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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
1-1-1910 Volume 28, Number 01 (January 1910) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 28, Number 01 (January 1910)." , (1910). https://digitalcommons.gardner-webb.edu/etude/554
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ew Publications THE ETUDE Musical Kindergarten The Very First Pieces Melodic Studies TO OUR READERS THE EDITOR’S COLUMN for the PIANOFORTE For Equalization of the Hands Mpfhnrf SOME NEW YEAR RESOLUTIONS. KINDLY ADDRESS YOUR MAIL . 1UCUIUU Price C nt5 for the Pianoforte The publisher resolves: To make the PROPERLY. For the Nursery &nd the Gl&ss Room 1 gy ^ sartorio numbers of The Etude for 1910 even better In sending letters to The Etude it is highly A MONTHLY JOURNAL FOR THE MUSICIAN, THE than those for 1909. To the skeptical we important that they should be addressee MUSIC STUDENT, AND ALL MUSIC LOVERS. would say that The Etude has never failed to simply thus: Edited by JAMES FRANCIS COOKE “make good” its promises during the entire Theodore Presser Co., Subscription,.$1.50 per year. Sllncle Copies, 15 Cent*. twenty-seven years of its existence. In fact, Publishers, we are continually receiving letters saying: 1712 Chestnut St., “The Etude seems to grow better all the Philadelphia, Pa. time. How do you do it?” We have resolved If the letter or communication or manu¬ ■ulttnneea should be made by post-office or express script is intended for the editorial department, money orders, bank check or draft, or registered to show you how in 1910 by giving you greater letter. United States postage stumps are always value for your $1.50 subscription than you can simply add to the above “Editorial Depart¬ received for cash. Money sent In letters Is dan¬ gerous, and we are not responsible for Its safe find in any other magazine published any¬ ment.” where. This is in spite of the- fact that during The correspondent should never, under any ITT NUANCE.—If ol"inu«thbe sent "u" last year we gave more music and more circumstances, address mail to individuals of articles from world-famed musicians than have the house. By addressing letters to individuals direction* will be ever been published in any musical magazine a delay of several days often arises. Every HE NEW AI..—\o letter that comes to The Etude office receives The subscriber’s resolution: immediate, courteous treatment. We endeavor We earnestly wish that all of our subscribers to give the same interested attention, through the assistance of “Uncle Sam,” that you would MANUSCRIPTS.— manuscripts Intended for publlca- might make the following resolution: ddressed to THE ETUDE, 1712 We resolve to leave nothing undone to per¬ receive if you paid a personal visit to our suade and induce the “Etudeless” to sub¬ offices. Do not send letters addressed to caching and i scribe regularly for the world’s best musical individuals. _ solicited. Those tl journal. We also resolve to give The Etude ADVERTISING HATES will he sent on application. full credit for the musical educational work it HOW TO MAKE FRIENDS. Forms close on 10th of each month for the suc¬ The famous American painted J. M. Whist¬ ceeding month’s Issue. is - conducting, to call the attention of all of THEODOHE PRESSEK, our musical friends to its many fine features ler, once wrote a very satirical book called 1712 Chestnut St., Philadelphia, Pa. and to tell them how very much of our musical “The Gentle Art of Making Enemies.” We Entered at Philadelphia P. O. as Second-class Matter. success is due to the information, inspiration wish that we might recommend to you some Copyright. 1909. by Theodore Presser Co. and entertainment we have received from The book called “The Gentle Art of Making Friends,” for there is nothing that can help you as a teacher, student or music lover so CONTENTS “THE GROWTH OF ‘THE ETUDE.’ ” much as the knack of making friends. The Two years’ ago we told of the phenomenal best way to make friends is by means of help¬ “THE ETUDE”—January, igio. growth of The Etude. From a very modest ing others. Few people are really downright Editorial . beginning it now has grown to have a family ungrateful. Most people are appreciative. It Italian Biographies . of readers larger than the combined families is in this spirit that the founder of The Etude The Paris Conservatory. .Moritz Mosskowski of all its contemporaries in this country. has always conducted his work. The Etude Children of Unmusical Parents.. .A. C. Keller When you introduce The Etude in a new has helped thousands and thousands of earnest Individuality In Playing, lime. Teresa Carreno home do not get the mistaken notion that you students and teachers. The result is that The Personal Recollections of Verdi, Leandro Campanari are working solely for the publisher and not Etude has thousands of friends, friends we are Pen Pictures of Rossini. for yourself. The larger our subscription re¬ proud to have, friends who have become self- The Future of Italian Opera. .Antonio Scotti ceipts, the more we can spend upon improving constituted missionaries of the splendid mu¬ Beginnings of Oratorio and Opera, the publication. This is a matter of vital im¬ James Francis Cooke sical educational work we have been privileged portance to you. In addition to this you will to comltiefr. have the privilege of taking part in the great¬ We find that nearly every friend brings us oslaw de Zielinski 17 est musical educational movement any country in time from three to five others. Not all are Verdi’s Position In Musical Art, Lutie Baker Gum 18 has ever known. The Etude has positively willing to take a copy of The Etude in hand Facts About Famous Italian Musicians. 18 and directly helped more music students, and go to some music lover or parent who Historical View of Italian Musical Art, teachers and music lovers than any school or may be unacquainted with it and say, “Here is F. S. Law 19 Interpretation In Singing. . . .David Bispham 20 conservatory in existence. You have helped a musical paper that has helped me so much Plano Transcriptions from Famous Italian make the magazine what it is and-we thank that I want all my friends to know about it Operas.William H. Sherwood 21 you most earnestly. ; and take it regularly,” but thousands never Lessons in Analysis.Thomas Tapper 23 fail to say good words for The Etude when¬ Educational Helps on Etude Music, P. TV. Orem 24 PREMIUMS. ever the opportunity offers. Among these are Italy’s Influence on Other Nations. Let us send to every subscriber interested many of the greatest living teachers and virtu¬ Arthur Elson 50 osos. They know that The Etude has always Musical Genius In Youth.Charles Doran 51 in this subject our premium booklet, as well Teachers’ Round Table.A. J. Corey 52 as our new illustrated premium catalogue. been clean; that it has never unjustly attacked Department for Singers. .Giuseppe Campanari 53 Both these booklets contain only articles of any musician or musical system; that it has Department for Organists. .Francesco Vatielti 56 first-class manufacture, books regularly bound, always tried to build up and that it has always Department for Violinists.Robert Braine 58 nothing made for the usual premium giving, stood for the best and highest in musical art. Department for Children.C. A. Browne 60 and we figure these gifts to our subscribers in They are proud to be our friends, and we are Publishers’ Notes . 62 return for their interest in recommending and proud to have them. If we have helped you World of Music . 64 even in a little way won’t you kindly do us Answers to Questions . 66 securing other subscribers for us, according to Answers to Virtuoso Puzzle. 67 the most liberal plan possible. the friendly act of helping to extend our work Following Up Answers to Advertisements. by inducing some musical friend to become a MAGAZINES. regular member of the ever-increasing Etude family? Please don’t forget. erdi. . Every household, if musical at all, needs The Etude, and every household, whether mu¬ MUSIC. sical or not, needs one or more other leading GET ONE NEW SUBSCRIBER FOR US Butterfly Waltz...H. Weil Vesper Chimes.Emil Sochtinij magazines. On another page of this issue will THIS MONTH. At the Fair.Emil Kochiing be found the best clubs of one or more maga¬ If every reader of The Etude would deter¬ Quartet from “Rigoletto" (Four Handsl, zines combined with The Etude. Verdi-Engelmann mine to induce some friend to send us a sub¬ ■ No. 1.M. Moszkowski The Etude this year has published a cata¬ scription this month we could double our Highland Lullaby. . .Geo. Burdelt logue of magazine combinations, which will subscription and extend the usefulness of The Valsette. C. Florio be sent to anyone making a request. Let Etude two-fold. We know that you are deeply Two Grenadiers. .F. Schubert The Etude, handle your whole magazine busi¬ ■.. .Chas. Lindsay interested in musical culture, and that you of tl .Ernest Lent ness. We do not even require that an Etude want to help us in our work, which has done . .. . R. S. Morrison subscription be included. We guarantee as more to foster musical education in America ... .8. Steinheimer low a price as through any other magazine, or Intermezzo from ’’Ca a Rusticana” (Vio- than any other means. Nevertheless there are lin and Piano i. . P. Mascagni agency, or newsdealer. Send all your maga¬ still thousands of people whom The Etude March of the Pries zine orders to The Etude. Estimates cheer¬ could help. _ They have not realized that a f (Pipe Organ)... fully furnished. i Guide Me, 0 Thou Gi monthly visit of The Etude to the music stu¬ dent’s home brings new interests, new incentive, A Lover’s Envy fVoci PLEASE DO NOT DELAY SENDING new results. Won’t you make it a point to in¬ YOUR RENEWAL. troduce The Etude into some home this month’ y 1
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Z1EGFELD PIANO TECHNICS THF FTIIFIF SUBSCRIPTION OFFERS By DR. F. ZIEGFELD I fill L 1 UUL WITH SELECTED MAGAZINES The book holds in compact form all PUBLICATIONS OF G. SCHIRMER: NEW YORK that need be taught to insure that train¬ Comprising the best Journals devoted to Music, Fashions, World’s Events, Out-Door Interests, Etc. ing of the hand essential to an early and easy virtuosity. The book pro¬ JUST F* U BLISHED vides for the necessary fundamental HOUSEKEEPER AND \ $3,QQ work, and embraces all that is needed COSMOPOLITAN i^QQ $4.00 HARPER’S BAZARi $2.50 MODERN ^PRISCILLA ( V FOR for the gymnastics of the fingers and american°rmagazine for EVERYBODYS \ for AND FOR DORN ALBUM. A collection of thirteen favorite pieces SONGS OF SWEDEN essential to a thorough training and THE ETUDE $2.00 control of the hand. The plates and theaetude l$l.85 THE *ETUDE ) $3.05 THE ETUDE ) CrhetilSd's'eries of Music Books No. 79.) NET 50c Eighty-seven Swedish Folk and Popular Songs illustrations, which have been prepared with unusual care, illustrate the proper .... $4*00 $3.00 American Boy.$4.00 $2.70 Thirteen delightful pieces de genre of about medium diffi¬ (Swedish and English Text) I Good Housekeeping, $4.25 $2.50 Amerlcao Boy.$5.00 $3.75 position of the hand, wrist and fingers. j World To-Day- 4.50 2.85 .... 4.00 3.00 1 I Cosmopolitan. 4.00 2.55 culty and in all shades of expression, from the dreamily de¬ American Magazine.. 5.50 3.60 .... 3.50 2.70 Collected and Edited by 1 Burr McIntosh'. 6.00 4.10 Outing. 7.00 5.30 | \ Field and Stream .. 4.50 3.00 vout “Angelus Bells” to the rudely rhythmical ‘ Ride of the Bound in Flexible Cloth. Price, $1.50 l St. Nicholas. 6.00 4.20 Paris Modes and Pat¬ Paris Modes and Pat¬ Hampton’s Magazine. 5.50 4.05 tern . 3.00 2.35 tern. 3.50 235 Amazons.” “ Dorn” is the pen-name of Joseph Leopold GUSTAF HAGG Home Needle Work .. 4.75 3.55 Cosmopolitan... 3.50 2.55 i 1| / Hampton’s ... 4.50 3.00 Roeckel, born in London in 1823, of musical parentage, and Current Literature... 7.00 5.30 Housekeeper and Mod- Professor at the Royal Conservatory of Music in Stockholm The Child’s First §“( McClure’s. 4.50 2.85 Is) Outing..... 6-00 4.25 inclining, in clarity of form and beauty of melody, to the P Musician. 4.50 2.85 Forest and Stream... 7.00 5.00 dern Priscilla .. . 4.00 2.70 The English Translations by “ 1 Housekeeper ..aMod- American Magazine.. 4.00 2.55 Review of Reviews . 6.00 3.50 post-classicists; but he has plenty of original vigor, and his Woman’s Home Com¬ Success. 3.50 2.70 Grade l I ern Priscilla ... 4.50 255. panion. 5.50 3.95 Success. 4.00 2.70 piano music is a perennial pleasure to the home-circle and HENRY GRAFTON CHAPMAN 5 | Paris Modes and Pat- Woman’s Home Com- By BLANCHE DINGLEY MATHEWS McClure’s.,... 5.50 4.05 4.00 2.90 World To-day .'.... 4.50 3.00 all amateurs of discrimination. tern. 3.50 2.20 and W. S. B. MATHEWS Pictorial Review ... 4.00 2.55 Good Housekeeping.. 5.25 3.75 4.00 2.70 Price, Paper $1.00; Cloth $2.00 A collection of fourteen favorite A primary book of piano principles WACHS ALBUM. and practices which is intended to help This addition to the series of “Songs of the People" can REVIEW OF ) $4,50 pieces by Paul Wachs. the busy teacher and aid the child. It McCLURE’S | $3,00 (The Household Series of Music Books No. 24.) NET 50c claim the distinction of being the only really representative collection has been prepared to meet the demand WOMAN’S HOME COMPANION)$3.00 REVIEWS ( *7or of the beautiful folk'visor (folk-songs) of Sweden hitherto published of modern methods, by leading the What strikes one at a first reading or hearing of our in this country. Gustaf Hagg, a Swedish composer of prominence AND FOR child by the shortest practicable road THE ETUDE $2.30 THE ETUDE $3.00 composer’s pieces is the eminently pianistic quality of them and an authority on the musical folk-lore of his native land, has to keyboard fluency, musical feeling j all. Here we find nothing forced, no striving after impos¬ made a special point, in compiling this volume, of including within and musical intelligence. THE ETUDE )$2.20 . McClure’s.$6.00 $3.55 sible effects; but, on the other hand, the virtuoso touch that its covers songs illustrative of the great variety and difference in kind of Swedish popular music. Every branch of the folk-song is ade¬ Price, $1.00 =j Woman’s Home Com- brings out the singing tone and liquid, harp-like harmonies .50 $3.00 •I panion. 6.00 3.55 quately represented; love-songs, both sorrowful and gay; legendary % I Good Housekeeping .. 4.25 3.00 so characteristic of the instrument at its best. It is remark¬ ballads of ancient days; patriotic songs; student songs of the Uni¬ Hampton’s. 6.00 5.60 ■ft Harper’s Bazar. 4 00 3.00 Housekeeper and Modem Priscilla . . ” ismopolitan. 5.50 3.35 able what a simple technical apparatus Wachs employs for versity of Upsala; dance songs of Dalecarlia and other provinces, Left Hand Etudes “ ) St. Nicholas. 6.00 5.15 ousekeeper and Mod- the production of such thoroughly enjoyable music, and how and the rustic songs of harvester and swineherd. Nor have such Success . em Priscilla_6.00 3.50 By AUGUST W- HOFFMANN ?{ Pearson’s. 4.50 3.00 World To-day. great a variety he manages to present, despite all simplicity ! melodies, of more recent origin, composed in the folk-song style, irest and Stream .. 7.50 5.05 been forgotten, songs whose intrinsic value and beauty have caused 1 Recreation.6.0( Burr McIntosh. I Success. 5.50 3.50 He is a most entertaining writer, and deserves a hearing The unusual way in which results I 3.55 prople to take them to their heart and incorporate them in the great are reached largely enhances the value y*/ SI. Nicholas. / ParisModesimiPattern 5.00 3.15 wherever good music is appreciated. body of national melody. of the exercises and awakens a lively | I Harper’s Bazar. I World's Work and =1 \ McClure’s. Everybody’s. 9.00 5.30 interest in piano study. The studies \ Scribner’s Magazin- .7.60— 5.80 are eminently useful and practical, and To-day. 4.50 3.30' will prove acceptable indeed, as there are so few left hand studies of the OTHER CLUBS OF VALUE middle grade. success \ $2.50 WORLD TO-DAY ) $3.00 $2.75 A cardinal feature of the “Hoffmann MACAZINE HOUSEKEEPING Left Hand Studies” is that they are “The House That Helps the Teacher” short. THE "ETUDE ) $2.00 THE AETUDE j $2.30 THE AETUDE ) $2.00 The Mechanics of Piano Technic Two Books, Price Each, 75c By E. W. GRABILL American.$4.00 $2.50 f Success and Designer, & W.H. WILLIS & CO. Cosmopolitan . 3.50 250 J Harper’s Bazar ..... 3 CINCINNATI, OHIO. CHICAGO, ILL. Songs by Successful Studies Woman’s Home Com¬ plained by the laws of force and leverage The resalting^eaae i -fl McClure’s. 4.50 3.30 and rapid advancement are nothing short of marvelous. Soi- panion. 4.00 2.90 Designer. 3.25 230 Review of Reviews .. 6.00 3.80 profesHorsof Physics. Already in use in the Faelten Piano for Children rr McIntosh... Peters’ Modern Pianoforte Method, £ye^,-r“- Good Housekeeping.. 3.75 270 Everybody’s and De- Nicholas .... AN EPOCH MARKING BOOK CHARLES WAKEFIELD CADMAN By JESSIE L. GAYN0R World To-day. 4.00 3.00 • lineator. 5.50 4.05 Modern Priscilla and Hampton’s. 4.50 3.30 \ Woman’s Home i SOME OPINIONS: Melody Pictures, 60c Heinrich Barth (Berlin): “Gives me the highest satis- Sweetheart, In Thy Dreaming = 50c Housekeeper. 4.00 2.70 Paris Modes and Pat¬ tern. 3.50 2.65 I American and Co back. Introductory pricef 60c? * ; ‘‘Delightfully clear in contrast with Breit- Medium Voice (E-F). Low Voice (C-D). Miniature Melodies, 60c Reviews ot Reviews.. 5.50 3.50 First Pedal Studies, 50c Pearson’s. 4.00 2.70 Success and Designer, 4.75 3.30 The A valuable addition to pianoforte lit¬ Delineator and Every¬ Recreation. 6.00 4.55 pupil fr. is. Kroe«er: “Clear-sighted, comprehensive, de- At Twilight Time ======50c The purpose of these widely used body’s. 5.00 5.75 . 4.00 2.85 through books is to supply teachers with first High Voice (D-A). Low Voice (B-F). books of instruction by which children may be successfully taught to play the The Sea Hath a Hundred Moods 50c piano. The plan is to give the youngest High Voice (F-G). Medium Voice (E-F). Low Voice (B-C). pupils an immediate comprehension Exercises in Scales and Arpeggios-|^rr^ of rhythms, and an ability to play knowingly at once. THE ETUDE, 1712 Chestnut Street, PHILADELPHIA, PA. scales in all major and minor keys, both Melodic PRICE 1.25 As In a Rose Jar === = = 50c and Harmonic. Exercisesin broken chords. Bro¬ , $ Tr",e^™£“,on“1 ken Chords of the Dominant Seventh, and its High Voice (D-F). Medium Voice (C-E). Low Voice (A-C). Inversions. Dominant Seventh Arpeggios -with inversions.^ Chords^of the Diminished Seventh, A. W. HUNT**47CWC°&s°" Famous Practical Dandelions = = 50c High Voice (D-G). Low Voice (B-E). Piano Studies SPECIAL "ETUDE” Selected Studies gef™,[nb“ ipiled by Hans :ted from the By WILSON G. SMITH OFFER ON FIFTY-CENT COLLECTIONS jraded. These GRIMM’S riculum of the A SONG CYCLE it anv price. Durably Introductory PRACTICAL INSTRUCTION BOOK FIVE MINUTE STUDIES FOR BEGINNERS ON THE PIANO Op. 63, Two Books, Each. - $1.01 THE LIST OF TITLES FOUR AMERICAN INDIAN SONGS THEMATIC OCTAVE STUDIES id Home Marches for the Piano First Dance Album, for the Piano Studies for the Acquirement of Sight Singing Op. 68, One Book, - - $1.0< -- ■" for Violin and Piano Easy Dance Album, for the Piano by A. J. Gantvoort, Director of the Cincinnati By CHARLES WAKEFIELD CADMAN CHROMATIC STUDIES Album of Fa’ the Piano, by H. Engelm. Tunes and Rhymes for ihe Playroom, Vocal or Piano College of Music. Ex-president M. T. N. A. s ior the Piano March Album ior Four Hands High Voice PRICE, $1.00 Medium Voioa Op. 69, Two Books, Each, - $1.01 ...— ... - e p(ano TRANSPOSITION STUDIES Well-Known Tables Set fo Music, by George L. Spaulding Sung by NORDICA, BISPHAM, JOMELLI, Etc. Musical Pictures for Piano ir Organ Childhood Days, Compiled by K_, „„, . Op. 70. One Book, - - $1.00 •>. n,-“ - Small Hands, for the Piano, by H. En| Musical Poems for the Children, by Octavia Hudson, Vocal or Piano Four-Hand Parlor Pieces Standard Compositions for the Pianoi Vol. I, First Grade; Vol. Extract from letter of These unique and very practical Album of Lyric Pieces, for the Piano tl. Second Grade; Vol. Ill, Third Grade; Vol. IV, Fourth studies are based upon the plan of Modern Dance Album, for the Piano Grade; Vol. V, Fifth Grade ; Vol. VI, Grade Si*. DAVID BISPHAM specialization, each volume containing First Sonatinas, Introductory to the Sfudy of the Classics Nature Studies, Children’s Songs, F. L. Bristow Little Home Player, for the Piano or Organ The Very First Grade Pieces for the Piano * * * It was Madame Nordica who brought them to my notice, and studies for a particular purpose. They The Juvenile Duet Players, for the Piano or Organ Musical Thoughts for Little Tots, Vocal or Instrumental, L. A. her judgment is amply verified; they are indeed beautiful. are attractive and pleasing, and accom¬ >rge L. Spaulding, Vocal or Piano The Child’s Song Garden plish the purpose for which they were Easy Teaching Pieces for the Piano, by H. Engeimann David Bispham. designed, with great satisfaction and Any one of these volumes will be delivered prepaid in return for sending one ETUDE subscription at $1.50 (not vour ^d^MComplniSenul^one5can p"fyI’setlo profit to teacher and pupil. rn), or two for two subscriptions, three for three subscriptions, etc. g>c most beautiful words of Stevenson, Riley. Field, Dickens and many others. SEND FOR OUR NEW VOCAL CATALOG Add 20 Cents to the price of anv combination of magazines or to THE ETUDE subscription price, $1.50, and receive Beautifully bound in full buckram, with fitting addition, postpaid, your choice of the above collections ; all premium offers in this case are given in addition illustrations by Dixie Selden. Price, $1.00 J!!!„SU.b.ST.^,°n.P!ICe 0f,T«E ETF,DE t0 ?anada is S1’75- These offers can be used as an incentive to obtain new sub- OUR CATALOGUE CONTAINS MANY HELPS TO WHITE SMITH MUSIC PUBLISHING COMPAN Church Company a renewal offer to old subscribers. THE TEACHER AND STUDENT. BOSTON NEW YORK CINCINNATI: NEW YORK : CHICAGO THEO. PRESSER CO. 1712 Chestnut Street, Philadelphia, Pa. ^-COMPLETE CATALOGUES ON APPLICATION 62 Stanhope St, 1 3 East 1 7th St. Please mention THE ETUDE when addressing t >n THE ETUDE when addressing ou THE ETUDE THE ETUDE
another engeimann xrujmph 9 ‘rsSfc^^US; ‘SWEET DREAMS OF HOME X wis.),: 1 :- SPECIAL! SPECIAL! SPECIAL! ~ J h essjuiaNB A NEW MEDITATION. The com LOVE DREAMS. „ etta ‘Sylvia/ It was the most satis¬ RIGHT ABOUT' ARE YOU factory of the kind I ve ever heard THE CHURCH ON THE MOUNTAIN harne0verMin°he «tS»n Jth£e given by young people of this age eomcetent t iat you may judge send ONE COPY INTERESTED? pv-ucallye very d I1 efcr'e“ r «*dj JJJ I^ve^cenes,6altogether, it was delight¬ ful and won enthusiastic applause and NEW PART SONQS Chappell’s Vocal Library “SYLVIA”
