MUSIC 203-4-5-6 Old Boston Store Bldg., Omaha, Neb. Gallery, 345 Clinton Ave., Brooklyn are far more inspiring than a steam CLARE OSBORNE REED, DIRECTOR eter did not behave to suit them ? 111 W. 117th St., New York Dr. Harvey Wiley, our indefatig¬ radiator, slushy streets, the sneezes Announces a Summer Normal Session in Piano, Voice, Violin COME TO BOSTON ! Summer Classes for Professionals and Students Theory and Organ. Opens June 26th. Closes July 29th able government chemist, who- has of the gripites and the wails of the For Information Address J:B. Hall, Bu.inea. Manager, 328 Wabaah Ave . S. E. Cor. Congre.a, Chicago done so much to protect our tables icv north winds. College, College Preparatory and College of Music “TEACHING TEACHERS HOW TO TEACH” SUMMER SCHOOL IN MUSIC OPENS JUNE ist Think it over, and you will realize from impure foods, has also de¬ Twelve lessons in modem ideas of Touch, Technic, Pedal, Metronome, etc., and ME. CLARA de RIGAUD Annual Session. September 20. Gym., Expression. that after all is considered the sum- clared most emphatically that ex¬ HOW TO TEACH THEM Correct Tone Placement lo Repertoire cessive indolence is the cause of mer season is the season of re¬ Studios: Metropolitan Opera House ) NEW UNIVERSITY By JOHN ORTH, Stelnert Hall, Boston Address mail to 2647 Broadway )' YORK H many ills. newed interest and increased appli¬ Write at once to the author for particulars. This Course can be taken by mall. Limited Summer Class Send for Booklet People who work in summer are cation, rather than one of enforced letharj CALIFORNIA SUMMERS DELIGHTFUL usually healthier and happier than gy and self-imposed indo- lence. TheWestem Conservatory of Music The RecognizedTEK Leader of All Practice Instruments those who elect to “loaf.” Study this Summer in SAN FRANCISCO Has Piano Action and Touch Interesting Catalogue An investment made in the sum¬ A wel1 planned course of study SUMMER SCHOOL of Chicago, Illinois reacher> of International reputation. Large.t mua.c school on the Pacific. Kesidence department for ladies. mer months is often like seed su,mmer m°y h* determin¬ ANNOUNCES A es. element in the chemistry of LEANDRO CAMPANARI, Artiatic planted in a fertile field. When the IN~— Head of the Vocal De- The Virgil Piano School y2r success. It may supply thc Students Summer School for Teachers 42 West 76th St., New York harvest season arrives there comes For PIANO CEORC KRUGER, Head of the Piano fro‘JatCt°r whlch shaU save you at the Department a day of rejoicing. The student tr°m future failure. On Beautiful Lake CHAUTAUQUA Catalog and full information on request. Special Summer Session for Teach*r<* Branch Studio, 903 Park Avenue NORFOLK, NEB. CALIFORNIA CONSERVATORY OF MUSIC and Students-June 28th to August 8th under the direction of 26 O'Farrell St„ SAN FRANCISCO, CALIF, HILL’S PIANO SCHOOL the cosmopolitan Wr. and Mrs. Crosby Adams Jamestown-on-Chautauqua, N. Y. President E. H. Scott and Mrs. Cora A. Reek (PROFESSIONAL DIRECTORY on paK350. 65 LESSONS .... $55.00 JUNE 5th to 10th, Nineteen Hundred Eleven | 12 Times, Before Half Million Musical People for $15.00. SCHOOL OF MUSIC SEND FOR EXPLANATORY BOOKLET Auditorium Bldfl., special SUMMER class An Institution of national fame in full operation during the summer months, 1 CHICAGO, ILL. August 2d to the ISth affording teachers and students opportunity for observation in a permanent school Mary Wood Chase School lu»ta*Uonha?,,of P'"» to ‘ho study discussion II- of methods so widely known for their simplicity, directness and effectiveness, that duets d,;itorpretation studies, etudes, Director Ear! H. Hill constantly employs four assistants ; this in a school devoted of Artistic Piano Playing ,b“>> Wheri'nt 0t9,;ianarte‘s'Mrs. Adams hJ exclusively to piano and its allied branches, and in a city of 31,000 inhabitants. MARY WOOD CHASE, Director FEATURES: World-renowned location. Weekly lectures on teaching. In¬ Concert Pianiste :;f A Author of Natural Laws in Piano Technic innHofinonfonBURROWES *COURSE ■ OF MUSIC STUDY. ■ terpretation classes. Weekly musicale". Ensemble playing (twelve players at six pianos). Library of 7,000 numbers. Beautiful concert hall seating 300 persons. Summer Course for Teachers SSS"M,,d Primary—Instruction for Teachers by Home Study. ask questions. N° W°rk is reUuited, just listen Finest private studios in America. Reasonable tuition and living expenses. tlve booklet will beUmaVe,l'free: KATHARINE BURROWES, ” f®nd f°r catalog and all details. Box 13- 1 ”-ention THE ETUDE when address! 1 S’, Detroit, Bitch. WM- c- Williams, Registrar. Cr»«t>yAdLJ,or&r/a^cu,ars to Send for illustrated prospectus and artistic souvenir views of Lake Chautauqua Send /or Tear Book --U«k Park (Chicago), Illinois 080 Fine Arts Bids-, CHICAGO, ILLS. Please mention THE ETUDE w ing our advertisers. 360 THE ETUDE 