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Kreisler, Isidor Lotto, Marsick (founder of I74,; died Naples, 1816. \\ roU about *«> the Society of Beethoven’s kst ^a.S ;,,ul was very famous in his flay, anti was 1 Pt;l (composer of the well-known violin school), Nadaud, favorite of Napoleon Bonaparte. Ondricek, Sarasate, Secchian, Jacques Thibaud, SHORT BIOGRAPHICAL NOTES UPON Palestrina (Pah-les-tree-nah). wvaimi icrluigi & Tirmin Touche, Teresina Tua, Henri Wieniawski. Born at Palestrina, near Kona, vacc uauery.) Violoncellists:—Delsart, Franchomme (with whom Pergolesi (Pair-go-lay-zee) Giovanni iMtisia. Bor„ Chopin collaborated in composing for the piano and ITALIAN MUSICIANS Jesi, Papal States, 1710; d ed Pozzuoh. One o, thc violoncello), J. F. Hekking, Jacquard, Salmon, greatest of Italian composers oi sacred mu.-ic. Mademoiselle Caponsacchi. . Peri (Pair'-ee), Jacopo. A Florentine nobleman, bon Organists:—Lefebure Wely, Tournemire, Silas :elebrated family Donizetti (Doh-nee-tset'-tee), Gaetano. Born IHr- about i860; died at Florence about 1633 Comput¬ and a number of others previously mentioned as gamo, 1797; died 1848. Celebrated operatic com ed “the first opera.” He was one of a distinguished composers or pianists. whom Nicoli Amati 1596-1694, poser. (See Gallery.) hand of intellectual folk who gathered at the houti Harpists:—Bochsa. Godefroid, Salzedo. ed. Errani (Air-rah'-nee), Achille. Born about 1823 ■ • of Counts Bardi and Corsi, for the discussion oi Directors:—Chevillard, Colonne, Deldevez, Garcin* died New York, 1897. Famous tenor; teacher ot Ambrose, St., Bishop of Milan. He lived about 374- Greek declamation. This resulted in the foundation Habeneck (founder of the Conservatory concerts), Minnie Hauk and other singers. 397, and with Pope Gregory was one of the chief of the “new school.” Lamoureux. Luigini, Marty. Further may be men¬ founders of church music—especially plain-song. Faccio (Fah'-tchee-o), Franco. Verona, 1841; died Perosi (Peh-ro'-zee), Don Lorenzo. Born Tonona, tioned Gilies (oboe) and Gaubert (flute), two Bardi. (See Peri.) 1891. Conductor, composer and co-worker with uJiT.tzvx. miZT 1872. A contemporary priest-composer whose sa¬ Btudb for last Felruary.] virtuosi of European fame; also the musical littera¬ Bellini (Bell-lcen'-nee), Vincenzo. Opera composer, Boito (q. v.). cred compositions have attracted considerable attra- 1801-35. (See: Gallery.) Farinelli (Far-ee-nel'-lee). (Real name. Carlo teur, Francois Joseph Fetis. Broschi.) Naples, 1705; died Bologna, 1782. One THE CONSERVATORY. Singers:—Capoul, Escakus, Faure, Maurel, Mel- Bergonzi (Bair-gon'-zee), Carlo. Violin maker of Piccinni (Pitch-een'-nee). Nicola. Born Bari, 1728; MUSIC IN PARIS. of the most famous of the Italian male voice If Paris, as 1 have already said, surpasses all other chisedec, Roger, Talazac, Taskin, among the men; Cremona, 1715-55. Very successful pupil of Strad- died 1800. A celebrated composer of opera, at one I have often wondered why it was that in Europe, sopranos. cities of Europe in the sum of musical talent, it women: Caron, Carvalho, Brunet-Lafleur, Bilbaut- time Gluck’s chief rival. as well as in America, so little is known of the Boito (Boh-ee'-toh), Arrigo. Born at Padua, 1842. Fenaroli *(Feh-nah-roh'-lee), Fedele. 1730-1818. C el¬ deserves to take first place for still another reason: Vauchelet, Boidin-Puisais, Hatto, Cesbron. musical life of Paris and why such erroneous ideas L, Composer of Medstofele and other works. Libret¬ ebrated composer and teacher of Cimarosa, Zin- Pinsuti (Pin-soo'-tce), Ciro. Born Sinalunga, Flor¬ in her Conservatoire Nationale de Musique et de Actors:—Men: Coquelin (aine), Coquelin (cadet), prevail of its character and artistic signification. tist of Verdi’s Otello and Falstaff. Highly esteemed garelli, Mercadante and others. ence. Pupil of Rossini, and famous as composer oi Delaunay, Feraudy, Galipaux, Got, Guitry, Le Bargy, f by artists both as a poet and as a musician. Florimo (Floh-ree'-moh), Francesco. Calabria, 1800; songs and part-songs. 1829-88. Though it is no longer as it was in the time of Leloir. Mounet-Sully. Truffier; women: Bartet, Sarah Bononcini (Boh-ndn-chee'-nee), Giovanni Batista. died Naples, 1888. Musical historian and com¬ Ponchielli (Pohn-kce-ycH'-ee), Amilcare. Born near Cherubini, Berlioz, Meyerbeer, Rossini, Auber, ' Modena, 1669; died about 1750. At one time poser. Cremona, 1834; died Milan, 1886. Regarded by mam Chopin, Liszt, etc., the supreme center of all musical Handel’s rival in London as composer and im¬ Frescobaldi (Frehs-co-bahl'-dee), Giralomo. Ferrara, Italians as ■ the greatest composer of opera after interest, of all the cities in the world it contains presario. 1583; died 1644. One of the most famous of Italian Verdi. the greatest amount of musical talent. The prin¬ It is hardly necessary to say that such an array of Bossi, Marco E. Brescia, 1861. Famous organist organists and composers. Organist of St. Peter’s, Porpora (Por-por'-ah), Niccola Antonio. Born Xaplc-, cipal reason of this ignorance is probably the poorly distinguished artists could be formed in even the and composer. * Rome, from 1608 to his death. 1686; died 1766 (or 7). Famous teacher of singing, organized system of publicity in the matter of giving most excellent institution only during a long series Buonamici (Boo-oh-nah-mee'-chee), Giuseppe. Flor- Gabrielli (Gah-bree-ell'-ee), Giovanni. Venice, 1557- and composer of many works. concerts. It is in truth difficult to gain information of years. Here also the Paris Conservatory has a i'vence, 1846. Famous pianist and pupil of Biilow. 1612 (13). Organist of St. Mark’s, Venice: chief Puccini ( Poo-tschee'-nec), Giacomo. Born Lucca, 1858. about concerts that are to occur. Only those by great advantage oveh all others. If we go back to Busoni (Boo-zohn'-ee), Feruccio. Florence, 1866. composer of Venetian School. Famous contemporary composer. His “Madame large orchestral and choral bodies are advertised its very first beginnings it has been in existence a • Distinguished contemporary piano virtuoso, com¬ Galilei (Gah-lee-leh'-ee), Vincenzo. Florence, about Butterfly” and other works are among thc most in the newspapers, and the critics seldom notice hundred and twenty-five years. In 1784 Louis XVI poser and editor. Author of excellent piano lS33-l6oo. One of the founders of the “new popular operas of the day. Unquestionably the any musical occasion on a small scale. The only founded an Ecole Roy ale de Chant (Royal School of transcription of Bach’s 48 preludes and fugues for school” and associate of Peri (q. v.). best of the younger school of Italian composers. way to find out what concerts are to take place is to Singing), at the head of which stood Gossec, a very the organ. Gasparo da Salo (Gahs-pah'-ro dah gah-loh). (Also Raimondi (Rah-ee-mohn'-dec), Pietro. Rome, 1786- study the advertising pillars, the show windows of celebrated composer of his time. Among the teach¬ Caccini (Cah-chce'-nee), Giulio. Rome, 1558; died known ||j Bertolotti.) Born Salo about 1642, and 1853. Famous master of counterpoint and writer of musical establishments and the entrances of concert ers under him we find a still more highly honored .about 1615. One of the followers of the “new died 1609. Famous as a maker of viols, violo do opera. He once wrote a fugue in (14 parts for 16 halls. This naturally presupposes a certain familiar¬ artist, viz., Piccini, who was in charge of the first |i;Bchool” and one of the originators of oratorio. garnba and bass viols. choirs. ity with the city, no little spare time and a great class in singing. The chief aim of this school was Caldara (Cahl-dah'-rah), Antonio. Venice, 1670; died Giordano (Zhee-or-dah'-noh), Giuseppe. Naples, 1774: deal of interest in music, in all of which visitors to educate composers, singers, players of the jj Vienna, 1736. Noted composer. Ricordi (Rec-kor'-dee), Giovanni. Violinist; Milan, died 1798. Popular teacher in London. Successful are often lacking. Another difficulty is the generally clavecin and violin. Two years later another school Campanari (Cabin-pah-nali'-ree), Leandro. Born and prolific composer, 1785-1853. Founded the famous publishing house. far too high prices of admission. In what other for the training of actors was established, but it | Venice, 1857. Noted contemporary violinist and Guarnerius (Gwalir-nair'-eus), Guarneri. A celebrated Rossini (Ros-see'-nee), Gioacchino Antonio. Bom city in the world is one obliged to pay 20 francs lasted less than four years, while the Ecole de Chant lrj famous conductor. family of violin makers in Cremona, of whom t lie Pesaro, 1792 ; died Paris, 1868. One of the greatest melodists who ever lived, Hilliam Tell and his (about four dollars) for a ticket to a recital which continued in existence until 1795- Campanari (Cahm-pah-nah'-ree), Giuseppe. Born in most famous was Giuseppe Antonio Stradivarius. The real beginning of the present Conservatory, Stabat Mater arc, perhaps, thc best known of his is not given by a celebrity of the first rank? Only I1 Venice, i860. Noted opera singer and ’cellist. 1683-1745 (about). however, must be placed in the year 1789, when, works. Undoubtedly 011c of thc greatest composers the friends and acquaintances of the concert-giver Campanini (Cahm-pah-nce'-nee), Italo. Parma, 1845- Guido d’Arezzo (Gwee'-doh dah-retz'-oh). Lived about under the direction of Bernard Sarrette, the Ecole Italy has produced. burden themselves to do so, and these only when , 96. Noted operatic tenor. 995-1050. Famous teacher of singing and one of the gratuite de Musique de la Garde Nationale (Free they feel under obligations to him. Free tickets, Carissimi (Cah-riss'-ee-mee), Giacomo.1 i-Born near “inventors” of the staff. Was the first to introduce a Sacchini (Sah-kee'-nee>, Antonio M. G. Born near School of Music for the National Guard) was however, are distributed here with the greatest Rome, about 1604; died 1674. Composer of ora¬ system of Solmisation. Naples, 1734; died Paris, 1786. Famous composer of founded. This at first had only the object of re¬ torio and a noted follower of Peri (q. v.) in the opera and chamber music. prodigality, but it is generally the Parisians who Jomelli (Yoh-mel'-lee), Nicola. Born Aversa, near organizing the music of the army, but in 1795. under “new school.” Naples, 1714; died 1774. Famous composer of opera Salieri (Sah-lee-air'-ee), Antonio. Famous opera com¬ profit by them; hence strangers for the most part the name of Conservatoire de Musique, it was made Catalani (Cah-tah-lah'-nee), Angelica. Senigiglia, and of Church music. Maestro of St. Peter's, Rome poser, born Legnano, Verona; died Vienna, 1825 hear much less music in Paris than in Berlin, Vienna an institution embracing all branches of music. , 1780; died Paris, 1849. Noted for her great vocal ■ 1749-54. Capellmeister to Duke of Wurtemburo' Schubert was one of his pupils, or London, where it can be heard for less money. During the years that followed it suffered much Bjjtange, which extended to G in alt. Her bravura 1754- arti (Sar-tee), Giuseppe. Famous director, born In Berlin, for instance, one can secure a com¬ singing was most brilliant. from adverse conditions: on the one hand it was Lamperti (Lahm-pair’-tee), Francesco. Savona, 1813; baenza, 1729; died Berlin, 1802. Composer of many fortable seat for the Philharmonic Orchestra for 75 LATEST PORTRAIT OF MORITZ MOSZKOWSKI. subjected to violent opposition; on the other it was Cavalieri (Cah-vah-lee-air'-ee), Emilio del. Roman died 1892. Noted teacher of singing. operas. Cherubini was a pupil of bis. pfennigs (about twenty cents), and this may be done If nobleman, 1550-99. One of the followers of Peri severely cramped by the poverty of the Govern¬ Leoncavallo (Lay-on-ka-vahl’-yo), Ruggiero. Born Scar.att! (Scahr-laht'-tee), Alessandro. Born Trapani, three times a week. In Paris such an enjoyment (q. v.) in the “new school.” His chief work is said Declamation she possesses an institution with which ment, which gradually led to a restriction of its Naples, 1858. Renowned composer. (See Gallery ) ici y, 1659; died Naples, 1725. Famous composer to be the first example of oratorio. costs 5 francs (about $1.00), and the seat is much no conservatory in the world may be compared. All activities. With the First Empire, however, it en¬ Mancinelli (Malm-chee-nell’-ee), Luigi. Orvieto. Papal T‘ni’ founder of the “Neapolitan School." and a poorer. Then another great inconvenience con¬ tered upon a brighter era. During the first decade Cavalli (Cah-vahl-yec), Francesco. Born Crema States, 1848. Famous conductor of opera. that other conservatories have thus far accomplished about 1600; died Venice, 1676. Famous composer g at teacher and director. He introduced Accom¬ fronts the concert-goer: practically all the important seems slight in comparison with the results obtained of the reign of Napoleon I the list of its teaching Marchesi de Castrone (Kahs-troh’-neh). Salvatore panied Recitative. orchestral concerts are given on Sunday afternoon, personnel contained the names of the most re¬ of the “new school” and distinguished pupil of Palermo, 1822; died 1908. Famous baritone and sink¬ by the one in Paris. This is represented in the and, since it is not possible to be in three or four nowned musicians of France. In composition we Monteverde. ing teacher. Husband of Matthilde Marchesi “ Scari:fi’ Domenico. Son of Alessandro. Born musical world by a truly imposing list of celebrities places at one time, he must often deny himself some find those of Cherubini, Gossec and Mehul; Baillot Cherubini (Keh-roo-bee'-nee), Maria Luigi. Flor- Mario (Mah-ree’-oh), Giuseppe. Born Cagliari, 1810; fmo lCf3 <5?); died 1757. Is regarded as the who have emerged from her sheltering care. Let iWpce. 1760, and died Paris, 1842. Famous com- died 1883. Famous operatic tenor. ! °* nl°dern pianoforte technic, and was se¬ very interesting performances. us recall some of them to memory: taught the violin and Boieldieu at first the piano, All these drawbacks may, of course, be criticised, later composition. This brilliant epoch lasted until : poser, theorist and director of the Paris Con¬ Martini (Mar-tee’-nee), Giambattista. Bologna, 1706- iner; C°mpete wi,h Handel. On the organ Scar- Composers:—Alkan, Bazin, Berlioz, J. E. A. Ber¬ servatoire. One of the greatest of musicians. equaled^ SeC°n<1’ blIt °» ‘he harpsichord he and with reason; they should not, however, give nard, Bizet, Bruneau, G. Charpentier, Debussy, 1814; then the political events which finally led to 84- Famous theorist, who numbered Gluck, Mo¬ equaled his great opponent. Cimarosa (See-mah-roh'-sah), Domenico. Born near zart and Gretry among his pupils. rise to the opinion that Paris cannot compare with Delibes, d’lndy, Theo. Dubois, Bourgault-Ducoudray, the overthrow of Napoleon cast a shadow over its existence, which for a time was seriously threatened. Naples, 1749; died Venice, 1801. Famous operatic Marlucd (Mar-tootch-ee), Giuseppe. Capua, tSsfi- i8zJat! P(, S?.ahm-bali’-tec), Giovanni. Born Rome. Berlin or Vienna as a musical center, for in this P. Dukas, Duvernoy, Enesco (also a distinguished forks attained great popularity, died 1909. Famous teacher and head of Bolo AMERICA'S MUSICAL FUTURE. One of the marvelous conditions of music in this' country is that the opera, the concert, the oratorio and the recital all seem to meet with equal appreciation. The fact that most students of music in this land play the piano has opened the avenues leading to an apprecia¬ tion of orchestral scores. In the case of opera the con¬ dition was quite different. The appreciation of operatic music demands the voice of the trained artist, and this of the Oratorio and the Opera could not be brought to the home until the sound- The Beginnings reproducing machine had been perfected. The great "The Young Folk,- Standard Histcy of Music" increase in the interest in opera in recent years is doubtless due to the fact that thousands and thousands By JAMES FRANCIS COOKE of those instruments are in use in as many homes and of preparo- and direct music studios. It is far past the “toy” stage and is a mental , 1< /#it o . j the presen genuine factor in the art development and musical edu¬ ; earliest intended to supply the * cation of America. At first the sound-reproducing ma¬ ner one or me ...... SSeS $ Hisluru tramA chine met with tremendous opposition owing to the SFi&SSS^ttereUlZ,' fact that bad instruments had prej udiced the public, but clnlt leaders who have hud successfully.] now they have reached a condition whereby the voice A .„i„ ic7c, in Florence, Italy, the Count of is reflected with astonishing veracity. The improve¬ IN Lesson I (published in the October Etude) we Vemio ttovanni Bardi (Bahr'-dee), who was a noble ments I have observed during the past month have learned how the Greeks used to give performances ot Ld cdtured amateur poet and mus.c.an, gathered seemed altogether wonderful to me. The thought that plays, accompanied by music, in great, open-air theatres. d a number of amateur poets and musicians, half a century hence the voices of our great singers of to-day may be heard in the homes of all countries of In days when there were no newspapers to reach the X «o„S « “he old Creek pb,, The the globe gives a sense of satisfaction to the singer, masses of the public these plays were of great e uca o> the ^reeKscfeeks hadnciu by*jj this time become- -p.ace.Uy . a lot tional importance. People, in general, are more deeply ^art The first attemptsattempts of this little body, or art lovers,lovers since it gives a permanence to his conceivable twenty-five years ago. moved by things they see acted before them than by werewefe calledca,]ed “mon'-o-dies,""mon'-o-dies, and they were 'l;*'", ?'. things they read in print. Realizing this the heads of than stories or legends set to music with a simplc ac- the early Christian Church gave performances repre- animent. This style was soon to be jised tn THOUGHT KERNELS FROM WIDE MUSICAL senting miracles and Bible stories. These were known plays and in I594 two of these amateurs named Pen OBSERVATION. as moralities, mysteries or miracle plays. The Passion (Pay'-ree) and Caccnn (Cah-chcc-nee), wrote the Play, representing the life and crucifixion of Christ, music to a play called Dafne, and thus produced what BY FANNY EDGAR THOMAS. given to this day at Oberamagau (O-bair-am'-a-gow)r is knoWn as the first opera. several other composers in Bavaria is a continuation of this custom. From contributed to this movement, among them Gall ei, the In studying a composition, keep emotion for the these miracle plays came the opera and oratorio, as well father of the great astronomer, butwehaye not spac^ last. Master thoroughly the framework before trying consider them now. Several similar musical plays r modem music drama. to decorate. One cannot “play a sigh” who cannot followed, and in 1600 a sacred musical play, by Cava- “pass the thumb under” or think in tune. Here (Cah-vahl-ee-air'-ee), called The Representation of Allow no visiting of any kind with anyone during the Soul and the Body, was given in Rome, and this practice. is looked upon by some as the first oratorio, although One must make sacrifices if need be to attain it was only one of a series of oratorios given by the success in music. Do not gossip about other teachers or pupils. brotherhood of which we have spoken. Had it not been for the great genius of Claudio Do not get in the habit of “playing over” things that Monteverde (Mon-teh-vair'-dee), who was bom in you like. Never play a note without the attention upon it being Cremona in 1567, and died in 1643, this new style might not have become so popular as it did. He was very bold intense and intelligent. Do not run about to different teachers. Good author¬ in making changes which he believed improved the ity asserts that one will acquire less in changing lessons music for his texts, and soon realized that the poly¬ among great artists, than by steady working and fol¬ phonic style or voice writing was not best for the lowing the leading of another not so noted. dramatic style, and thus he returned to the monophonic Do not ever work mechanically. Keep the mind style, which permitted of much greater freedom, since always fully engaged with the thought in hand. it had to do with a melody and its accompaniment. Always know all you can find out about the pro¬ Most of his life was spent in Venice, and. although he gram you are going to hear, and all about the other became choirmaster of the Cathedral of St. Mark’s in pieces upon your own program. that city in 1613, and wrote some sacred music, Monte¬ Do r.ot talk while others perform. verde devoted himself almost exclusively to dramatic It is not a sign of stupidity not to grasp an idea music. The interest in his work spread throughout all at once. You may not be quite ready for it. Europe, and this led to the establishment of the world’s Avoid rings, bracelets, jewelry and finery at your first opera house in Venice, in 1637. Of the twelve pupils’ concerts. operas he wrote only four exist now, and of these Orfeo Close the piano and keep it from dust. Memorize (Or-fay'-oh) and Arianna (Ah-rec-ah'-nah) are the everything you learn, and keep it in good playing most famous. The orchestra used to accompany these shape. operas included as many as thirty-one instruments. Be extremely careful about always singing and play¬ The work of Monteverde was continued by many able ing in tune. Keep the instrument in tune and watch musicians and writers for the stage, chief among whom tone alf the time. were Francesco Cavalli (Cah-vah'-lee). died in 1676; Never play without forming pictures or ideas. Marc Antonio Cesti (Cayz-tee), died in 1669; Giacomo Even when practicing for “speed,” imagine. Never Carissimi (Cah-rees-ee'-mec), died in 1674; Emilio de play like a machine. Cavalieri (Cah-vah-lee-air'-ce), died in 1602, and Ales¬ Do not think that speed or noise produce the thing sandro Stradella (Strah-dell'-ah), died in i68i( ?)- called “life” in music. Interesting as were the works of these composers for Be exact in detail. That is not being mechanical. Don Louenzo Perosi. the stage, they cannot be looked upon as important as Learn not to obey moods. Recognize and control those of Monteverde. them. Some of the most successful practice hours are those passed through after conquering a listless mood. TEN TEST QUESTIONS. You can make yourself feel totally “different” in five minutes if you know how. Filippo Neri (Nay'-ree), an Italian priest and educa¬ 1'. Why did the early Church leaders favor the giving Do not give in to lassitude. Always approach music tor, who died in 1595, formed the custom of having of plays? “strung up,” like a well-tuned violin, or as a horse sacred words set to music sung after liis addresses. He 2. What were the first plays called? ready for the race. also founded a body of priests, known as the Congrega¬ 3‘ Give a modern example of “The Passion Play.” Make yourself begin as you would turn on a faucet, tion of the Oratory, in 1575. The services of this body 4. Who was the Italian priest who formed the “Con¬ knowing that the water will run if you do so. There were held in a part of the church known in Italian as gregation of the Oratorio?” is a difference between being lazy and not being prop¬ the or-a-tor'-i-o, or in English as the oratory. Later 5- What noble amateur attempted to revive the old erly prepared for the work. this brotherhood gave sacred musical plays, with and Greek plays with music ? Always think, think, think, before making a tone. without acting, and these plays came to be known as ^ ™at was t'le name of the first opera? The “great art” must lie in every touch of the smallest oratorios. They were the forerunners of our modern 7- What was the name of the work known as the first finger. ._ oratorio ? oratorios, which are sacred musical plays usually given The day is past when eccentricity was the adver¬ by choruses, accompanied by an orchestra, with the 8. To which great master did opera its great ad- tisement of a musician. No one should be more up assistance of a quartet of solo singers, who sing the vance in the seventeenth century? to date, cultured and neat in person than the musi¬ 9. Was Monteverde’s style “monophonic” ‘poly- parts of the leading characters. In the oratorio there phonic cian. His profession is ennobling, uplifting and is no scenery, as in the case of a play, and there is no Vincenzo Bellini Luisa Tetrazzini Giuseppe Francesco Verdi helpful if his character is pure, true, loving and op- acting, the singers standing in one position during the I°' Were the works of the other composers who lived ' timistic. entire performance. venWSamC tlmC 3S imP°rtant as the operas of Monti- * > SOME FAMOUS ITALIAN MUSICAL CELEBRITIES > j* * 17 THE ETUDE ‘The Etude” Portrait Gallery and Its iraphies of the masters have^ppem ^art ^ the next ;Mue ^ With this issue the first year of the Gallery is complete. Seventy-two portrait-bioaraplues.ofa „ew students have cut these out as indicated and made scrap books of them. We are p ea ’ KnKaL^d„j,,national value and our readers should see that every copy “The Etude " and will be continued during the entire year. These portrait-biographies have great of “ The Etude ” for next year is secured without fail, in order that the series may not be ro en. ITALIAN WRITERS FOR THE PIANO RUGGIERO LEONCAVALLO. GIOVANNI PIERLUIGI DA GAETANO DONIZETTI. By JAROSLAW DE ZIELINSKI PALESTRINA. (Lay-on-cali-vah'-lyo.) (Don-i-set'-ti.) Leoncavallo was born at Naples, (Pah-lays-tree'-na.) Donizetti was born November 29, Musical March 8, 1858, and studied at the Con¬ Authorities differ about the date of 1797, at Bergamo, where he died April PART I. the birth of Palestrina, some saying it 8, 1848. After studying under a local servatory in that city. At the age of monodic style, is accredited as having been one of sixteen he produced an opera entitled was about 15IS, and others about 1526. teacher, Simon Meyer, he went to Bo¬ Italian air, mild and pure; the country’s shores them in Rome; but before reaching the Eternal City “Tommaso Chatterton,” which was a He was born at Palestrina, near Rome. logna, 1815, and studied under Pilotti washed by a sunny ocean, and its majestic mountains Scarlatti is said to have studied with Giovanni failure, though a subsequent revival in It is believed that he studied in Rome, and Mattei. His first opera, “Enrico rising in the north, are features that can never fail Salvatore and Francesco Provenzale. Primarily THE SCARLATTI SCHOOL. Rome, 1896, met with success. After but in 1554 it is known that he was or¬ 3 Conte,” was first produced at Venice 'to excite the fancy of an artist. A love for sym¬ Alessandro was a composer of operas; he wrote this failure Leoncavallo went on tour ganist at the principal church in Pal¬ in 1818. He fell easily under the influ¬ metry and beauty, an ear and eye for tone and color; The most brilliant exponents of the school founded as a pianist. While on his travels he estrina. In 1551 he was appointed one hundred and five of them, two hundred masses, ence of Rossini, who was then in the in brief, a natural sense of form and sound, are by Alessandro Scarlatti were his pupil, Francesco met Wagner, from whom he received Magister Puerormn (Master of the over six hundred chamber cantatas and many other zenith of his fame. Donizetti found a characteristics of Italy’s people, and everyone who Durante (1685-1755); this man’s pupil, Nicola Log- much encouragement. He quickly sur¬ boys) at St. Peter’s, Rome, and later ad¬ works. He was the first to aim at establishing in strenuous rival in Bellini, and from is anxious to study the nature and charm of melody, roscino (1700-1763), and Alessandro’s own son, rendered to the Wagnerian influence, vanced to the post of maestro. In 1855 1822 to 1836 he wrote three or four counterpoint a clearer, more singable style, and strong evidence of which may be found he entered the papal chapel, but on who desires to learn how to write for the human Domenico, of whom Italy boasts as the foremost operas a year. Naturally they lacked greater expression, and he rendered an immense in his trilogy, an “historic play,” which the accession of Pope Paul IV in the voice clearly and brightly, will turn with advantage harpsichord player of the eighteenth century. finish. His opera “Marino Falieri," service to art in divesting it of the barbaric taste consists of three complete operas de¬ same year he was dismissed—largely, to Italian models. Here is a land where the differ¬ Domenico Scarlatti (1685-1757) when quite young § Paris, 1835, was greatly overshadowed which the Netherlandish School had imposed on picting scenes from the Italian Renas¬ it is thought, on account of the jealousy ent towns exercise an immense influence upon the became celebrated for his great finger dexterity and by the success of Bellini's “Puritani,” contrapuntists. After Scarlatti had shown the way cence. It took Leoncavallo six years of his colleagues. He was later ap¬ development of musical art; Rome boasts of having wealth of imagination. Both Johann Adolph Hasse 3 and consequently Donizetti was obliged the heavy, monotonous labors of most intricate to collect the material for this work. pointed canon of the Lateran, and produced the first specimens of sacred music; (1699-1783) and George Frederick Handel (1685- to put forth his greatest efforts in or¬ fugues became more simple, more melodic. To It was not, however, until the produc¬ soon became maestro. From the Florence has the credit of having invented the 1759) spoke enthusiastically of his art, the latter der to regain his lost prestige. “Lucia understand this one must know that a fugue is a tion of “I Pagliacci” that Leoncavallo Lateran he went to Santa Maria Mag- opera; Naples points with pride to Alessandro Scar even going so far as to measure his strength with achieved anything like a reputation, di Lammermoor” was the outcome, and characteristic musical composition subject to estab¬ giore, where he remained until 1571. latti, whose greatest work was the development of the Neapolitan at the invitation of Cardinal Otto- though he was well known as a con¬ The low standard of music in the the death of Bellini, which occurred lished rules; it takes its name fropi the fact that it dramatic writing; Venice possessed the celebrated boni. When the great event was over Handel re¬ cert pit. list in various European coun¬ Church at this time was under discus¬ shortly after, left him undisputed has a principal idea (theme or subject) which is tries. He has written other works master of the stage. After the success Antonio . Lotti and the famous patrician Marcello ceived the preference for his organ playing, but sion by the Council of Trent, and Pal¬ while Bologna owed its well-known music school rep«Bt^i:,% different voices without much mterrup- since then, including an orchestral estrina was instrumental in convincing of “Lucia,” Donizetti was appointed ttioiUtfpMghout the entire piece; hence it is said Domenico was declared the winner at the harpsi¬ tone-poem, and many songs, but “I professor of counterpoint at the Naples to Paulo Colonna. . . , chord, and Ottoboni bestowed on him the title of them of the value of contrapuntal Now. as regards some of the characteristics of 'fhat flees (fugge) from one voice to another, Pagliacci” is the only work which has music, as opposed to plain song. His Conservatory. Piqued by the refusal i musices instaurator maximus. Considered as a com¬ their music in the sixteenth and seventeenth cen¬ &QraySn£^m°de into another. Shortly after Mr. attracted very wide attention. It is famous “Missa Papae Marcelli” did not, of the censorship of Naples to permit poser, Domenico Scarlatti’s art is exquisite in deli¬ l turies; there was hardly a composer who was not fPlifirb Dent issued his remarkably interesting frequently performed in conjunction as so many dictionaries state,' win the the production of his “Poliuto,” Doni¬ cacy, elegance and clearness of diction; and instead an organist, consequently the majority of musical work on “Alessandro Scarlatti: His Life and Works” with Mascagni’s “Cavalleria Rusticana,” day for polyphonic -music on its in¬ zetti went to Paris. The comparative compositions were of a religious character for voices. Mr. J. S. Shedlock (1843-) undertook the edition of dry, long-winded expositions of themes we are which in character it somewhat resem¬ trinsic merits, but was recommended failure of “The Daughter of the Regi¬ l quite sure of finding always a brief, expressive bles. It is also like Masqagni’s opera When instrumental music for keyed instruments of some of that master’s harpsichord and organ by a papal brief as the model from ment” and “La Favorita” drove him to moment within a short, sonorous figure. His sonatas, inasmuch as it is the only work of the which Church music should be formed. Rome, Milan, Venice and, later, Vi¬ came into use it was either for the organ or clavi- music translated into our modern notation. It is composer which has so far achieved cytherium (about 1300), and later for the clavichord; a question whether that kind of music can, in these which abound in abbreviations, may not equal those His art was given entirely to the enna. During his last years he was of Karl Philipp Emanuel Bach (1714-1788), third real success. Leoncavallo, however, is Church, and Palestrina is, perhaps, the the wires of the last-named instrument, set in days, be brought to life again, even if it is the music subject to fits of melancholy, and he son of John Sebastian, but there is beauty of ex¬ not an old man, and it is possible the greatest composer the Roman Catholic fell a victim to mental disorder. motion by pressure on the key, produce a feeble of a supremely gifted craftsman; nevertheless, it years may bring forth another work Church has produced. tone, but under an artistic hand it yields excellent should be doubly interesting to students; first, on pression and sentiment, within them, for they are worthy of note. VERDI’S POSITION IN MUSICAL ART. their way thither to receive its sanction. There the Besides these there is a splendid collection by wo"?e,]n the second act. and the Fat Knight's Farrenc in the Tresor des pianistes, an edition of musie in‘h Lovc Duet of Nanetta and Fw,™ most prominent musicians of all countries congre¬ sixty sonatas by Breitkopf and Hartel, Kohler’s BY LUTIE BAKER GUNN. Rcherzett . and t))e vocal Fugue, which forms sucil' gated, composing, singing in the Papal choir, and edition of twelve sonatas and fugues, Schletterer practically forming a school of music which had (t8), Andre (28), some excerpts in Pauer’s Alte a wonderful close to the opera It is filled with hrr,. an authority transcending all others, both for ecclesi¬ Meister and Alte Klaviermusik, also in Peters’ Altc It was not until he was in his 38th year (1851), when Lid the spirit of *; astical and artistic reasons. This gave Italy the Klaviermusik, and an edition prepared by Cesi, con¬ Rigoletto appeared, that Verdi’s instrumentation Verdi s Requiem is a work that has been pra.^x* musical preeminence it has since enjoyed, and was sidered as the best. showed any marked care, or that he seemed to be as' much enthusiasm as it has l>cen condemned wiih the beginning of its renown as the Mecca for aspir¬ Unlike Johann Kuhnau (1667-1772), who ridiculed impressed by the variety of effect. acrimony. Hans von for Jm *W| ing artists and students, which has endured up to the Italian masters in his comic romance. Der In Gilda’s aria, Caro noma, the score is delightful m in criticism and without discretion assented that the the present day. Musikalische Quacksalber (1700). another Saxon, charming contrasts of delicacy and coloring. In the composition wasq a “monstrosity which would do „n Historical Review of Italian Musical Art from The composers of this period culminated in the George Frederick Handel (1685-1759), 'vent to Italy famous quartet sung in the last act there is mingled credit to an ordinary P»pd of any music school supreme appearance of Palestrina (1514-1594), who to drink in the art of its masters, and he profited so mirth, impassioned love and vengefulness. This is many. Yet it has never heen equaled « mspbtk* achieved all that was possible to the contrapuntal well from his experiences in Florence, Venice, Rome the best ensemble of the kind since the sextet in by any contemporary graduate cf «h>* the Beginning to the Present Day school; his works are admired not alone for the and Naples that even the best of them, •Buononcini Lucia di Lamniermoor and the trio in Lucre zia Borgia. to which Dr. von Bulow referred. Another fault that science and art of construction displayed in them, (1660-1750), a man of rare talent, could not deprive Rigoletto was followed by the more popular Miserere has been found with this work is that it is not sacred By FREDERIC S. LAW but also for their beauty and elevation of thought. Handel of the honors that were constantly accruing in II Trovatore. But the Rigoletto quartet is considered in character. This charge means that Verdis Kc.]Wn This it was that saved the music of the Church from to him; indeed, as a composer of great varieties of the most brilliant and musicianly of all of Verdi’s was not conceived in the same spirit in which Bach ments all in unison, as in Greek music and the a serious set-back, for in 1565 such abuses had crept forms and rhythms Handel stands on an equal foot¬ efforts. This opera, composed in forty days, has out¬ conceived his St. Matthew Passion and Handtl his GREEK MUSIC IN ITALY. music of Eastern nations at the present day, which into it through vanity and love of show on the part ing with John Sebastian Bach, while Kuhnau is lived the sixteen others that preceded it. Its wealth For its earliest musical art Italy had to thank the is on the same primitive basis. Then followed a of the singers that the Council of Trent decreed to merely remembered for being the author of the most Messiah. of melody and dramatic power causes it to be listened The mere matter of difference in temperament makes Greeks, the artistic people par excellence of antiquity. period of coordinate melodies; that is, the inter¬ prohibit it entirely unless a more suitable style for ancient sonatas for the piano. it impossible to form a comparison between the sacred Greece, indeed, occupied much the same position weaving of independent melodies in such a fashion Very much in the style of Bach and Handel wrote the service could be devised. In this extremity that Italy held fifteen or sixteen centuries after the as to give a certain impression of completeness; one Domenico Zipoli, who, according to some, was music of Verdi and that of Bach and Handel The Palestrina proved that this was possible by com¬ English and German speaking people have accepted Christian era, when the latter was the authority and this was the work of what is known as the poly¬ posing three Masses of such simplicity and devo¬ born in 1675, and, according to others, in 1687. To phonic or contrapuntal school. Last of all came students his large work in two parts, published in Bach and Handel as the foremost exponent* of whit is the model for imitation in all matters of learning tional effect, yet withal of consummate technical the stage, with which we are now familiar: that of 1716, in Rome, under the title of Sonate d'involatura understood by them as the religious sentiment in and the arts. There was, to be sure, some indigen¬ skill, that music as an art was preserved to the harmonic development, meaning that there is but per organo e cimbafo, is of great value. I quote here music, but that acceptance does not make a law for ous music of a primitive nature in the Italian penin¬ Church. one principal melody growing out of the harmonies the theme of a Canzonet of his that will reveal to the Latin races. Bach and Handel wrote after the sula, as there is in all nations, but nothing in the But, like the melodic system of the Greeks at the by which it is supported. any musical reader the intent of a man of genius fashion of their day. The style was not chosen because shape of a definite theory or a system of notation, beginning of the Christian era, by the end of the Southern Italy was largely inhabited by Greeks; who knows his counterpoint: it was religious in character, but because it wu the both of which are understood in speaking of it as an sixteenth century the school of polyphony had only style they knew, common to the stage and the art. The Greeks had evolved an ingenious and their language, their literature and arts exercised reached its climax; after Palestrina progress in that highly complex theory for the practice of music, great influence in the land of their adoption, fashion¬ Ex. No. 2. tr Church. When adapted to the latter it was more con¬ trapuntal in treatment. That choral fngiir*. single or and this for centuries was the standard in Italy. able Romans sang in Greek and declaimed Greek double, strict or free, arc religious in feeling remains poetry; the most noted teachers were Greek, players were brought from Greece to produce the famous to be proved, as nt> body of men are entitled to decide Greek tragedies and comedies. Greek music, which whether this or that i-tylc is the only one appropriate represents the culminatio.n of the melodic system, for sacred music. In judging Verdi’s Requiem, as in was transplanted into Italy and no further develop¬ - judging other works of art which are ably written, we ment on its meager lines was possible. Even the - should try to look at it from the composer's standpoint. P establishment of the Christian Church, which was Verdi’s Requiem was conceived in a spirit wholljr an¬ destined to bring in the following era in musical tipodal from that in which Ilacli and Ham|el coner.’vfd HI 1 =.=? history, wrought no change at first. With the adop¬ p» P'P dfcz-m —- their works. He wrote after the style "f an Italian tion of Christianity by the Roman Empire early in Roman Catholic. He felt inspired end made no pre¬ the fourth century and the growing authority of the 1— tense of attempting to write as the German compear- Church, music, like all the other arts, was placed on wrote 150 years before. That he showed vrent power an ecclesiastical basis. It was confined to a system U —t~i—— in this work has never been denied. Verdi wrote the of modes and scales hardly less complicated than Requiem to do honor to the memory of I i- friend that of the Greeks, from which it was derived. As Manzoni, and it was intended to be an Italian AVjmV*. architecture was developed by the building of He was the most popular ooera composer of his time. churches and cathedrals, painting and sculpture by Venice, with its palaces and the foliated pinnacles His extraordinary musical growth towards the date the decoration of their interiors, so the growth of of San Marco, gave the world Benedetto Marcello of his life indicated that there was in him a capacity music was due to its power in giving dignity and (1686-1739), a poet and musician; he was of noble for greater work than he achieved He has made a solemnity to the sacred ritual. The early composers birth and devoted five years of his life to the duties name that will always be mentioned with veneration. were monks and priests, and it naturally assumed a of a lawyer and the functions of a magistrate. Of churchly style almost devoid of movement and all his sonatas I want to call the reader’s attention totally lacking in rhythm and accent. These were to one in C minor, because of its lively movements present in the folk music of the day, but this was and harmonious design, differing from other sonatas One of the most famous of all Italian pianoforte composers. ignored by musicians and had no part in the de¬ Alessandro Scarlatti. of his in which he makes an abuse of sequences, MUSICIANS. velopment of music as an art. The music of the besides showing signs of a lack of melodic fertility. to at the present- time with as much interest as at¬ people more nearly approached modern standards, Another master who received his inspiration from Bellini’s most famous opera ” Norma.” was a tended its first production; through this work the com¬ failure at the first performance.' .n was Rossini’s since it rested on the dance and the scales used in the school of Domenico Scarlatti, and who was con¬ their songs, to which they often danced, were more sidered as first, outside of Domenico, among the poser will live. In speaking of Verdi as a composer Barber of Seville." of opera we may add that although he showed a pro¬ akin to our major and minor modes than to the that of harmony, in which we are now living, wa: Italian harpsichord players of the eighteenth cen¬ Busoni, the Italian pianist, made hi debut at the scales of the Church. tury, was Baldassare Galuppi (1706-1785), whom nounced departure from the traditions of Italian opera, age of eight. prompted by the drama and gave music of a defi The early Christians sang in their secret meetings, Robert Browning immortalized in one of his poems; as be found them to be, he has remained essentially nitely secular character to the world through th< Cherubini wrote, in all, 29 operas. but the characteristics of the music to which they he is called il Buranello by many of his compatriots, Italian. Arguments have been raised that in his later invention of the opera in 1600. Though up to thii isSrrr8^-’ "II Watrimonio Segreto.” which sang their hymns are not certainly known. There after the little island Burrano, in the Venetian works lie bad fallen under the influence of Wagner, time the development of musical art had been in th< 1 r*rdy heard >» ‘hese days, was so successful when Palestrina’s birthplace. are reasons, however, for inferring that they were lagune. A sonata of his in D, in three movements, but this would be quite difficult to prove. He may main confined to works for the Church, composer: Jewish rather than Greek, and thus allied their serv¬ full of fapey and requiring good finger facility, is have been influenced by German masters’ theories re¬ anv of pr°duced ‘hat it became more popular thin had also turned their attention to secular subjects any of the works of Mozart. ices to those of the Temple, of which we have such given by Pauer in the second book of his Alte garding character of opera libretto, but musically he So far as the much vexed question of Greek music Their treatment of these, however, was practically Klaviermusik; I offer here the theme from another was ever a true son of his native land. Cram^enMr.