RECITAL Two New Works for Music Lovers and Marks’ LIfE STORIES 2E GREAT COMPOSERS RICHARD WAGNER THIRTY-FIVE BIOGRAPHIES By A. JULLIEN OF THE GREAT MASTERS PRICE $1.75 PRICE $1.50 THE SHERWOOD HORMAL COURSE A Notable Biography of the Most Sig¬ Complied by a staff of able critics, historians and wrffers. MUSIC nificant Musician of the Last Century. The interest in a great novel, a great All knowledge, all progress is based upon the achievements play, or a great life is in the struggle. of the past. The thinking man studies the past in order to avoid mistakes and to learn how to profit from the discoveries Duets, Trios and Quartettes The stronger the struggle the greater the interest. No musician ever strug¬ of others. The lives of great men are charts to enable us to Solves the Problems for Organ, (Pipe or Reed), gled harder or triumphed more glori¬ navigate our own careers. They show us the rocks to avoid ously than Richard Wagner. The and the ports to make. These thirty-five biographies include of Violin, Piano, ’Cello, Etc. story of his fight and his victories is all the greatest factors in the development of the art of music. told very graphically in this inter¬ They are written in an authoritative, yet stirring and fascinat¬ esting work. It will prove a most ing manner. Each chapter is followed by a chronology of the stimulating and appropriate musical composer. As a book of reference, a book for the library, and The following list represents a compili Christmas gift—especially for all those a book for study it will be found a most profitable investment. n of the best compositions, no matte who are struggling for success. It is The book is finely illustrated with full-page portraits. Piano Teachers ere published, presenting unique con copiously illustrated. This Book may be the deciding Factor in your Fight lor Fame. lations of interesting and attractiv School, Recital and Church purposes, a THEO. PRESSER CO., - 1712 Chestnut Street, - PHILADELPHIA, PA. well as for Ensemble playing. Great care and research have been necessary to get together all the worthy MAKE YOURSELF AN AUTHORITY literature for these combinations. Below PROFESSIONAL DIRECTORY on page3 is only a partial list. Inserted 12 Time. Before Half Million Musi, ^^-How can I raise the standard of my teaching and 9—What physical exercises can be used to develop People for $15.00 CABINET ORGAN MISTAKES AND DISPUTED POINTS IN MUSIC get more pupils and command better prices ? strength and ease in playing ? and PIANO By LOUIS C. ELSON can I avoid getting into a rut in my teaching? 10— How can I teach Ear Training successfully? Instructor In Musical Theory at the New England Conservatory of Music 11— How can I inculcate in my pupils a true sense of Boccherini. Menuet.$0 ^■-How can I better meet the special needs of imdi- Brahms. Adagio from Op. 7R. 1. JUST PUBLISHED Price SI.25 NEW K1NDERSYMPH0NIES Rhythm and a real appreciation of Tone Values? Allegro amubile, Op. 100. .. . 1. vidual pupils? Beethoven. Moonlight Sonata, Op. ... Mr. Elson has given a lifetime to this subject. It is a magnificent thing to have positive information, and this work will straighten out 12— How can I teach Interpretation and Expres¬ Gade. Roraanza, 6p. <59~ . 1' many a slip-shod musical education. The book covers all the essential Where can I get suggestions in selecting new Hassenstein. Abendfrieden . .' HOLIDAY ENTERTAINMENTS sion so as to develop a high standard of musical Irn Maien. points from Acoustics and Notation to Piano Technic and Orchestration. and interesting teaching pieces ? Haydn. Adagio, Op. 77, No. 1. Just the thing for young teachers. taste ? Koppelhofer. Gondclfahrt Kuhne. Sacred Transcriptions'...'