<=tJlU^ht’ anionS others. John Field, is concerned, it is enough to say that, while it is stately accounts in the Old Testament. Rome, as the same as that given to sacred texts, though ; the Vnistress and the conqueror of the world, held sonata by Galuppi, one in E flat and in one move¬ From present indications it appears that Verdi is Sir Michael0 r'1CS’ Kalkhrcnncr and Meyerbeer theoretically understood, it is impossible to judge marked and constantly increasing effort to obtaii within her walls captives and inhabitants of all coun¬ ment, an allegro: destined to be the last of the long line of Italian opera lish music- osta- considered, by many, an Eng- from the ancient treatises on the subject as to its the greater flexibility and variety of style demandec composers of the old school who modified their efforts actual effect. Two things about it seem assured: tries, and the Romans, though not essentially an art by the corresponding change of theme may be noted loving people, assimilated and became familiar with The most important form thus originated was th< in respect to style as time passed. He has left no imi¬ 'coSrrd,”*uDonizptti’o ,S r“",iln ,bc b vVaticann "■s at'*- 1Rome" first, that it was in no sense an independent art, but tators and no disciples. This is singular, for since the was subsidiary to poetry and the dance, intensifying the music and musical instruments of her tributary Madrigal, which still survives, albeit musically very dawn of opera to the present time the composers of the dramatic and emotional elements of the former nations. Thus all the known means for the develop¬ different from its early predecessor. The term wa: ‘whn'in Italian opera have left behind a survivor to follow mToT largely through what we should call elocutionary ment of the primitive musical art of the day were first applied to a poem of a sentimental nature anc in the. footsteps of his predecessors; at least to do first appLaran^eSaFreSC°baltli ,hat whcn hc madc his effects, and accentuating the rhythmic features anil present, awaiting only the impulse which should later transferred to the music to which it was set point the way to the direction it should take. so until he finds out an individual path for himself about i6il thirtv rbr8an,St °f S' in R™c’ movement of the latter; second, that it was confined Another form, which has disappeared, was th( carrying on the development of the school. Cimarosa Vincenzo Galilei iL'To pe°P'C s,rovc '° a,,fnd' to successions of single tones—in other words, that Caccia. This was light and gay in character, anc followed Piccini; then came Rossini, followed by omer, Galileo Galil • ^at ur the famous astron- it was purely melodic in structure. It is hardly to II. its text, as the name (from cacciare, to hunt) im Mercadante, Bellini, Donizetti and Verdi. Here the writer uoon V’ was an eminent musician and be supposed, however, that harmonic possibilities THE MUSIC OF THE CHURCH. plies, had to do with the chase, though it wa< line abruptly ends. Falstaff was composed when Verdi ,T,t_ usical subjects. had not suggested themselves to a race of such further enlivened by the representation of character This was found in the Church. The power of thinkers and critics, whose philosophers, moreover, istic street and market cries. 8" TyearcS °ld-. When given, in 1893, for the first years ha^bee^Bucf ItaIian birth in recent music in arousing the individual and collective re¬ time at La Scala m Milan it was pronounced to be one had praised the esthetic and ethical value of music Mascagni’s fathe S°ni' ^artucc> and Sgambati. ligious emotion of the faithful finally broke the re¬ The Madrigal won great favor with composers o of the greatest works ever heard in that famous old so highly in their writings; but, so far as research wanted his son to t?r "|aS a bakcr by trade. He straints of the exclusively melodic system and led all nationalities and partook of the various peculiar! opera house Some musical critics have pronounced shows, no trace of even the crudest application of to the second great era in its history. The begin¬ ties m the music of the countries to which it found if it to be Verd! s masterpiece. Although written at such Spontini ran awa ^ aVVyer- harmony has been found. c>an. His parents r°™ home to become a musi- nings of a rational notation were made, a crude way Some of the most charming examples of early an advanced age there was exhibited no lack of power Z Though a little in advance of our subject at Tartini’s verv f„ an,cd b'ni *o become a priest. harmohy resulting from voices singing together in Enghsh music are its madrigals, and the form v The general public has been slow to accept this great present, it may be well to mention the successive Devil’s Trill) wa R\°us del Diavolo” (The stiff cultivated in England by madrigal societies. A work, and it is only during the past two years that stages of the evolution of music as an art; we shall foartbs. and fiftlls appeared about the ninth century, and this led to the great polyphonic period lasting distinctive feature of the Italian madrigal was the Americans have been permitted to hear it. One notable •When he was PubHshed until after hi- death, have to do with them later and it will throw light (To be continued in February). for six centuries. These developments were by no use made of the canon. This device of struct imita feature in this opera is that it has no overture There title of “Mafauis8 ty°,d Verdi received the on the question we are considering now. The first means confined to Italy, but owing to the seat of tion was much employed by composers of all schools Daly. Busseto” from the King of phase is that of simple melody, voices and instru¬ the Church being fi*ed at Rome they soon found but the Italians handled it the most successfully, anc it forms a striking peculiarity of these secular com- 21 THE ETUDE THE ETUDE how to use to the fullest advantage in his concert 20 playing. If the melody part is played and sustained HOW INDUSTRY AND COMMON SENSE with sufficient volume and the octaves are played INTERPRETATION IN SINGING. positions of an early age. To modern ears the canon help the musician. with sufficient lightness of touch, the dynamic effect in a love song seems strangely stiff and incongruous. (with the aid of the damper pedal) can be made It was not until the opera was established and had BY DAVID BISPHAM. good, notwithstanding the temporary dissonance by SIR FREDERICK BRIDGE. become the leading amusement of the people that there was any real distinction between the secular and ecclesiastical styles. Then, instead of secular If you are to succeed in your profession you must music being written in the ecclesiastical manner, devote all your energies to it, like a man. I say composers began to introduce the lighter, more s&to secure isa the first fss%i part, 'Which a appeared in the last issue.) “like a man” because, for heaven’s sake, don’t let it fluent style, made popular on the stage, into their works for the Church. A THOROUGH MUSICAL TRAINING. make you into an aesthetic, long-haired prig. Don’t Let your hair grow too long. Shakespeare knew of this A thorough musical training—that is, a training III. failing in connection with musicians and artists, for, upon some musical instrument such as the piano when in “Twelfth Night” Sir Andrew Aguecheek THE INFLUENCE OF THE VOICE. or violin—is extremely desirable, but not absolutely exclaims, “Oh, had I but followed the arts!” Sir essential. The singer who is convinced of his Since the opera and oratorio are considered else¬ Toby Belch replies, “Then hadst thou had an ex¬ where in the present issue of The Etude, a mention ability, but who has not had such advantages m cellent head of hair.” only of them is necessary in this connection. It early youth, should not be discouraged. He can Another piece of advice is, don’t burst out into must be borne in mind, however, that the great acquire a thorough knowledge of the essentials later some abnormal kind of German dress. I don’t like vogue of the former, not only in Italy, but in all on, but he will have to work very much harder to them with his own intellectuality to an offensive countries, wrought more sweeping and far-reaching get this knowledge, as I was obliged to do. Artistic to see neckties with true-lovers’ knots flopping A few days ago an estimable lady, who has been one degree. To illustrate his spirt of fidelity and ap¬ of my neighbors, asked, “Who do you consider the changes in the art of music than any other agency ability is by no means a certain quality. The about. The old-fashioned sailors’ knot is good propriate appreciation of the composer s genius, it known in its history. In the efforts of opera com¬ famous art critic, Vassari, has called our attention enough for me. When I see long-haired fellows greatest composer? Is it Verdi? is worth while to mention an incident which occurred posers to create characteristic dramatic effects to the fact that while one painter who produced with true-lovers’ knots I almost fall down in a fit. Naturally, I answered that I considered several during my studies with Liszt. Miss Anna Mehlig through musical means the mighty fabric of modern wonderful pictures has had an exhaustive technical People who drop into these vulgar errors are looked composers greater than Verdi, naming Bach, Bee¬ (the German pianiste) was the only other one instrumental music had its origin. To the opera training, another may arise at his side who will upon as common fiddlers. Dress like reasonable thoven, Schumann, Mendelssohn, Liszt, Wagner’and present with myself when, one day Liszt played we owe not alone the music drama and symphonic human beings, and not like people qualifying for the others. My neighbor is very fond of music and several “Etudes” from Chopin, commenting upon poem of the nineteenth century, but the overture achieve wonderful results, but who has had to secure them by means of much bungling self-study. mad-house. has heard the works of most of the great masters. their value as studies and their rare beauty as com¬ and symphony of the eighteenth century. Therefore, her question set me to thinking and positions of the highest order. An arrangement by- 1 Up to the invention of the opera music had been It is very hard to repress artistic ability. If the Learn as much as you can in the various branches led to the conclusion that people who do not de¬ Brahms of the “Etude in F Minor” (Op. 25, No. 2) principally on a choral basis; the voice formed the ability is there, it will come to the front through of your profession. You can not always have your fire and water. masters with you, and your aim should be to depend pend upon music for a living, as well as those who was characterized as being over-elaborated, Brahms material with which composers generally built up having doubled the principal part (originally written their works. Instruments were at first used only upon yourselves. I myself was apprenticed to a do not look to it for higher intellectual enjoyment, for the right hand with a single “voice” of running for accompaniment to singers and merely repro¬ unconsciously love the simple, beautiful melodies cathedral organist and perhaps it is to be regretted melody) by inventing an etude in sixths and thirds, duced the vocal parts; the earliest essays at purely such as those found in Italian operas far better that the days of apprenticeship are no longer with meanwhile making greater demands upon the left instrumental music consisted of such accompani¬ than the works of the composers mentioned above, Lastly, we come to the matter of the study of us. It is most important that you should acquire hand by doubling and magnifying the parts of ments played alone. Neither was the song for the the works of whom, in many cases, require the the traditional methods of interpreting vocal mas¬ a knowledge of the classics in all directions. Singers, harmony and accompaniment. Liszt made strenu¬ single voice known until the cantatas of Galilei and terpieces. We must, of course, study these tradi¬ in particular, should study not only the chief parts hearer to possess trained intellectual, aesthetic and Caccini opened the way for the first opera. The ous objections to departing to such an extent from tions, but we must not be slaves to them. In other of a work, but the secondary parts as well. Their emotional faculties before they may be appreciated. nearest approach to a solo performance was the the musical meaning and simple beauty of the words, we must know the past in order to interpret first chance will probably be to take a secondary The difficulty with much Italian operatic music is original, saying that if anybody wished to write an singing of one part of a madrigal or similar com¬ masterpieces properly in the present. We must that “it sounds better than it is.” Our own genial position by a vocalist while the other parts were part; but if they are ready for the first part, their etude in thirds and sixths and other difficulties he not, however, sacrifice that great quality—individ¬ Mark Twain has said of certain music: “They tell vocalized without words by singers who were gen¬ opportunity may come sooner than they anticipate had better compose a new piece of music himself, uality—for slavery to convention. If the traditional me it is much better than it sounds.” The difficult^ erally concealed. If, however, they insist upon taking the first part, instead of spoiling a beautiful work of genius like Italian method of rendering a certain aria was with much Italian operatic music is that “it sounds The earliest influence tending to instrumental and then fail, it is hopeless to expect another chance that of Chopin. His idea might be compared to the marred by the tremolo of certain famous singers, better than it is.” Notwithstanding this there is inappropriateness of trying to make a sunflower music was that exerted by the organ. At first its Most assuredly, thoroughness is absolutely essen limited compass and almost invincible clumsiness there is no good artistic reason why anyone should much' ill the older* Italian operatic music that will out of a daisy. tial. Of course, there must be brains; if you have of structure fitted it only for accompaniment in the retain anything so hideous as a tremolo solely be¬ prove of permanent value as long as the art exists. Many other pianists have made “arrangements" church services, but in time its mechanism was cause it was traditional. not got brains you may as well give up music. You Such writers as Verdi, Donizetti and Rossini com¬ and paraphrases of the works of great composers. improved, its range extended and the addition-of There is a capital story of a young American remember the. great artist who, on being asked how posed melodies of great beauty, and these masters Tausig gave us masterly examples of piano arrange¬ caused through the pedal. Much depends upon pedals made it a most important factor in the singer who went to a European opera house with he produced such beautiful colors, replied, “With also shpwed appreciation of dramatic possibilities ments from Bach, Wagner, Von Weber and Strauss. good judgment and taste in shading the tones. progress toward the complicated art of to-day. The all the characteristic individuality and inquisitive¬ brains.” So it must be with the musician, whose in their works. Such operas as “William Tell, Von Biilow arranged, in a most beautiful way, the Charles Kunkel has transcribed the “Overture” to first great school of organ playing arose in Venice ness of his people. In one opera the stage director brains will not be any bigger if he wears long hair “La Sonnambula,” “II Trovatore,” “Moses in “Quintette” from “Meistersinger” of Wagner. early in the sixteenth century, and there the organ told him to go to the back center of the stage and We have the “Magic Fire” from “Die Walkiire” “William Tell.” In this number we have the grace and true-lovers’ knots. Egypt” and “Rigoletto” bid fair to hold the boards and mellow sweetness of the harmonious and tune¬ entered into its own by the composition of works then walk straight down to the front center and as long as any opera of any school, whether written arranged splendidly by Brassin. Recent adaptations adapted to its character by the two Gabrielis, uncle then deliver his aria. “Why must I go to the back- of different organ works of Bach have been carried ful “Pastorale” and “Shepherd Song” well provided before or since. and nephew, and Girolamo Frescobaldi. the most center first?” asked the young singer. The director for, while the “Storm” episode is arranged for the When speaking of transcriptions for the piano, out in a most masterly manner by Busoni. distinguished organist of the seventeenth century, was amazed and blustered: “Why?—why, because CHERUBINI’S INDIVIDUALITY. piano with' a view to obtaining the utmost sonority of whom Signor Vatielli speaks in such' glowing every singer for fifty years has sung that aria in that the name of Liszt naturally comes first to the mind. and an appropriate and thrilling “wildness” by the It is doubtful if any such whole-souled, generous Ex. I. Miserere Du Trovatore. most simple and practical means. This is also the terms in another part of this magazine. Fresco- way. The great Rubini did it that way, and you Paraphrase de Concert. L. M. Gottschalk. baldi’s achievements on the organ were duplicated cannot question anything the great Rubini did.” BY HERBERT ANTCUFFE. nature will ever again exist among musical geniuses. case with the fiery and brilliant “Finale” which Mr. on the harpsichord in the following century by The young singer was not satisfied, and he finally What Liszt did for the music of the most widely Kunkel has designated “To the Chase.” different schools (through his peerless playing and These two numbers, arranged by Gottschalk and Domenico Scarlatti, the Liszt of his time, who found an old chorus man who had sung with Ru¬ Cherubini was, as a composer, the Strauss of I bini, and asked him whether the tradition was arranging) has never been excelled and scarcely Kunkel, would be very effective concert numbers brought the art of playing this instrument to such own day; in addition, he was the theorist w a degree of virtuosity that present-day artists find founded upon a custom of the celebrated singer. equaled. Liszt’s piano arrangements of Bach’s for many piano players, to whom the Liszt arrange¬ restrained the exuberance of younger and of 1< difficulty in reproducing his works on the modern “Yes,” replied the chorus man; “da gretta Rubini organ music are as much a standard to-day as ment of the same pieces might prove somewhat too grand piano. These two men represent the high- he granda man. He go waya back; then he cornea perfectly balanced composers. In both these wa when they were first written. Liszt’s arrangements heavy. Both of these men, in the arrangements just water mark of instrumental music in the early downa front; then he sing. Ah, grandissimo!" e was the leader of the school of which, in sp of Schubert's songs did as much as anything else named, brought out prominent features of the Italian school; fhe tendency of later years has been “But why did he do it?” persisted the young Ameri¬ of his individuality, Beethoven was a member. H< to popularize the beautiful melodies of this genius melodies in the way best adapted to the pianist’s in another direction. can; “why did he always go to the back before he many of the innovations which Beethoven made among song writers. Liszt’s arrangements of hands and the most effective possibilities of the piano. This may be ascribed to the opera, which opened came down front?” “Ah!” exclamed the excited owe to the training that he received from a Wagner selections are equally, or still more, in the Splendid brilliancy and fine climaxes are to be found the way to the solo singer, and he speedily became Italian; “Rubini, he always first go to the back of with each. the stage to spit.” his friendship with Cherubini it is impossible to » foreground. It is well known that Liszt gave both the center of musical interest. All Italy, and the Farcical as this incident may seem, many musical As with all great men. Beethoven has been credit time and money, his best strength and influence to rest of the world as well, went wild over the illus¬ One of the best efforts of our American composer, LESCHETIZKI’S ARRANGEMENT OF “LUCIA DI traditions are founded upon customs with quite as e complete development of many ideas whi help Wagner. He paid Wagner’s debts and finally trious singers trained by the long line of great Gottschalk, can be seen in his arrangement of the LAMMERMOOR.” little musical, esthetic or practical importance saw his music successfully brought before the singing teachers called forth by the necessity of e on y rought to completion and which were ci “Miserere” from “II Trovatore.” In this we see Many traditions are to-day quite as useless as the public. The result was that his music dramas revo¬ Leschetizki’s arrangement of the Andante Finale vocal artists able to cope with the technical diffi¬ ie a ong way on the road from conception much' evidence of the effectiveness With which buttons on the sleeves of our coats, although these lutionized the world of art. All of this Liszt did from “Lucia di Lammermoor,” by Donizetti, dem¬ rui ion y others, it being more than likely tli Gottschalk bewitched his audiences. In the first culties demanded by the taste of the times. These very buttons were at one time employed - by our without remuneration or expectation of reward. onstrates that it is only necessary to use one hand some of these he obtained from Cherubini. Ti cords (to be played as short as though they were singers and the vogue they attained exercised a forefathers to fasten back the sleeves. There are to bring out the full expression of the melody with picked on the strings of the violin) we find a powerful influence on the direction taken by Italian however, certain traditional methods of rendering owever» had a strong creative talent wi LISZT’S ARRANGEMENTS. an appropriate and sufficiently complete setting of musical art. The magic of the human voice thor¬ sonorous melody. This page makes a useful study, great masterpieces, and particularly those marked m o carry out the ideas which, as a theori I have frequently felt that Liszt made decided the harmonies and added embellishments thereto. oughly exploited as to beauty of tone and brilliancy to help one learn how to discriminate so as to play two The work is one of the most useful and brilliant by the florid ornamentation of the days of Handel he formulated. As a master of form-that is, improvements upon the original in his paraphrasing of utterance, the newly-discovered charm of melody or more tones of unequal dynamic force, with the numbers of the far too few arrangements for the Bach and Haydn, which the singer must know ne w o was able to apply the principles of form of works from Italian operas. In his “Miserere,” brought to light by its means, and which had gen¬ same hand and at one stroke. If the pedal be used left hand. A celebrated pianist once met with an Unfortunately, many of these traditions have not his own purposes and was not forced to fit his ide from “11 Trovatore,” he has relieved the music by erally been lacking in the severely contrapuntal been preserved in print in connection with the sufficiently late after the attack upon the chord to injury to one of his fingers, which prevented him strokes of genius in added parts and modulations, music of an earlier age, stamped it with an essen¬ scores themselves, and the only way in which the •a ?rrn’ r*valed all his contemporaries: ,ir avoid sustaining the short accompaniment notes, practicing with his right hand for several months. and all in such a manner as to enhance the artistic tially vocal and melodious style that still remains young singer can acquire a knowledge of them is considering the state of affairs at the time, it mig but so as to maintain the sound of melody notes During this time he did some good practice with feeling and spirit of the original. To those ac¬ its distinguishing feature. For more than three cen¬ through the medium of the teacher who has had a even e said that he is unexcelled even up to no until the next interval, the result will be good. A his left hand, including the arrangement of several customed to the polyphonic and intellectual work turies the opera has been the dominant factor in wide and rich experience. his part writing, too, was remarkable for its clea study of dynamic effects and correct, independent numbers by Bach for that hand alone. The ex¬ of the great northern composers there are un¬ control of the damper pedal is hereby afforded