..' .' Avoid Humiliation by being Right. Each Chapter is a AND PUPILS’ RECITALS 5— How can I teach my pupils to Memorize ? 13— Why do some teachers succeed better than Leybach. Souvenirs and Regrets. 1 Lesson with a world-famous Authority. You may now buy Dolb, W., Op. 50, Christmas Symphony. Liszt. La Regatta Veneziana. 1. Piano, 4 hands, Gong Bells, Sleigh 6— Where can I get a thorough Course in Har¬ others? LSw. Souvenir de Mozart. these lessons in book form for a trifle of what you would have Bells, Whip, Trumpet C, E, G, toj>ay for them at a leading Conservatory of Music. Rattle, Waldteufel, Drum, Tri¬ mony and Composition to apply in a practical 14— How can I keep the interest of beginners? angle, Cuckoo, Quail, Tambourine, Castanets, Popgun, Nightingale, and effective way in my teaching ? 15— Should all beginners be given the same exer¬ Cabinet Organ ad lib.$2.00 Piano, 4 hands alone. l.j- 7— How can I teach my pupils Sight Reading ? cises and treatment ? Kinderinstrument parts alone.< 8— How can a pupil best be taught the proper use of 16— What is the secret of successful music teaching ? Eilenberg, R., Op. 84, At the Mill Streai Piano, Trumpet G, C, E, G. Drum, the Damper, or Sustaining Pedal ? 17— How can I make my spare time net me a dividend? Triangle Cuckoo, Nightingale, Quail, Waldteufel, Rushing water .(imitatedited by sandpaper)..$1.£ kinderinstru- Conductors’ score Piano alone ... Piano, 4 hands a IHE COURSE has proved a con¬ Kinderinstrument HTpHESE and the hundred and stant source of inspiration and The Sherwood one similar problems and encouragement to all who have Simon, E., Op. 55S, Soldiers' Life Coarse offers the taken it, and, if you take it, your Peace. Solution for all pupils will be quick to feel the renewed Piano Violin Trumpet, 8 tones, These Problems . .,i, and inm yt-1 practice, inspiration and zest immediately 5 H e’ _Wal .. does this in so dear, complete and practical a way, as to -1- »»_ «i-ji- r-fast Spread;ng over my pupils.” bring immediate and permanent results in your work. In this remarkable Normal Course of Piano Lessons, Phfno"’ Vio?ft 5Tramhrlt3tmaS FeStlVaL spoken of so highly by Leschitizky, Paderewski, Mosz- Rattle, Waldteufe“PSnare Drum; “ thousands of other Tambonnne, Tmngle, Bells O and^ kowski, and other great musicians, Mr. Sherwood gives teachers in every part of the you the advantage of ail the dearly bought knowledge country, isn’t it in every way probable and experience that he gained through his entire lifetime, that you may find it of similar value Pb,ieIe’ ®:> Children’s Symphony. both from the great teachers under whom he studied, including to you? Assuredly, if the oppor¬ the immortal Liszt himself, and from the many years of suc¬ tunity to make a Progressive P WaidtenWaldteufei’8A ngQuail,ele’-T CuSnareQcko°’ Drum, cessful concertizing and teaching that won him international fame. Stride Ahead in the near future is of importance to you, this is G nm’ 'Trianele. Trumpet He reveals to you in this Course the Secret oi Successful Music an important matter and deserves your most serious and Teaching and Playing. careful consideration. Remember—you do not have to leave home, or lose a single day from your regular occupation—your JH a true American vision of spare moments are all you need. It Is the Success¬ the possibilities of applying ful Application of the University Extension . St»t)g Piute 'and kinderin- Method of instruction successfully to Music, Guarani©© @® SafilsfaetKon with etrument partly. . the University Ex¬ tension Method to as it has been applied to every other branch of learning, The demand forior "Kindcrsymphonirunaersympnonu Mr. Sherwood put the very best efforts of his life into this Goars© ®r Money Refunded; ise; especially ie ther the Study of Music Normal Piano Course. He looked upon it as the crowning '“U!" We^have achievement of his life, his most permanent contribution IN ORDER that you may be fully informed in making . as it must to yours. In these days of Send for Prospec¬ your decision on a matter so important to you, send _, ___impossible, “To-morrow” sees accom- tus and Full Infor¬ to-day for the