and the musical activity of Italy. Though her achieve¬ In closing, let me say that while it is possible for ness, a qualification which should surely car perience made a more thorough, serious musician doubtedly threadbare passages in the original is well worth the student’s attention. (See illustra¬ ments in other fields have been many and great, the ambitious student to start his musical work weig t m these days when clearness is so necessa of him. A piece of music for the left hand alone, Italian works, where the tedium of hackeyed, com¬ tion I.) this continues to be the one form particularly con¬ comparatively late in life (20 to 30 years of age) requiring artistic treatment of bass accompaniment, an so uncommon. Moreover, his individuality a monplace accompaniment and ordinary harmonies The dynamic effect of playing the notes of the genial to the Latin temperament; Italian music in it is not advisable, unless he has unbounded energv combined with melody, may do much for develop¬ positive assurances of vocal talent of an unusually jre. *s strongly in his music as in other matter is unrelieved. At such moments Liszt knew how well-known melody “I Have Sighed to Rest Me,” general is pervaded by its characteristic glow and ing thoroughness. It might be well to digress for I 1S '"^ividuality in expression as well as to put just the right additional touch, in the proper with brilliant octave embellishments, shows modern vocal attributes. high character, and the willingness to make any sacrifice ■ a moment to speak of Bach’s “Chaconne” for the to win success. * £e •Sr h wm i"p “ spirit. He did not spoil the works by overloading and highly effective devices, which Gottschalk knew violin, arranged for the piano (left hand only) by THE ETUDE 23 22 THE ETUDE , The most important advice to give to FREE LESSONS. good technic. ^ such beautiful, brilliant V.) A splendid climax at the close of this section is young students w» ^ correctly. AUo (() completed by a cadenza of sixths for both h.ands alter¬ BY OSCAR HATCH HAWLEY. nating in chromatic progression. This is mg t numbers meter> rhythmical and harmonic struct- climax of the section and just before the close of the LTe of the underlying parts, temporarily minus the bril- phrase, where the tenor has his high, sustained note liantand showy bravura passages, embellishments, etc. They don’t pay—-not from any point of view. with which (in Italian opera) he is expected to bring Study the melodies first without any accompaniment, I make that statement at the very beginning so down the house. The next two examples show speci¬ order to become entirely familiar with their expression that the reader will know at once what is to follow. mens of the thoroughly artistic manner in which Liszt and phrasing, as well as their musical and dramatic No, free lessons don’t pay; in fact, are a positive carries on the vocal part, coupled with embellishments, meaning If possible, hear them sung by great singers drawback to the teacher’s work, to the work of the which add constantly increasing brilliancy without in in their original form in the operas; get the opera Lessons In Analysis of Teaching Pieces class, and to the work of the free pupil as well. I any way detracting from the original design °f the com¬ scores or at least the piano arrangement for singers, believe every teacher who has had any experience with poser. (Illustrations VI and VII.) The use of brilliant and learn the words, the dramatic situation and study By THOMAS TAPPER free lessons will agree with me in saying that the octave passages, running passages and arpeggios, legato the generally simple accompaniment of bass notes and most ungrateful pupils are the ones who do not pay and other chord work, give us a rare series of valuable chords When afterwards adding the embellishments for their lessons. You can put it down as an in¬ technical exercises as serviceable as any etude to develop Every work of art presents two essential factors of Part I (measures 1 to 16). do so only as you can appreciate their fitting relation to disputable fact That those for whom you do the most interest to the observer: (i) The Message to be Part II (measures 17 to 36). the other parts. Rapid, brilliant runs and passages of are the least grateful, and vice versa. conveyed by the author. (2) The Form in which Part III (measures 37 to 52). arpeggios, thirds, sixths and octaves are not inter¬ I have tried all schemes and have found that the Ex. 4. Rigoletto de Verdi. the Message is expressed. This is forever true of Part IV (measures 53 to 58). pretative features of the music, except in a secondary most good is accomplished by giving absolutely no degree and as they ornament the melodies. They should literature, architecture, painting, sculpture and music. Part I (measures 1 to 16) is distinctly melodic. free lessons. It is to your interest, and to the inter¬ not be used to overwhelm the themes, nor for the sake The selection of the Message to be expressed lies Words could easily be set to this melody. The melodic est of your class, and to the interest of your free of displaying your remarkable prowess and your feats with the author's genius for the perception of truth; motive is simple, and the coloring (chords and modula¬ pupil, to cut her off from any more free lessons and of strength and velocity. I have frequently heard some the selection of the Form in which the Message, is tion) is rich, with the domain of the character of the of the most absurd travesties caused in just this manner. to be expressed lies with his genius and his to establish a rule that there will be none under any work. circumstances in the future. The players have not known the themes and have had scholarship. Part II (measures 17 to 36) is in a few measures no'conception of the poetry and dramatic effectiveness You often hear it stated that you must treat all The fundamental questions, consequently, for the only a literal transcript of Part I, but in character and thereof. But they have played with incomparable bois¬ pupils alike, but there are some pupils in whom one student to consider, in regard to all works of art atmosphere these two parts are thoroughly unified. terousness and lack of taste. On one occasion a young can not help but take an added interest. Not always that come before him, are these: (1) What is the The variations in the location of the melody (as to lady pupil brought me such a transcription for a lesson. are they the brightest ones musically—Though that Message? (2) In what Form is the Message ex¬ scale and key), the harmonic coloring and the extension She played with much brilliancy, clearness and good pressed? The first is essential that we may come is usually the case. But, notwithstanding a natural touch; she was equal to the emergency with octaves by the. lengthening of the Phrases, all contribute to impulse to give more time to one pupil than’ another, into unison with the author’s intention; the second establish a contrasting' unity that makes these thirty-six and runs; she used the damper pedal well and had a is equally essential that we may reg#d his intention and to do more for one pupil than another, it is to Thalberg’s “Fantasie” on “Themes from Moses tolerable conception of dynamic proportions in regard measures a complete work. from his viewpoint. the best interests of all concerned to curb such in¬ in .Egypt” deserves mention. It is a somewhat Part III (measures 37 to 52) is a literal repeat of ap to rhythm, accent and otherwise, but she did not know As applied to music, this twofold fundamental clinations and treat interesting pupils as kindly as lengthy composition, but there is no danger of the theme, nor even that there was any such melody in eight-measure Phrase; a form of closing group that monotony if well played, as the succession of principle means that all music is expressive of the possible and yet without too great partiality. the piece. The effect of her playing was incredibly gives the effect of a brief postlude after the conclusion themes and mood? follow each other in an interest¬ composer’s thought and intention; that is, it tells For some time now I have made one rule for all, strange. I began to try to set her right. I first left off of the Song. No portion of the first thirty-six meas¬ ing and effective manner. This number shows the something; and, further, the thought is told (ex¬ and am so well satisfied with the results that I shall every ornament, every chord and at first every bass genius of Thalberg for legato melody playing with ures is used here, and we conclude that the composer never change to the old system or to any other note, and attempted to play and sing the phrases of pressed) in a logical and definite manner. Hence a delightful and appropriately embellished ac¬ intended Part III literally as a postlude to be followed system—unless it be more rigid than the present melody with connected meaning. I thought I had made it is essential to know, concerning every good music companiment, although some of his variations are by the composition, as a piece of music, clear to this de¬ composition, these two factors. undoubtedly old-fashioned. However, that is the As a rule, the best composers do not attempt to Part IV, which is but a Coda extension of the whole. I once had two sisters to whom I gave extra free case with the opera itself. In this number the com¬ stimulate a definite image in the mind, as the painter Regard?d, then, in its completeness, we have before lessons every day—they were paying only half-price poser and the “arranger” are both at their best. does in a picture, but rather to stimulate a definite us a little Song, the first part of which sings for six¬ for their regular lesson on account of poverty— On page 6 of the printed copy we find one of the teen measures and rests in the Dominant, and the and to-day I believe those pupils and all their rela¬ themes in half notes, printed for the right hand atmosphere. If the reader will examine the titles of second part of which is the same general strain, end¬ tives hate me. What for? Because, after' a time, I (see Illustration III), accompanied by legato Robert Schumann’s Opus 68, he will realize at once ing (in measure thirty-six) in the Tonic. Hence, a octaves for the same hand, which are to be played what this means. Some titles exceed others in the became too busy to devote so much time to them and with the hand (best held level and quiet) while the degree of definiteness which relates the music and two-part form (Binary) of the Song order. The pur¬ then they felt that they were neglected. Not only did second or third finger clings to a note of the the title, while in others, especially those carrying pose of the Postlude and Coda are now clearly seen. I give them those many free extra lessons, but music, melody. Small hands should use the fifth finger in the three stars, in place of the title, atmosphere and instruments, and books, and almost everything the octaves. Von Biilow could make octaves, primarily, and not picture, is fundamental. SCHUMANN’S “NORTHERN SONG.” under the sun that I could think of. played with thumb and fifth finger, sound legato You can usually tell what a child is going to do If the reader will again turn to Schumann’s Opus 68 through a clinging and curving or “twisting’' process in music by becoming acquainted with the family. MOSZKOWSKI’S MINIATURE. and play the Northern Song he will see that this form with the finger joints. . In the more brilliant passage If they are a shiftless, no-’count lot of folks there is by Moszkowski is much more free in its structure than • towards the close of the number we see one of the If the reader will turn to the music page, of this not much use bothering with any of them for pupils. issue of The Etude he will find a “Miniature” by a definite balance of parts is, as is expressed in the best examples of Thalberg’s style at the piano, for They may seem to be eager to learn and you may which he was justly celebrated in his time—the Moritz Moszkowski. The title does not suggest a Schumann work. The .Northern Song is a definitely^ think their very hearts are bursting for lack of funds ! treatment of sonorous melody, with brilliant ac¬ definite picture. To play the music impresses one balanced three-part form of 8+4 + 8. The third part with which to pursue their musical studies, but the companiment, plenty of reach across the keyboard with the conviction that the order of composition, is a repeat (with changed harmonization) of the first. chances are ‘that if they ever do start they will not and a liberal use of the damper pedal. The selee- entitled “Songs Without Words,” is the basis of This element of freedom in Form-balance is an artistic : tion shows considerable advance over the “Home, this little work. Hence, a poetic thought, without variant of great importance, and the very nature of the go very far. They haven’t the right kind of blood Sweet Home,’’ for which this composer is so poem, is here set to music. It is our purpose to dis¬ freedom itself emphasizes the composer’s meaning. in them—and blood tells in ninety-nine cases out of celebrated. cover the Form of this work in order to gain a mental Music forms, then, may be grouped into two great a hundred. Of course I know that many a good impression of the Structure; that is, to learn how classes: '(1) Those that strictly adhere to a more or pupil has come from a poor family and that many TWO ROSSINI ARRANGEMENTS. this imagined poem is set to music. less exact balance of parts as to number of measures a great man has come from the humblest surround¬ In Liszt’s piano arrangement of the “Cajus Ani- To play the music impresses us at once with the fact and repetition of themes. (2) Those that adapt the ings. You can usually tell the, difference between mam” from the “Stabat Mater,” by Rossini, we have that the Song is continuous, rhythmically a little more Form to the character of the music (that is, to the shiftless mendicancy and honest poverty, and it is all the dignified and religious characteristics of the free in the climax than in the beginning, but decidedly Message), giving to it a setting at once adequate and that difference which counts in a pupil. The former number, arranged most effectively, still there is no a tune thought. To establish the verses (that .is, the beautiful. • will take all that he or she can get for nothing and magnifying of difficulties, but just enough elabora¬ lines) of the absent poem we must first locate the QUESTIONS. feel that it is his or her due. The latter will not tion to bring out the true spirit of music in a clear, serving student. She was not one of the bombastic Cadences. This will show us the Phrase and Period take lessons or anything else free unless he or she practical and effective manner. Although we now class that a music teacher learns to dread, and whose 1. What is the purpose of Form in art? Structure, and, by comparing the Period balance, we sees some way of making a return for favors have an oratorio, instead of an opera transcription, the sins against art can never be settled for in this present 2. Define the words Postlude, Coda. shall be able to sketch the Form. granted. music has such fine melody and dramatic power world. She returned at the next lesson and played the 3. What is a Song without Words? In order to follow the analytical study readily Quite a number of years ago, when I was just that it is worth mentioning in this connection. It piece with more perfect execution and still better touch, number every measure. There is a decided resting- 4. Who gave prominence to this form in pianoforte starting out on a musical career, I joined the Y. M. is wonderful to observe what massive results and but again failed to find a connected melody or the phras- point (Cadence) in measure four; another at measure music? C. A. orchestra in Buffalo, and Prof. F. W. Reis- sonority are brought out in this work, by perfectly mg and general meaning thereof. After once more eight; a passing through measure twelve without a 5. What is the artistic purpose of Period extension? berg was the director. There was one young man simple means. It is slow of movement but full oi making a very thorough attempt my efforts finally met sense of cessation, and a decided Cadence in the Domi¬ 6. What modulations occur in measures 1 to 36 of in the orchestra whom I greatly admired because he melody and not too difficult for the pianist of \vith access, but it required a great deal of effort and nant (D major) in measure sixteen. There follows the Moszkowski “Miniature?” medium ability, whose hands are large enough and played the horn sometimes, and drum sometimes, self-denial for her to refrain from brilliant playing long from measure seventeen a repeat of the opening Phrase, 7. Why does the Postlude hold closely to the Tonic strong enough to play octaves fairly well and cornet sometimes—in fact he would jump in enough to work out the artistic interpretation intelli- varied in melodic progression at the Cadence point in key? Among all of Liszt’s arrangements from Italian opera, almost anywhere and do it well. He was a great measure twenty. Tlier" .3 a pause in measure twenty- 8. What is the purpose of a Coda? the ideal single number might be his Fantasie or, “Rigo- help to the orchestra. aJr u CaSy t0 ovcr'°ad such compositions with em- four, followed by a continuous development of the 9. What, in general, determines the length of a Coda ? letto" (Verdi). In this number we find the melodious is ments and brilliancy. Liszt appreciated the spirit melody to measure thirty-six, which closes in the tonic He s great, isn’t he?” I said one day to Prof music of the celebrated quartette, which is a favorite . to- Why is not the rhythm, of the Postlude exactly Reisberg. of every work that he arranged, so that his embellish- with a feeling of finality. But there follow this twenty- number for ail the great vocal exponents of “bel canto.” like that of the “Song” (measures 1 to 36) ? ments and brilliant passages (like those of Chopin) two measures of entirely new matter, in which the Liszt’s introduction brings in snatches from the favorite appear to grow out of the theme itself and enhance its melodic subjects heard during the quartette. (See illus¬ rhythm is more free and sprightly, though no less song¬ ST**!-? beauty- rather than to dispute the field tration IV.) This piece is beautiful enough to appear like than is that which precedes it. with conflicting and ill-fitting “variations.” It is worth — -- --- *•'->'-1 luavui-c, lie w on the programs of some of the great concert pianists Analysis of these twenty-two measures shows us that Who would deny that in his first works even the while for every concert pianist to have such numbers eight measures are literally repeated (measures thirty- greatest master does more than reproduce? But it never study He will just slide along aimless- of the present day. I once heard Oscar Raif play it glad to be of assistance in cases like this, but nev beautifully, and Busoni played it at a recital in Chicago hish LIePerlr’ ,n0t. 0ril-v bemuse he can please all of seven to forty-four and forty-five to fifty-two) ; the should be borne in mind that those works, though Verdi wfz’i-h ereby 1Ilcbiding the lady who asked me '• six concluding measures are sufficiently extensive for a they betoken great genius, can never equal in value striving for the great goal. He’s too lazy and when he first visited America. A cadenza, to. which does not come from the right kind of people.” a group of these phrases lead, brings us to the intro¬ voted tn R i gj6^eSt comP°ser, as well as those de- graceful close and are called Coda. the original from which they were copied, for it is It is eighteen years since Prof. Reisberg sa duction of the well-known tenor theme. (Illustration imm-ove “d Beethoven' He can also do much to We can now subdivide the entire work into four only in original work that genius ripens to maturity. parts: —Wagner. that, and every word has proven true. The boy nev Sopiano playingIvL ^'T-by studyingand such eIevate numbers. his artistic sty,e in amounted to anything and he is still drifting to-ds 25 24 THE ETUDE THE ETUDE LISZT ON THE PLAYING OF HIS FRATERNAL MARCH—CHAS. LINDSAY. CONTEMPORARIES. To Dr. S. G. Frank, N.Y.C. In this fine march the unique idea has been success¬ Educational Helps on Etude fully carried out of incorporating three well-known BY FREDERICK NIECKS. hymn tunes. These hymn tunes are much used m a BUTTERFLY YALSE Music number of fraternal bodies, hence the title of this While unspeakably disdainful of the Mendelssohn, march. There are many church services, society gath¬ ians Liszt describes Mendelssohn himself as al¬ erings and other afifairs at which the march may be ways aristocratically noble. Of his pianoforte play, Intro. HENRI WEIL By P. W. OREM used to good advantage. While it is of the grand ing he remarks that Mendelssohn had more warmth march type, it may be actually used for marching pur¬ and less technique than Thalberg. poses. As a piece of music it is exceedingly well put A virtuoso’s characterization of his fellow virtu¬ together. MINIATURE—M. MOSZKOWSKI. osi cannot fail to be interesting, and may be in¬ forming. “At Paris Thalberg was in his time a In Mr. Tapper’s article on another page of this BUTTERFLY WALTZ-H. WEIL. greater favourite than I. It is true I surpassed him; issue will be found a detailed analysis of this piece. This is a bright and delicate waltz movement, not Of the set of pieces known as “Miniatures,” Op. but with him everything seemed already smooth, at all difficult to play, but brilliant and effective. It 28, No. 1, is by far the most interesting. This early whereas with me everything was wild—a Tohuwabohu opus represents what might be termed the lighter might be played lightly and in a vivacious manner in of feelings.” vein of this accomplished writer, whose composi¬ order to attain the best effect. The finger work must Of Moscheles Liszt says that he had no rhythm in tions are probably the most truly pianistic of any be clean and crisp. A rapid pace is desirable. his playing, but that he wrote a very correct style, since the time of Chopin. This “Miniature” requires and that the virtuosic passages in his first concerto AT THE FAIR are very good. Chopin, according to Liszt, was in¬ a polished legato style throughout, together with the E. SOCHTING. singing tone. It has been carefully revised, edited VESPER CHIMES comparable, and most fascinating in the salon, for he played with the most subtle delicacy, and had and fingered, and the various markings should be These two numbers are taken from a set of charac¬ strictly observed. teristic pieces entitled “In Autumn.” They are novel¬ little strength. He never was able to do justice to ties from the pen of a successful modern German the C minor study. As to his studies generally, THE TWO GRENADIERS—SCHUMANN. teacher and composer. While easy to play, these pieces they are unique for poetry and usefulness. For Rubinstein Liszt had a great liking. “He This is a transcription for piano solo, .by the display genuine musicianship in their construction. “Vesper Chimes” is especially clever in its working- plays the Erlking paraphrase better than I do." But Russian composer Dubuque, of one of Schumann’s he was quite aware of Rubinstein’s excessive love of most famous songs. This is a dramatic setting out. Each of the pieces has the picturesque, descriptive noise, of the Tartar strain in his blood. If Liszt of Herne’s well-known verses. As a finale the quality. In “At the Fair” all the hurly-burly of a was often frightened by Rubinstein’s playing, fear¬ “Marseillaise” is most happily and effectively intro¬ rustic merry-making is suggested. In “Vesper Chimes” the bell effects are beautifully brought out. These two ing that the pfeno might go to bits, he yet admitted duced. As the piano accompaniment to this song is last time to Coda± so complete in itself, the song is thereby rendered pieces.may be played as a single number by making a that it suited him well. The Russian pianist’s particularly suitable for instrumental transcription. D.C. as suggested in the music. weaknesses were good naturedly satirized by Liszt. In fact, the song is really a bit of dramatic declama¬ Of Rubinstein’s interpretation of Liszt’s little and 4 1 tion, in which the piano plays a part equal in im¬ ON THE DEEP SEA—SIDNEY STEINHEIMER. pretty easy Valse-Impromptu, the composer said S that he played it like a grand concert piece, quasi a -j—w portance to the voice. This transcription is exceed¬ This interesting little number is from a new set of j rpffffi j Y—1 ’'V HIT] ingly well made. It is not difficult to play and it pendant to his own “Watschen Walzer” (the Valsc Ll-,1 1 1 1 — teaching pieces of more than usual merit. “On the LI LJ LJ E rM follows the composer’s ideas with the utmost fidelity. caprice in E flat major). Rubinstein's tempo and other J —... Deep Sea” may be used as the very first piece in which licenses Liszt illustrated by beginning the first In this piece, as should be the case in all song tran¬ a pupil is asked to play with both hands in the bass scriptions, the player should read the text of the movement of the Moonlight Sonata allegro, and iH =H clef. Its descriptive quality will appeal, ts> young song carefully, so as to imbibe its spirit completely, players. showing in the last movement the marching up of creating an interpretation in accordance therewith. the parading troops. *): f * Note the tone painting throughout, and the thrilling From the pianists to the violinists is but one step. effect of the “Marseillaise.” This song was first pub¬ QUARTET FROM “RIGOLETTO” (FOUR “Paganini’s playing could carry one away, but he lished in 1844. HANDS)—VERDI-ENGELMANN. remained nevertheless superficial.” This is an af¬ This number appeared as a piano solo in the ter-thought and as such correct. But were the I HIGHLAND LULLABY—G. A. BURDETT. August number of The Etude. In response to young men carried away by Paganini, Liszt includ¬ ed, wrong, although they had no thought of the This is a very interesting bit of modern composi¬ numerous demands this transcription has been ar¬ superficiality of what raised their enthusiasm and tion in characteristic vein. In this piece, while the ranged for four hands. In this arrangement the inspired them? It is difficult to agree altogether melody is, cf course, predominant, to be rendered in effect of the piece is much enhanced. It must be songlike manner, the inner voices are also of im¬ practiced carefully in order to attain a good ensemble, with Liszt when he declares that Clcmenti was a portance, especially in the imitative passages, where bringing out prominently the more important voices. mere mechanician. What we may admit is that form and even formalism and conventionalism pre¬ the tenor voice takes up the theme. This piece dis¬ INTERMEZZO, FROM “CAVALLERIA RUSTI- dominated in most of his music.—Monthly Musical plays skillful workmanship, and is well worth care¬ Record. ful study. It should prove a popular recital number. CANA” (VIOLIN AND PIANO)—MASCAGNI. This is one of the most famous instrumental num¬ VALSETTE—CARYL FLORIO. bers in modern opera. Mascagni was born at Leg¬ HABIT IN SCALE PLAYING. This is a graceful and original waltz movement, horn in 1863. His greatest success, “Cavalleria Rus- interesting in harmonic treatment and vigorous in ticana,” was produced at Rome in 1890. The “Inter¬ rhythm. The composer, who is of English birth, is mezzo” is played between the two principal scenes now resident in America, where he has won dis¬ of the opera. It is always received with enthusiasm. When once formed, habit has so powerful a holi tinction as organist, critic and composer. This waltz As arranged for violin it makes a most effective upon individuals that it becomes almost sccow recital number. must be played with steady and careful shading, in nature. Taking this truism as an object lesson, i accordance with the composer’s markings. young piano pupils early in life, are induced b MARCH OF PRIESTS, FROM “SEMIRAMIDE” iorm the scale habit, they are becoming acquaint* HEART OF THE ROSE—E. LENT. (PIPE ORGAN)—ROSSINI-BEST. with one of the essential and important vital point m nfusic. As a rule children have a pronounce! This is a charming drawing-room piece, quite out of “Semiramide” is a florid opera of the old-fashioned the ordinary. The melodies are taking and expressive, type, which is still occasionally performed. It con¬ aversion for the practice of scales; but, if teacher and harmonic treatment is striking. This piece will tains many gems of melody. This opera was first exercise diplomacy and firmness in securing prom afford practice in tone production, especially of the produced at Venice in 1823. The “March of Priests” ises from their pupils to always begin their practice singing toile in the legato touch, in chord playing, is taken from one of the most striking scenes in the period by first practicing the scale that is to b< opera, one of gorgeous Oriental magnificence. - The and in expression. A good intermediate pupil should organ transcription of this brilliant movement has iw 6 f°r tbe next ,esson and then alwayi be able to attain much success with it as a recital r!f‘Yhe 1Jesson with scale practice, the habit h been made by the famous English concert organist soon formed and lasting. number. The pace should not be hurried, and a cer¬ W. T. Best (1826-1897). It should be . played in tain freedom in tempo is not signified, but desirable. broad, pompous style, very distinctly, and with full crr^a„aiileW ,?Upd is given the scale C, major, an< and rich registration. A fine recital number or fes¬ thes y’ a the different positions, by the tim< tival postlude. GOLDEN LEAVES-R. S. MORRISON. good ft" rSterCd S° thCy C3n be P^ed With : This is another drawing-room piece, also very charm¬ fn sha™T uOUch’ the rest of the major scale ing, but of totally different type from the preceding. THE VOCAL NUMBERS. scale ran ^h°U k be Wed under headway. The fir.' but nnt f en be dr°PPed from the regular lessor In this piece the idealized mazurka rhythm is em¬ . 1 W‘ Lean’s “Guide Me, O Thou Great Jehovah” ployed, hence the effect is dance-like rather than song¬ is an excellent setting of the familiar hymn, melodious Se sal Y PraCtiCC’ 3nd the ««* one treated i. like. This piece will require precision of rhythm, and * -emotional and full of color. Church singers will be and flats kTner’ and so °n through both the sharps should be played in strict time. The accompaniment able to make good use of this song. The voice part occasional re the minor sca,es are begun. Ar to the theme in A flat is printed in smaller-sized notes affords a splendid opportunity to the singer, and the necessarv V™" °f a" back scales is helpful anc in order to call the attention of the player to the fact accompaniment is full and richly harmonized in trvine tn*** iS°°n 3 C.hlld takes great delighl Geo. Chapman’s “A Lover’s Envy” is a musicianR- that the melody notes (printed in full size) are in¬ scale “sound like a ^ d,',fferent Positions of th< tended to be brought out prominently with full round - °f one of Henry Van Dyke’s new lyric poemf a Passage in P'e<:e’ and ahva-vs ^cognize- tone. This piece should prove a brilliant recital It is a beautiful love song, one that should appeal to when they discover’if^Y1^ tCnths W'th pIeaSUr< number. r., .1 • vcr it in other music. SnSedgmaS„„e? “ * “ ** and -pas- antly learrecf1 Ye scales are readily and pleas y l6arned and th* scale habit formed. sK £ £Jiji ii > ii > 7 r r r cresc. 1 ^ i>3 2* > > l.h. r.h. > > > | f rJi-> > > > v ^ p p i r— 3 'j 3 'l r.7i. poco str-t ivgendo .nil Tm 3 . • . poco rit. r.h. dim. P y ^ 3.—s —^ fci > > f) 1 > > cresc Fine . |TT3= -t—0—;—8T" 'Nt r f p-.f_ ^ r !■ - 4^- 4. -t: # These two numbers may be played as a single piece by returning to the first and ending at Fine VESPER CHIMES , VESPERGLOCKLEIN EMIL SOCHTING Moderato m.m. J =69 28 THE ETUDE THE ETUDE 29 QUARTET FROM “RIGOLETTO” QUARTET FROM “RIGOLETTO” VERDI SECONDO Transc. by H. ENGELMANN Transc. by H. ENGELMANN M. M. J = 63 n I Moderato ri * «* f \ pr\ £ g A * 3 , 1 . • JlAl 3 • g- rr^figTff^iipECfrTf . P* -' eg If- 31 30 THE ETUDE THE ETUDE SECONDO PRIMO . - dole, con espress^- i £ \>v4? 3333 3 3 3 „K 3* _??—ir* w 5» i# if < p * ■■■ • I p - w ~~T^^_ -*33 "o'* 3 5 ^ ♦ 38 THE ETUDE THE ETUDE MINIATURE Edited and Fingered by 0 maurits leefson Sweet Souvenir MORITZ MOSZKOWSKI, Op. 28. No.l. 34 THE ETUDE THE ETUDE VALSETTE THE ETUDE THE ETUDE 87 THE TWO GRENADIERS Transcribed by A. DUBUQUE DIE BEIDEN GRENADIERE R. SCHUMANN n i s B u_A 3 *3 3_4 3 tier, ^ ^ Their cour-age was sad - ly shaken, ’Twas there that they boflh heard the sorrowful tale, That France’s proud realm had been ij n - . i-w. 1 f 1 'll 1 .-F- qTT^ —.- yLg? —, J. ■ —?-p - r -H. hH . h 4 4 J -jo. ..-a.. 4 4 i ^ i,—p-r- 1 Jr =J— i J~J' J J ud • 4 -J-— J i t j- tr -i j y ttI E--■■ wr— ftii fif \ f f 1 9- sha-ken, De - feat-ed andscat-ter’d the va-li-ant h<)st, And the emp’-ror, the emp’- ror, been tallten. y J ip~ 1 r 5 3 3 »__ How bit-ter-ly wept then the grena diers, At hear-ingthe tcr-ri - ble 3_4_ _4_ a_ tj ^ j j story, And one then said “A-las! once more my wounds are bleed-ing and go-ry,” The oth-er L 1 3 1 1 , . 3] i a i said “My sun is .- J > > 1]^— 1 1 ff/i44F..rrf j f H ; ^4^ pAlHi JJ i L 3 r- ~i •• Kf-f£ 44a-#i 4-VJ-- fcl. J* }#=£=#% : - rrflftr HH* hr J i 3 4 , lie so still, and watch like.a guard o’er.the forces, - Un til the roar-ing of cannon I hear, and tramping of neighing >qrfyf 1 j. -444-: .J ' J> ■iM1 r i N < 1 L#=4J Em-pe-ror ride,While«rv.n» swords gleam bright-ly and rafrat - tie, wvWhile'),“ swards gleam~ bright-lyandk-j-v* w—j A* f ! 1 • •••-* # • J - IS #* - 7 5 4 Adagio 1)5 P"1 rat-tie. Then arm’d to the teeth will I rise from the grave, For my Emp’ror, my Emp’ror to battlej m j A A jy j j | Hl | jj# .— 9_, • 30 THE ETUDE THE ETUDE FRATERNAL MARCH > INTRO. CH AS. LINDSAY Tempo di Marcia m.m. J=100 )W j? ^ * MtI f £ -£ -g > ^ w*m rTrr-I R‘afa “ Onward, Christian Soldiers ” 1 darzia Le a 3 i, *iT jTi—, [ 1 1 = ■ — ■«■ J J J — i-ijL—AeL— »i mw m K TS 5 ♦ j «■ ^ i m T r *- j» j j#- j 1 tJ rig H fJJui. . -f.T-T ^IllThl- J JgJl otc— J J 1 J -J’-'—di ’ J^) rn u a,- ■ ^ irf-a a « fc-a a . i -trtr ~li v 7- 1 si—Tfh1>-i- t *»» K ^ * n^rf »vh»#jTn h-1—- jj.j it r - r [rff33 i&M iPS 4sHj 4. igpii sp 1^. p n. 44#- p ~*)«i ~|Jb»ppr 4—r p n #t rnarcato THE ETUDE THE ETUDE 41 THE ETUDE 45 13 13 jJp J^l*. . 3 1 • * M. £ .... 5 -H- v~ V jg rrl i. ”f. •g erne, ^ 1 ./ .- . vS ^V y t / * r-x 'F ?!> , 3*.; * 4 _ ,f». 0 M>fi*rr ^>fTr in*- 1 tv f 1 ^ ^ £fr,jjq[\, —V 1 Yfr^jFy * ~F—^ ilc 'TIC " vii< =?fe nlJv> i Cjf? '—- tf ° tv • *y q : ^=- -HJ^I THE ETUDE THE ETUDE 47 GUIDE ME, 0 THOU GREAT JEHOVAH. W. WILLIAMS J.W. LERMAN Andante m.m.J=66 r—i i ==^— /?N THE ETUDE 49 alempo ;ires. a tempo 50 THE ETUDE THE ETUDE 51 count of the misfortunes and persecutions that fol¬ HELPING THE SHY PUPIL. lowed him. His technique was so great that he MUSICAL GENIUS IN YOUTH. could do many things which his successors have found impossible. Doubtless this was due to long BY CHARLES DORAN. BY A TEACHER. practice; for in early youth he was compelled by his father to work many hours every day, and in It was Vincenzo Bellini who once,said, “Genius The shy pupil is a fit object for-compassion, and her later times he would do the same thing voluntarily. seems indeed to have smiled upon great musicians teacher is equally entitled to commiseration. Shy¬ He used to boast of some fanciful secret about violin ness militates against the exhibition of talent that playing that he could reveal, and it is a fact that a in their youth,” and according to the biographers of the famous composers he was right. The great may be quite remarkable, and the shy one’s teacher pupil of his. Catarina Colcagno, gained from him a may have to bear criticisin which she in no way brilliancy of style that astonished all Italy; but the maestros, with rare exceptions, have shown their Italy’s Musical Influence on Other Nations marvelous talents for music early in life. Mozart deserves. The ordinary modesty and self-deprecia¬ real secret was probably the old familiar story of tion of the young girl is to be admired, but any at six years of age composed a minuet, at ten hard work. Paganini did not found a school, like excess of these attributes is to be deplored. What By ARTHUR ELSON worked on a chanson, and at twelve astonished the Corelli or Tartini, for his compositions were not should the teacher do in her endeavor to mitigate to especially distinctive; but his technical achievements world by the production of two or three beautiful some extent the morbid nervousness from which so It is undoubtedly true that Italy has been the trina was called ,_ __model for all later oerformers sonatas. most important nation in musical history. Other “The Saviour of many pupils suffer—or at leasf give way to? Obvi¬ Liszt at nine years of age played his own com- ously it is of no use to be cross or disdainful with countries have usurped her place ii\ the last century HANDEL IN ITALY. . positions before the Queen of Bavaria, and when but or so, but her supremacy was of long duration, and A number of the them, nor, on the other hand, is too much softness It was not only in contrapuntal times, but for the twelve years old conducted the imperial orchestra dates from before the fall of the Roman Empire. Netherland masters likely to remove the complaint. Sincere and care¬ two following centuries that a sojourn in Italy was at Presburg, exciting universal astonishment. Church singing, so important during the middle studied in Italy, and fully-expressed encouragement, where deserved, is a regarded as a necessary part of a musical education. Verdi was scarcely past twelve years of age when good thing, and should not be withheld. It is in¬ ages, was based on the Ambrosian and Gregorian one of them, Adrian It is not surprising, therefore, to find Handel at finitely better to tackle super-shyness with than the systems. These included eight different modes, or Willaert, became a he was organist in the village church where he lived, Florence in the year 1706. Handel was famous for weapon of ridicule. Some young pupils are not to “tones,” for use in sacred music. Ambrose was teacher of prominence and when fourteen was offered the leadership of a his playing on the harpischord. The story goes that be laughed out of what is after all a congenital fail¬ Bishop of Milan at the end of the fourth century, in Venice. Germans, public band at Sorrento. once, at a masked ball, he sat down and began play¬ ing, and any attempt to apply such treatment will while Gregory was Pope in the sixth. It is said too, came to Italy, and Donizetti when at school, a mere child, composed ing upon that instrument. Thereupon Scarlatti, en¬ only make matters worse. that later Popes perfected the system, but we find we find Hassler study¬ sacred waltzes and won for himself the title of “the ing with Andrea Ga¬ tranced by the wonderful performance, said, “It must boy composer.” He tells us himself how he loved The establishment of perfect confidence between it in full bloom before the time of Charlemagne. brieli, also at Venice. be the famous Saxon or the devil.” In Rome a com¬ music above everything else as child, and how his mistress and pupil should be aimed at from the very When that monarch found differences and opposi¬ Gabrieli and Claudio petition in playing was arranged between Handel father threatened to send him to work at a cobbler’s first, and from such a relation the best results pos¬ tion between the French and Italian singers in his M e r u 1 o did pioneer and Domenico Scarlatti. Handel was declared victor if he neglected his school work for his music. At sible will accrue. The young pupil must feel that realm, he asked them, “Where is a stream purest, Sir Paolo Tosti. work as teachers of on the organ, while the result on the harpischord fifteen Donizetti had composed much of the music her teacher is her friend, and peradventure the ab¬ was left in doubt. As already stated, Scarlatti was The famous song composer whose popularity and long resi¬ organ playing, and dence In England led to Knighthood. for an opera he was in later years to produce. When normal feeling of diffidence will disappear, and the many pupils came to r Cherubini. a wonderful harpischord player, but after this event, twenty he had written the airs for Lucia di Lammcr- teacher will not notice the stumblings at every les¬ whenever he received praise for his skill, he would them from foreign Long resident in Paris. countries. That Rossini possessed real greatness is moor, and a year later gave to the world his beautiful son, which are totally absent from the performance countries. speak of Handel, and cross himself in token of shown by his last opera, “William Tell,” in which Fille du Regiment. when the pupil is practicing at home. Gradually, admiration. OPERA AND ORATORIO. he attained something loftier than the conventional Weber wrote much in his youth, but being of a it may be hoped, the feeling of constraint will wear style of his early works. very timid, bashful and retiring nature, he did not off, and she will be able to do justice to herself in Opera and oratorio had their origin in Italy. The ITALY’S INFLUENCE ON GLUCK AND MOZART A greater composer than Rossini was Cherubini, let the manuscripts pass out of his possession for the eyes of the teacher; and this state of mind hav¬ work of Cavaliere in the latter, and Peri and Caccini Gluck was another composer to visit Italy, go’ng who settled in Paris. From the advanced style of some years after. The story is told that when he ing been arrived at the fear of the criticism of in the former, were the first steps that led to the in¬ under the patronage of Prince Melzi. During his his orchestral work, he was spoken of as an Italian was fourteen years of age he wrote a little opera and friends, who really only want to enjoy, will vanish, spiring music-dramas and great sacred choral works stay in that country he became Cavaliere of the who lived in France and wrote German music. His hid the manuscript. A friend found it and took it to and the teacher will be accorded the credit due to that we rejoice in at present. In opera, Peri was order of the Sprone d’Oro, or golden spur, and he overtures are still admired on the concert platform, the choir master of the village in which the Weber her. soon eclipsed by Monteverde, while at the end of was afterwards extremely punctilious in demanding and his operas still revived on the dramatic stage, family resided. The man was charmed with the The friendships of teacher and pupil thus formed the seventeenth century Alessandro Scarlatti was in the title of Ritter von Gluck. His earlier works while the sacred compositions of his later years music to the opera and wanted to know at once who have often been of lifelong standing, even when the full activity. Meanwhile, other countries had again were all in the Italian style, including the operas show much beauty. Another Italian to win remark¬ was the composer, and when, after much difficulty, formation has been a question of time. It will be followed Italy’s lead. In Germany, we find Heinrich able operatic triumphs in Paris was Spontini. Schiitz first in point of time, while Reinhard Reiser “Artaserse,” Cleonice,” “Siface” and others. Their he succeeded in finding out, he sent for young admitted that there is at the outset a bar to the reception was so favorable that he was called to Weber’s father and told him what wonderful possi¬ foundation of friendship where the teacher (the and others founded a later school at Hamburg. In ITALY’S DECADENCE. France Lully preferred to write ballets rather than London, to become composer at the Haymarket bilities lay in his boy, the result was that Carl Weber woman) is full of enthusiasm for musical art, and operas, but he based these on Italian models, and Theatre. Gluck’s later successes, and the reforms The nineteenth century saw a musical decadence was sent to Munich to study music. possessed of every qualification to instruct, and the was himself an Italian by birth. In England Purcell they caused in opera, have obscured his earlier in Italy. The sweet grace of her earlier music was Gounod was not quite nine years old when he pupil (the girl) is so constituted as to be cold and was the pioneer in opera, and composed works of works But there can be no doubt that his study lost, and there were no Scarlattis or Cimarosas to wrote a waltz and several petits chansons. At distrait, through shyness; seeming to shrink from much beauty. His “Dido and Aeneas” is sometimes °t Italian methods gave him ease and facility. relieve the monotony that came after the Rossini twelve he composed a little opera, and before every friendly advance of her teacher, and returning revived as a curiosity, but its music is welcome for Mozart, too, spent some years in Italy, going there school. While Germany brought forth her Beetho¬ another year had passed won fame for himself by only apathy for earnest and downright sympathy. the freshness and beauty displayed, as well as for in 1770 Like Gluck, he won a series of operatic vens and Schumanns and Wagners, Italy stood still. his wonderful talent for music. But, despite the temper-trying conditions of her the historical interest. Readers of The Etude know triumphs, and received many honors, including Thus we find that in 1850 Italy had almost no con¬ Chopin, always sad and dreamy, when a child avocation, the music-mistress who is of a kindly already how the Italian terms for tempo marks be- knighthood. One remarkable feat of his was the cert halls, and even the churches were content to composed a nocturne and was scarcely fifteen years nature will exert her utmost to make the pupil came general at this period, even though Lully did reproduction from memory, after one hearing, of a use operatic airs set to sacred words. Some years of age when his first1 works, preludes, polonaises, recognize in her a friend, and in the end she is not adopt them. They form a list of words that is celebrated miserere, by Allegri, which was sung after this Pinelli organized an orchestral concert at mazurkas and waltzes were already attracting much bound to win. Gradually the ice will be melted, more widely known than aiqy language, for thev ’Z’? the. Slst'ne Chapel. Though Mozart was a Rome, and engaged sixty musicians; but the box- attention in the musical world. and the natural promptings of the heart towards evi¬ In youth Chopin showed poetic fancies, which he have entered all civilized tongues. It is a pity that Muon geT1S> ,f ,ever tl,ere was one- ‘he Italian office receipts were only fourteen francs. Sgambati dent kindness will result in a reciprocated feeling — modern composers sometimes try to introduce terms influence shows plainly in his works produced a Beethoven symphony, but had to pay for loved to associate with his earlier musical creations Music. ’ from their own languages. The meaning of allegro it out of his own pocket. Opposition came from and his biographers tell us he got the title of “moon¬ two classes—those who disliked instrumental music, light composer,” as much on account of his fondness and andante, for instance, is known to cultivated Music is the only sensual gratification which man¬ G. A. Rossini. for composing seated at the piano, near the window people in many nations, while the words mdssig or and those who fought against German influence. But kind may indulge in to excess without injury to lebhaft will make them stop and think. is Ialso0trifenrh^mr'rrS gaincd ^ livin» in Italy, it in 1870 the Queen gave her support, and this with no other light in the room than that cast by Whose long residence In Paris had a great influence on ful eflWt K that-ItaIlan composers exerted a power- their moral or religious feelings.