Sixty Page Illustrated Prospectus of , and the “Day Following” takes as a matter of fact. So, music taught by mation To-day this Course which will give you the full and detailed correspondence is no longer an experiment—but an accomplished* successful information you need. If you are really interested, we fact, offering opportunities yesterday undreamed of. will send you free for your enlightenment: sting for h the a (1) —Sixty Page Illustrated Prospectus of the Course *° *tbe scores and p C©rflfflMt© and Diploma containing Musical Dictionary ®a?, ™PPly at the lowest pos (2)—Sample Lessons and Synopsis of the Course toy instruments n HIS NORMAL COURSE of Mr. Sherwood covers works1 Tulpsrfor.mance of any of t T (3)—Booklet—“Problems of Music Teachers Answered” tho ™ These instruments are made for you all the essential points of successful piano and P pos,e’ substantially put tog! Its Scope is teaching and playing, from the best ways to teach All this valuable information and literature is yoar* forth* asking, with absolutely 1 J,S?perl5r ^ned and voiced. Broad and beginners, to a technical mastery and adequate In writing for further information it will more than repay you to make your letter a imported 3™ Comprehensive interpretation Of the most difficult compositions. The full real live letter of inquiry, stating exactly just what are your chief musical troubles and Course includes, also, thorough and practical instruction eeds, and where you think we may be of mosOielp to you. Write as to a friend, i caModte
■V- Philadelphia, - Penns. iase mention THE ETUDE when addressing our advertisers. Ivers & Pond THOROUGHLY RELIABLE THE BEST RESULTS ARE OBTAINED pianos BY USING No matter where you live, we can furnish you an Ivers & Pond Piano with as little inconveni¬ Baker’s ence as if your home were in Boston. From every view¬ point, Ivers & Pond Pianos re¬ veal superiority. They are Chocolate used in nearly 400 Leading (Blue Wrapper, Yellow Label) Educational Institutions and 50,000 discriminating homes. In making Cakes, Pies, Puddings, Our latest models are master¬ A paper pattern Frosting, Ice Cream, Sauces, pieces of scientific pianoforte free'VnThe°G Fudges, Hot and Cold Drink construe- " tion and are unequalled for refine¬ For more than 131 years this chocc , ment of tone, beauty of case design has been the standard for purity, 7^°" lge35# and durability. cacy of flavor and uniform qua’’ / 
HOW TO BUY 53 Highest Awards in Europe and k" 1 i If we have no dealer near you, we can supply you directly from our large Boston establish¬ The trade-mark, “La Belle Chocolatiere,” on MONIES ment, guaranteeing the piano to please or it re¬ genuine package. A beautifully illustrated a turns at our expense. Unique easy payment let of new recipes for Home Made Candies V I plans available anywhere in the United States. For catalogue and full information •write us Dainty Dishes sent free. Drop a Postal to 4 to-day. IVERS & POND PIANO COMPANY Walter Baker & Co. Ltd. 141 Boylston Street, Boston, Mass. Established 1780 DORCHESTER, MUSS. 
TESTED AND SUCCESSFUL Complete School of Technic Root’s Technic and Art of Singing A Series of Educational Works in Singing on Scientific FOR THE PIANOFORTE Methods, for Use in Private Instruction and in Classes By ISIDOR PHILIPP By FREDERIC W. ROOT A work resulting from the author’s wide experience in Voice Culture i, PRICE $1.50 Europe and America during a period of more than thirty years In form of. Comprehensive, Exhaustive, Practical. The Last Word from a graded course. The only system in print covering tJds ground. Great Living Authority /. Methodical Sight Singing. Op. 211 Grade 1. The Beginning. an Grade 2. Through th. 
 voice culture. Up. 22 - $1.00 is!pssi 
 y or all th™«ksare md3tab£le) ^ any°n This work may be used in DAILY PRACTICE and should be™™. • j- than one), for introductory purposes, if cash acc ■ . voice (when publishedpuousnea for pensable portion of the routine work. come an mdis- the order, for$8.00, postpaid. teaching°Voi°e*Culture? C°Urse’a P*mPMet sent free. iiig or contemplating 
Theo. Presser Co., Publishers, Philadelphia, Pa. "'2C™“ PRESSER C0- ^Philadelphia, Pa.' 
PIANOS our system of payments vose _ VQS£ & SONS PIANO r^:SS0Xn: y°Ur