—Addison. French musical art. Italy was responsible for the rise of the sonata brought many adherents. Since then other countries the soft rays of the though its final shape was due to C. P. E Bach have paid back a fraction of the great debt they moon, as on account of the owe to Italy. at its source, or further down?” Naturally, his Haydn and Mozart. We find Domenico Scarlatti' peculiar dreamy, mysterious writing such effective fugues, sonatas and other solo courtiers responded, “At its source.” “Then go to sadness of many of his pieces, and performing them with such skill, that he THE RENAISSANCE OF MUSICAL ITALY. Italy, he replied, “and get the proper methods nocturnes. Chopin wrote has been well called the father, of modern piano there.” We find the Italian Church sending out two But Italy could not remain long in the back¬ much in his earlier years, playing. Less widely known, but very valuable is ground, at least in opera. The works of Verdi’s later envoys, Petrus and Romanus, who founded singing the work done by Pasquali and others in the matter and his most beautiful schools at Metz and St. Gallen. in vursr-£r~* bram' * ,“di"s ‘i’"' years brought her renown, while Mascagni’s “Rustic valses, those abounding of fingering. The piano itself came from Italy for he brought out his Chivalry” gave the world a new model for short In the fifteenth and sixteenth centuries Italy be¬ that instrument was invented by Cristofori, in 1709. famous “Matrimonio ornamentation and graceful came preeminent in counterpoint. England origin- works of dramatic intensity. Leoncavallo followed Segreto,” in 1792. Mascagni’s lead, and now Puccini uses a higher elegance, were all com¬ ated, tI?at ,metllod of composition, and the great THE VIOLIN IN ITALY. Rossini was another style than even Leoncavallo. Sgambati has written posed when he was still a Netherland school brought it into popular favor, but Italian who became youth. Italy added to it a lofty dignity that was found no¬ In violin playing, also, Italy led the world. France symphonies, Bossi has produced great organ con¬ and Germany had some early violinists, but Corelli prominent in foreign certos and other large works, while the cantatas Verdi was a prolific where else. Palestrina marks the culmination of the countries, even if his Italian school. The Flemish masters had set the and Tartini were the real pioneers, both in composi and operas of Wolf-Ferrari are welcomed in many writer when a youth; he influence was not of fashion of writing masses around some popular tune tion and execution. In France, a great success came countries. In pacred music, too, there is renewed wrote, in fact, so much the most artistic sort and the tenors, who held the melody in those days’ to Leclair, who was taught by Corelli’s pupil SomL activity, due to the efforts of Perosi. that he tells us he found Vienna, London and would often sing the words of the song, instead of Towards the close of the eighteenth century Viotti Italy, then, must surely be accorded first place Pans took turns in it often difficult to find a the sacred text. This occasioned such criticism that another famous Italian, settled in Paris, and'founded among the nations for her services to music. Her giving him adulation. name for every one of his the Council of Trent was ready to abolish church a school that included Kreutzer, Rode, Baillot and early church singing, her lofty contrapuntal work, I he works of Rossini. compositions. It is said of singing altogether. But some of its members knew of others. Some of Tartini’s pupil’s taught in Ger her service in opera, oratorio, violin and piano music, Bellini, Donizetti and the great Italian musician the value of Palestrina’s work, so it was decided to many, too but the German school did not develop have kept her in the van of musical progress for the earlier Verdi show that the inspiration that let him compose a mass, in order to settle the ques- the breadth and power shown in France. The firs over a thousand years; so she can well afford the gave birth to his Ernani tion. He wrote not only one, but three, of which mu c h of superficial century of rest from which she has now awakened. and Traviata that of Pope Marcellus was the best. Its lofty Sw?g spoh"“the br“- V S P 1 a/ father than and noble style was recognized at once, and made ., I*a.¥ Prod.u,ced, also, the greatest single violinist depth of thought, but in his youth, and his II the Council admit that the contrapuntal works were that the world has ever seen-Nicolo Paganini. The ?° one can deny the The much-vaunted brilliancy of execution no longer Trovatore, too, it is said, story of his life is of remarkable interest, not onlv important part they dazzles the public ds it did of old. Nowadays it is was “running through his well worth keeping in the service. From this Pales- Viotti. because of his marvelous ability, but also on ac^ have played in the genius only that carries an audience away with it.— head” when he was a boy music of all civilized Mendelssohn, organist at Padua. 52 THE ETUDE THE ETUDE 53 Technic ” The two books may be used advantage¬ ously as’supplementary the one to the other. Roger, THE VALUE OF OPERA. SINGERS NOT BORN, BUT MADE. selection of the Loeschhorn etudes is most excellent This leads us to the subject at hand. We often hear the trite expression. and the “First Sonatinas” goes admtrably with it. The students in Italy in the past have “Singers are born, not made.” This, had advantages for self-study that were to my mind, is by no means the case. STIFF HANDS. of greatest importance. On all sides One may be born with the talent and “I am anxious to become ai thorough musician good singing and great singing might deep love for music, and one may be Ppiisff5 nut can give but two I *° PtacUce, and be heard conveniently and economically. born with the physical qualifications Seces ofthe fourth-gr*4e,"read well and love tnffi. Opera was and is one of the great I am willing to give the whole time to technical which lead to the development of a national amusements of Italy. Opera beautiful voice, but the singer is some¬ THE TEACHERS’ ROUND TABLE W°“l ^What*5 studies and exercises should I take for houses may be found in all of the larger thing far more than this. Given a a^MoKtime and phrasing? cities and in most of the smaller ones. good voice and the love for his music, “3 What etudes for general practice! I have The prices of admission are, as a rule, Conducted by N. J. COREY the singer’s work is only begun. He is seen ’ Czerny’s, Cramer's and dementi s all adver¬ very low. The result is that the boys tised. Which are best for me?" (B. F. C.) at the outstart of a road which is beset in the street are often remarkably with all imaginable kinds of obstacles. If you are trying to play in the fourth grade an;! familiar with some of the best works. Knotty problems are continually arising in the teacher’s daily work. Tell us your difficulties. We are your fingers are awkward and stiff it would seem THE VALUE OF SELF-STUDY IN Panofka and others. Such books are Indeed, it would not be extravagant to In my own case I was extremely ambi¬ anxious to help you whenever possible. In writing please be brief, explicit and never fail to give fall name as if you were playing beyond your ability. I would VOICE TRAINING. necessary. I have used these and others say that they were quite as familiar tious to be a singer. Night after night and address. suggest that you take a vigorous course of finger in teaching, suiting tfie book to the in- with these musical masterpieces as I played ’cello in the orchestra at La work upon the table until you can induce a condi¬ dividual case. The pupil needs material some of the residents of America are Scala, in Milan, always wishing and DAILY LESSONS. MUSIC FOR SIX HANDS. tion of freedom in finger action of which you are From an Interview Especially Secured of this kind, and it should be chosen with the melodramatic doings of Jesse praying that I might some day be one thoroughly conscious. Study attentively, closely and of the actors in the wonderful world ‘Will you kindly a llowing questions “Can you tell me where I can procure music for for The Etude with with the greatest care and considera- James or the “Queen of Chinatown.” lx and eight hands on one piano, and will you thoughtfully for several weeks. Do not expect to tion not only of the pupil’s voice, but Thus it is that the average Italian boy behind the footlights. I listened to the “1. What can I do with a pupil who will not or ive a list of good pieces? I am not so situated GIUSEPPE CAMPANARI, cannot learn to finger the scales? I have explained accomplish your end in a short time. Place your of his intellectual capacity and musical with a fair education and quick powers famous singers in the great opera house why they should be fingered In the proper manner, hands in playing position on the table and oscillate The Eminent Baritone of the Metropol¬ experience. These books should not of observation reaches his majority with the minutest attention, making have dwelt on the Importance and have even threat¬ ened to keep her on them and nothing else, but all them to and fro until they feel perfectly free and itan Opera House, New York. be considered “methods.” They are with a taste for singing trained by mental notes of their manner of plac¬ easy. Then slide the fingers back and forth, first all the common property of all teachers, many opportunities to hear great sing- "2. Is It advisable for the teacher to give the ing their voices, their method of inter¬ pupil a dally hour lesson, with no practice time by Ensemble practice is most advantageous fcr all together, and then individually, until the motion; and most teachers make use of them. ers. They have had the best vocal pretation, their stage business and herself? I am a governess and, such having been pupils, especially in the development of ready can be made easily. With some of the fingers von ’ [Editor’s Note.—Few living singers are My understanding of a “method” is a set instruction in the world, providing, of the rule, I have been following it. I feel, how¬ better prepared to discuss this subject than everything that I thought might be of ever, that it Is an injustice to the child, as she musicianship. Pianists often find themselves in a will find that even this exercise will require a great Sig. Campanari. Although it may truthfully of hard and fast rules, usually emanat- course, they have exercised their any possible use to me in the career is so dependent. I have never before heard of position where they are asked to play accompani¬ deal of patience. You will have to exercise them be said that he has never had any direct pow.ers of more than^two lessons a week. Would it not be of the singer, which was dearest to my ments for singing, for instruments, or perhaps for with excessive slowness at first. This will help y.ju vocal instruction, it is also paradoxically a fact that he has had the very best teachers heart. I endeavored to employ all the practice a half hour by herself?"1 (Governess!)' choral work. Without previous practice they are to gain control of the muscles. Then take up the in the world. The following short account almost helpless and are a dead weight on those they slow trill. Place the fingers in playing position. of his interesting life will make this quite common sense and good judgment 1. Refractory pupils are difficult, sometimes im¬ clear to the reader: Sig. Campanari was born are playing with, whether it be instrument or voice. I possessed to determine what was possible. If the latter, they would better be dis¬ Raise the first finger and keep it ready for action. in Venice in 1860. His parents were not Realizing the importance of such practice, an en¬ particularly musical, but as a boy Campanari musically and vocally good or other¬ missed, for there are some whose dislike for music Count four very slowly, not faster than M. 6o for developed a strong love for the tonal art. dowment was once bequeathed in Boston for the wise. I was fortunate' in having the is so great as to make it folly to try and teach them, each count. At count one, strike quickly with first He commenced the study of piano at the age maintenance of a room with two pianos and library, of nine and later entered the Conservatory training of the musician, and also in especially when they have stubborn and ugly dis¬ finger (thumb); at count two, raise second finger; at Milan, where he undertook the study of positions. However, this should be only as a last where students could have hours assigned them for at count three, strike with second; at count four, the violoncello. So successful was he upon having the invaluable advantage of be¬ practice on presentation of proper credentials. leaving the conservatory that he secured a resort, when every expedient has been tried. Have raise first finger. Repeat ad infinitum. Then the position __ _ _ orC]iestra of Italy’s most coming acquainted with the orchestral you tried keeping the pupil you mention on one Teachers who can avail themselve? of a violinist same with each pair of fingers, two and three, three famous temple of opera,’ __ _ scores of the famous operas. Finally and ’cellist for ensemble practice with their students Milan. Here Campanari remained for years, octave of the scale, one note to a count, until thor¬ and four, and four and five. Each hand separately hearing night after night all the great singers the long-awaited opportunity came and oughly learned, then adding the second octave? are indeed fortunate. Students themselves can at first, then together. of the time. Four years later, at the Theatre I made my debut at the Teatro dal hardly be expected to realize the value of such “Dal Varme,” in the same city, Campanari Learn all the scales in this way before trying to Then, arranging as at first, at count one let first Verme, ,in Milan. I had had no real work, but later in their careers they will under¬ made his debut as an opera singer in “Bal enlarge upon them. finger strike and second rise simultaneously; at count Masque.” His success was very pronounced, vocal instruction in the commonly ac¬ stand it most thoroughly. Six hand music is more but, owing to strain, be lost his voice in two 2. I can see no objection to the daily lesson plan. two, second strikes and first rises, and so on. When cepted sense of the term, but I had suitable for children, perhaps, as advanced players years. He then took a position as ’cellist in I have often wished that children could be taught this is thoroughly mastered with metronome at 6o, the Boston Symphony Orchestra, where he -really had a kind of instruction that their music in the same manner as their public enjoy more taking up the four hand practice of one note to each count, gradually advance it until remained for several years. During all this symphonies and other orchestral compositions. time, however, his great ambition was to was of inestimable value. school studies, with constant daily oversight. It is 120 is reached, which is the same as two notes on a become a singer, and he continually sought Success brought with it its disadvan¬ not so much that they need to be told something The six hand pieces stimulate the interest in young count at 6o. Start again at 6o and advance to 120. to discover the reason why his voice had players. They enjoy doing things together. Where failed to stand the demands that he had pre¬ tages. I foolishly strained my voice new every day in their music, or given something when 60 may be begun again with four notes on a viously made upon it. He studied and prac¬ through overwork. But this did not new to practice, but they would be the better for one has a large class of students and brings them count, if meanwhile none of the stiffness is return¬ ticed quietly by himself until he was satisfied forward in frequent recitals, more of them can ap¬ that his voice was in condition to stand the discourage me. I realized that many the supervision. The trouble with children is that ing. If so, practice longer on slower motions. Take trial of a public appearance. Maurice Grau, pear on a single program. Of course only a few of the greatest singers the world has they will not, often cannot, at first hold their hands up many five-finger exercises from your Plaidy or the eminent impresario, heard him and im¬ can appear in solo, and while each has his or her mediately engaged him for the Metropolitan ever known were among those who had and fingers in right positions of their own accord, Philipp and treat in same manner. Then go to kev- Opera House, in New York. His success was turn, yet it helps to keep them interested if - they met with disastrous failure at some especially when they are deciphering notes, for this board and repeat them, first merely tapping the tops so great that it may safely be said that he alone uses up their attention. With someone who can appear in some simple concerted piece at more is even more popular to-day than ever before. time in their careers. I came to frequent intervals. of the keys without producing sounds, in order to New York audiences are particularly fond America and played the violoncello in knows when the hands are correctly used to watch, evelop lightness of action, then with just enough of their “Campanari.” and he has added de¬ The following six hand pieces you will find suita¬ light to lives of thousands of opera goers.] the Boston Symphony Orchestra. All the pupil ought to avoid falling into many of the strength to produce a soft tone, and work them up. bad habits so common with beginners, especially ble: Girard Gavotte, by Forday; La Cinquantaine the time I was practicing with the Abandon your fourth-grade pieces for a time and children. Very few pupils will go to the piano to by Gabriel Marie; Balleta, by Pagoncelli; Bizzurria So much has been written upon the greatest care and with the sole object begin with very easy ones. You should work for a practice of their own initiative. They would shirk by Pagoncelli; Promenade-Polka-March, by Rueg! futility of applying one method to all of restoring my voice. Finally it came it every day if some older member of the family did nest; Gipsy Ronda, by Kramer; From Norway, by “onths at the zeroises I have indicated, cases in vocal instruction that it seems back better than ever and I sang for not keep constantly after them. Nothing more Koelling; Rustic Dance, by Reinecke; A May Day however. Anyone who works at this with intelli- useless for me to say anything that Maurice Grau, the impresario of the should be expected of children, for all of their by Rathbun; Polish Dance, by Scharwenka; Grand firnp®’ pat,ence and endurance for a long enough would add to the volume of testimony No Italian singer has ever been more popular in Metropolitan Opera House, in New time can cure himself of stiff hands. Sig. Campanari. faculties are simply in the making. I have known Galop Brilliant, by Wollenhaupt. against the custom of trying to teach York. He engaged me and I have been past of splendid ex¬ of a number of musically cultured families in the For eight hands, one piano: Valse Lorraine, Mat¬ Rhvth™”k r and tin,e f?et “Studies in Musical all pupils in the same manner. No one singing continuously at the Metropoli¬ vocal art in the country of my birth, I perience upon the operatic stage itself, East who placed their children with the best teach¬ inee de Printemps, and Gavotte Puccinella- all bv Rhvthm’” k y.r/Ustt,S’ and “Exercises in Time and man ever has had, has, or ever will tan ever since. Notwithstanding this E. Missa. J cannot help being amused and at the I trust that I have not by this time ers to be had, and, in addition, employed advanced have, a “method” superior to all others, varied experience, I still seek to learn, of Interpretation^ Goodrich^"g Pr°CUre “The°ry same time somewhat irritated when I given the readers of The Etude the pupils of these teachers to sit with the children GRAND ARPEGGIOS. for the very simple reason that the and to learn by practical example, not during all their practice hours and supervise their think of the many palpable frauds that impression that teachers are unneces- please tell me what is n means one vocalist might employ to theory. The only opera school in the work and not allow them to spend any of their time arpeggios?” are classed under the head of the “Real sary. This is by no means the case. world is the opera house itself. No practicing incorrectly. Teaching piano playing is reach artistic success would be quite In the Plaidy system of technic there are five Old Italian Method” by inexperienced A good teacher is extremely desirable, school ever “made” a great singer or a not so much teaching as training. The reason why follow the Czerny,° Li d°tii^ eriti n e j: t3 *** * ? ^ different from that which another groups of arpeggios. Each common chord, as they teachers. We cannot depend upon the If you have the good fortune to fall great artist. The most they have done people do not have someone oversee the practicing singer, with an entirely different voice, used to be called, has four notes and is played in past in all cases to meet present con- into the hands of a careful, experienced, has been to lay the foundation. The of their children is that they cannot afford it. Ordi¬ CZERNY’S STUDIES. different throat and different intellect, three positions. For example, C-E-G-C E-G C E ditions. The singers of the olden day intelligent teacher much may be'accom- making of the artist comes later. narily the cost of the lessons is a severe tax without would be obliged to employ. One of and G-C-E-G Playing in this form constituted the to useISwtthr&,hi^v,00L5if Velocity a pood book in Italy were doubtless great, because plished, but the teacher is by no means adding a daily increase to it. Nevertheless, if every the great laws of Nature is the law of first group. The second, third and fourth were but I was not taupht (■ ’L d sonatinas? they possessed naturally fine voices all that is required. The teacher should NOT GIVEN TO ALL TO STUDY SUC¬ child could practice under supervision it would be the sonatinas I,,itC/.«rn? »nt 11 after I had plnved variation; that is, no two children of variants of these positions. The fifth group played ns I have fn„na thouRht possibly I was wrone. and used them in an unaffected, natural be judged by his pupils, and by nothing CESSFULLY WITHOUT A TEACHER. greatly to his or her advantage. It is a long time differently. several who have been taught any parents are ever exactly alike. each of the positions up and down the keyboard manner. In addition to this they were else. No matter what he may claim, In order to do without instruction before any piano student, young or old, is able to Even in the case of twins there is often two or more octaves These latter are called grand “2- H°W 8h0Uld • chain trill be played?” born speaking a tongue favorable to it is invariably the results of his work one must be very peculiarly constituted. walk alone. It is especially so with children. Your a great variation. The great English arpeggios, and should constitute the principal feat beautiful singing, led simple lives and (the pupil’s) which must determine his One must be possessed of the peda¬ pupil may seem dependent now, but she will become ure of your arpeggio practice. philosopher, Darwin, made much of independent all the sooner for your watching; that varying degrees* ofLq* K.uh,au and Clementi are of had opportunities for hearing the great value. Teachers come to me with won- gogical faculty to a marked degree. can be used verv .dl*cult7- Tlle simpliest of them this principle. It is one which all voice is, if you do not permit wrong finger and hand con¬ operas and the great singers unexcelled derful theories and all imaginable kinds One. must have within oneself those Op. 176 while rh n,ce y Wlth the Duvcrnoy Studies, students and teachers should consider, ditions to prevail. Learning to play the piano is a OCTAVES. by those of any other European coun- of methods. I always say to them: qualities for observing and detecting able touTe wi/^t^_difficlt,t. "?«'d be more suit- for although there are, from the nature process that absolutely demands the intelligent ap¬ "Would it be correct to introduce Kullak’s in I-™ try. That they became great through “Show me a good pupil who has been the right means leading to an artistic ductory octaves with Czerny-Liebling. Book I and of things, many foundation principles plication of principles and the close attention that OGSf'hhnrn Rnolr t _’,aua you examined the StudieS' the practice of any set of rules or trained by your methods and I will end which every good teacher pos¬ Czerny in three books? v’ng graded selection of which must remain the same in all no child can possess except after the work of years methods is inconceivable. There were say that you are a good teacher.” sesses. In other words, one must be cases, the differences in individual cases both teacher and pupil. This is a rare The wonder is that they do as well as they do, when adapted to your needs Y°U may find adnuraby great teachers in olden Italy, very great Before our national elections I am Kullak’s octave studies should not be taken , are sufficient to demand the greatest combination, since the power to teach, left so much to their own devices. You may be teachers, and some of them made notes asked, “Which one of the candidates for systematic study before the third grade an! is played shonu/v E sefie9'tipOn which a chain trill keenness of observation, the widest ex¬ to impart instruction, is one that is grateful that you can have the opportunity to .pre¬ upon the means they employed, but I do you believe will make the best Pres-' even then the student should not attempt to Vj perience and an inexhaustible supply given to very few. It is far better to' vent one child from acquiring the wrong habits so lowing note endeJet,retCU/edmeXaCt,y 35 if the fo1' cannot believe that if these teachers ident?” I always reply, “Wait four thenv too far. Octave study needs careful handhno trills in the usual the.tr!] f That the first note of patience upon the part of the teacher. study alone or not at all than with a common with children, and which it is often impos¬ notes at the end "janhW,' tHtfHthe two termination were living to-day they would insist years and I will pass my opinion upon The best and most complete text-book treatment o poor teacher. The teacher’s responsi¬ sible to undo in later years. Please understand, I am not decrying upon their ideas being applied to each the ability of the candidate the people octave study you will find in Mason’s “Touch an ever, continues tmZ't ^ ^ M aT the use of books of exercises such as OnA inrtiurlr1ii.it 1- the same select.» 1,^ ^ bility, particularly in the case of vocal chain is finished 8 the Same man,’er until the those of Concone, Marchesi, Regine, students, is very great. So very much the pudding is in the eating.” depends upon it. A poor teacher can THE ETUDE 55 54 THE ETUDE TWO SUGGESTIVE DIALOGUES, GOOD SONGS. P.: You mean that I should meet be received at all, and the exception¬ CAN ANYONE SING? do incalculable damage. By poor GREAT VOICES ARE RARE. „„lv in the realms of Dreamland more musical people there than in ally talented person is bound to forge teachers I refer particularly to those BV S. MES1CK. There are two classes of people who One may be sure that in these days America? ahead and be successful, no matter who are carried away by idiotic theories few, if any, great voices go undiscov¬ feel quite sure that they cannot sing. cultivate our own T.: In a way, yes; but, further than what his environment and advantages. A Tonic and quack methods. We learn to sing ered. A remarkable natural voice is so It behoovesI iRJ P We submit here two conversations be. First, people who have never tried, and that, it is deplorable, but nevertheless P.: But surely, if, as you say, the rare that some one is sure to notice it and to strive to cultivate the taste tween teachers and their pupils. The second, those who have tried too much, Horsford’s Acid Phosphate taken when by singing—not by carrying bricks national conservatories are so inac¬ and bring it to the attention of mu¬ of our pupils. This is not so easy to do show clearly both points of view 0( [ true, that here a singer must take her “not wisely but too well”—those who you feel all played out, can’t sleep, and upon our chests or resorting to other cessible, there must be many good sicians. The trouble is that so many, as it is to write it down. Artistically subject much discussed at present, and rank, even in her student days, accord¬ have suffered many things of many have no appetite, refreshes, invigor¬ ridiculous vocal antics. Consequently ing to our notoriously commercial teachers who are wilting to accept for¬ I say, it is far better to go all through many people are so painfully deluded speaking, the world may bedivM^ every successful teacher finds himself music masters. ates and imparts new life and energy. two classes: those people who have taste standard. The question is never: Is eign pupils. Now, to anyone with a clear idea of life with a natural or “green” voice than regarding their voices. I have had compelled to face the problem occasion- and those who haven’t. The very least there here the making of an artist, and T.: Indeed, it is only necessary to the physiology of the vocal act it must to undergo the vocal torture that is them come to me with voices that are ally i his experience. The ar8uments obviously execrable, and still remain we can do, however, is to keep as distant shall this woman be encouraged and look in the advertising columns of our be patent that any man, woman or sometimes palmed off on the public as that follow should aid such teachers, by unconvinced when I have told them as possible from the contamination ot helped for the sake of what she may musical papers to get an idea of the child who is not diseased or deformed voice teaching. At best, all the greatest strengthening their conviction in either what seemed to me the truth. This premise. be fifteen years from now? But it is numbers of teachers who stand ready can learn to sing. Singing is the most BROWN’S teacher living can do is to put the artist trashy songs. . business of hearing would-be' singers is The list of really worthy songs is, alas, always: Is she to-day worth five dol¬ to accept the far-famed American gold natural act in the world—simply audible Bronchial Troches in the right track, and this in itself is in return for so many roles taught, and an unprofitable and an uncomfortable extremely limited. It is our duty to make FIRST TEACHER AND PUPIL. lars or a thousand per evening? In. breathing, “only this and nothing more.” responsibility enough for one man or one. and most artists try to avoid the ourselves thoroughly acquainted with Europe, on the contrary, not the sing¬ for instruction in such-and-such a mar¬ Anyone can learn to sing. How well one woman to assume. ordeal, although they are always very these—to return to them again and again , Teacher: This morning I would like ing-teacher alone but the great mass velous vocal method, but it is not easy he or she can learn to sing is another glad to encourage real talent. Most likewise is it our business to lead our to talk to you about a matter which I of the laity are so appreciative of for the young and inexperienced pupil matter. That depends upon many SINGERS MAKE THEIR OWN METHODS. young singers, however, have little pupils to a proper appreciation of the have been thinking of for some time talent even in the making that they are to make the best choice among this be¬ things—physical and temperamental. As we have already said, most every more than the bare ambition to sing, best song music. Pupil: I am all attention, sir; I glad to encourage and even listen to wildering array, and a wrong first step Very often the most hopeless and un¬ singer makes a method unto himself. It coupled with what can only be de¬ The singing teacher’s studio is deluged only fear you are displeased about isy such aspirants for future laurels. is fatal. promising students have turned out to is all the same in the end. The Chinese scribed by the American term, “a at intervals by a flood of “complimentary progress. Though they see the imperfections P.: But you cannot deny that the be brilliant and artistic singers. may, for instance, have one name for swelled head.” Some one has told them new sheet music—the great bulk of T.: Just on the contrary. Are your clearly they are discerning enough to successful singers of to-day are practi¬ As for the much taught student, God, the Persians another, the Moham¬ that they are wonderfully gifted and which is beneath all criticism. people deeply in sympathy with you realize the gradual rise of a singer’s cally all of foreign training. hopeless and cynical, he is a hard case, medans another, and the people of persons of this kind are most always Why cannot our half-dozen or more in your work? ability and are willing to graduate a T.: Yes; but each year is giving to I admit, but in his case it is only neces¬ ready to swallow flattery indiscrimi¬ Christian nations another. But the foremost English and American com¬ P.: I think so; yes. student into the artist ranks at the our American public a little more in¬ sary to go back to first principles. He nately. Almost every one, apparently, God principle and the worship principle posers favor us with a greater output of T.: Enough so to be willing to give earliest point when they can sincerely clination to dispense with the necessity must be shown the fundamentals, how wants to go in opera nowadays. To meritorious songs? There is a crying for a long list of foreign credentials in are the same with all. It is very similar you the advantage of a two or three do so. to stand, to walk, to relax. He must singers who have not any chance what¬ need of fine “Licder,” composed by first- connection with a singer’s claim to in singing. The means that apply to years’ course of study abroad? P.: Theoretically I appreciate nil be taught to stop thinking about ever I .have only to say that the sooner class musicians, to good English texts. recognition. Pride in the achievements breathing and to breathe, to stop think¬ my own case may apparently be dif¬ P.: I think so, if they thought it that you say, but, practically, would it this is discovered the better. Far better We are waiting for them—for the not be a hazardous undertaking for of exclusively American trained singers ing about singing—and to sing. He ferent from those of another, but we would be a real advantage. They have put your money in bank and let com¬ winged messages that shall announce to is certainly pardonable, and press must be given confidence, so that he are all seeking to produce beautiful me to start out after a career in a pound interest do what your voice can- ,us the dawn of a new song era; we are several times broached the subject to agents are realizing the advertising will be able to trust his body to do its tones and interpret the meaning of the country of which I have little knowl¬ longing for new songs, set to original me, but I felt that I was making good value of this rare qualification and its work of tone making without con¬ Graded Studies in Sight=Singing composer properly. edge and where I have few friends? English texts—songs breathing depth of progress with you and that it should T.: Your ability to cope with just appeal to the public sense of patriotism. stantly interfering with it by self-con¬ By GUSTAV VIEHL, Price, 75c One thing, however, the student Singers cannot afford to do without this book ARE YOU SURE? emotion, sublimity of inspiration and of by no means be interrupted at present. this kind of problem will determine, P.: Then you think that in time no sciousness. If anybody wants to sing should seek to possess above all things, impeccable workmanship—songs in which T-: Do they have confidence in to a great extent, the success of your American student will feel any neces¬ he may take to his soul the comforting approvedPPEDAGOGICAL PRltfcVpLEs! and this is a thorough foundation train¬ Are you sure that in the interval be¬ Convince yourself by sending for a copy. the true poet and the capable composer your judgment of your own prospects? career. The farther you go in your sity to go abroad to perfect himself assurance that anybody can sing. LUCKHARDT and BELDER, 10 East 17tli Street, New York ing in music itself. This can not begin tween taking breath and using it you clasp hands. Until they come we English P.: I think they have so much con¬ professional life the greater will be for American audiences? too early. In my own home we have hold the breath at the diaphragm and and American singing teachers shall have not at the throat? fidence in your influence upon my your necessity to attract both profes¬ T.: It is a question in my mind now always had music. My children have to content ourselves with the great treas¬ GOING ABROAD. judgment that they have dropped the sional and social support, and you whether in the last analysis more stu¬ always heard singing and playing, and Let us consider the tongue. Are ure of German Licder, resignedly sub- you sure that it is always flexibly matter. should rather welcome the chance to dents go abroad because they feel it BY C. A. FISHER. consequently they become critical at a mittirg to such translations as we can C.B. HAWLEY quiet when you sing? That the tip is exercise your power of calling upon necessary in order to learn to sing, or very early age. Thus it is that my son, obtain, except for the wofully few in¬ T.: It is the very purpose of this not contracted? That it is not unduly all your resources that can be of help because the novelty of the experience Go abroad as often as your means and Vocal Teacher, Composer Christopher, is now able to take leading stances of masterful, singable English conversation to influence yea to give depressed at the back? That there is to you than look upon it as a source appeals to them; whether, if con¬ your time will permit; there is much to baritone roles, although he has had renderings, such as the admirable tran - the subject serious and careful thought. and Conductor no tremor in the multitude of delicate of doubtful advantage. vinced that equal advantages could be he learned by travel—temperately and only one year’s actual direct instruc- lations by the late John S. Dwight of p.: I am sure that I have thought muscles which control its movements? P.: I am very grateful to you for gained from American and European thoughtfully indulged in. some of the texts set by Robert Franz. over the situation. During the last study, nine students out of ten would Advise your pupils to go abroad. Do STUDIO I cannot help repeating my advice to Contraction of the tongue will disturb presenting this subject in an aspect so The practice now generally prevalent two years that I have been with you not decide in favor of the latter. But all you can for them, especially for the 35 West 42nd Street, New York students who hope to find a vocal edu¬ the poise of the vocal apparatus and uninfluenced by personal considera¬ of singing such songs in the original text my voice has improved steadily in size are its respective advantages equal? Is highly talented, and, if necessary, when Telephone 5442llry ant cation in books or by the even more effectually disguise the natural quality tion. I shall think the matter over is well enough for the singer and excel¬ it as easy to concentrate one’s atten¬ ridiculous correspondence method. of the voice. and quality. I sing with more coni',- more seriously and shall hope to come the proper time comes commend them to lent schooling for our pupils, but, unless tion on his art when he must continu¬ In Philadelphia Tuesdays and Fridays Books may set one’s mental machinery Again, are you sure that you drop dence every day and I am sure that in to a decision in which we shall per¬ some good teacher in the East or in translated, all of these rare pearls of ally be struggling with the difficulties in motion and incite one to observe the jaw flexibly and to the right degree my public appearances I am better ap¬ fectly accord. Europe, under whose care they may he 1524 Chestnut Street foreign song will forever remain lustre¬ of a new language, adjusting himself singers more closely, but teach they for the vowels e (as in be), a (as in preciated than I was even six months sure. of further improvement. bay), a (as in bad)? If not, those less when sung to audiences unfamiliar to new conditions of living, and, if Don’t advise them to go abroad until cannot and never can. The sound re¬ ago, and, as I have no cause for dissat¬ SECOND TEACHER AND PUPIL. vowels must be “made,” and in the with the tongue in which the verses were money is at all a consideration, coping they have acquired a fair working knowl¬ producing machines are of assistance conceived. isfaction, I see no reason for chang¬ making the voice will be shorn of its Pupil: I would like to ask your ad¬ with the notorious tendency to over¬ edge of the language of the country to in helping the student to understand ing my present course. beauty. vice this morning on a matter of vital charge Americans. This alluring glamour which they are going. the breathing, phrasing, etc., but there T.: Your progress during the last is nothing really to take the place of Again, are you sure that your jaw importance to me, and on which I of idealized conditions, which so handi¬ CARUSO ON KEEPING TIME. two years has been so great that I the living singer who can illustrate with and mouth corners move flexibly and think I should consult you before de¬ caps the work of conscientious Amer¬ his voice the niceties of placing and to the right degree for the vowels it “There are many singers who can¬ have definitely planned a career for ciding definitely. ican teachers, has been met by many timbre. (as in due), o (as in go), a (as in balk)? not or will not count the time prop¬ you. It is the very fact that you are Teacher: I shall be very glad to be of them by an attempt to reach their My advice to the voice students of If not, they will be “made” and beauty erly. There are those who sing with¬ satisfied with your progress here and of any help to you, particularly if it is pupils on foreign soil, and the almost of voice will disappear by magic. out method, who do not fit their ONE CENT America is to hear great singers. Hear your ability to give so much pleasure along the line of your musical work. universal success of their ventures them as many times as possible, and In short, rigidity of any part of the breathing, which is really the regulator that compels me to realize that you P.: For some time I have been turn¬ proves the soundness of this hypoth- vocal apparatus, or (most important of of vocal performance, to the right consider the money invested as well must get out into the larger field ing over in my mind the feasibility of Spent for a postal card directed placed as any you might spend in vocal all) an improper attitude of mind, will periods and who consequently are P.: But do you not think that the going abroad to study for a year or to THE ETUDE will put you instruction. The golden magnet, as well not only mar the beauty of the voice never in time. They make all kinds of findre SUCh Satisfaction is harder 10 two. My point is not at all that I am artistic atmosphere has something to as the opportunities in other ways, of¬ but will often cause a really beautiful rallentandos where they are not neces¬ do with their greater success there on track of pleasant and profit¬ p.. would advise me then to dissatisfied with my work with you. I fered artists in America has attracted voice to sound unpleasantly. sary to gain time to recover the breath greatly appreciate all that you have than here? able work, among the very best the greatest singers of our time to this “But,” you reply, “how complex! that they have not taken when they ab^n?t0 g° a*,road as soon as practic- done for me, and feel that I have T.: Only as the popular superstition people of your town or city. country. It is no longer necessary to How difficult! How can all these should. It is not enough to give the gained greatly in my work, but this has magnified the word “atmosphere.” This offer is open to girls, boys, muscles be made to act correctly?” notes them fuH value. The rests, above TV ^es> for though it is always a go abroad to listen to great singers. opportunity for foreign study has pre¬ One might almost be led to think men and women whose honesty In no country of the world is opera Perhaps you will even ask some friend all, should be carefully observed in sacrifice for a teacher to lose so faith- sented itself and it seems to me that sometimes that art was a chemical will bevouched for by some One given with more lavish expenditure of of yours who sings and has always order to have sufficient opportunity to ul and intelligent a pupil as you have my voice is of sufficient value to make component of the air in certain sec¬ business man who knows you. money than in America. The great sung beautifully how it is possible to get a good breath and prepare for the Proved yourself to be. my hopes arc it worth while to avail myself of it. think of all these things, and sing with tions of the world, and that if we went You need only put in part of singers are now by no means confining next phrase. It is this exactitude that so strong for what the future may have T.: Have you gone into the matter their efforts to the large Eastern cities. feeling. He or she will probably reply, gives certainty to one’s rendition and there we might breathe it in through your time for us, if unable to in store for you that I prefer the sac- far enough to have come to any de¬ Many of them make regular tours of “Why, I never give a thought to such authority m singing—something many the lungs, but when we studiously com¬ give us all your time. After nfice of a good pupil to the retardation cision as to a teacher or place of the country, and students in all parts matters, but simply breathe and sing artists do not possess. A singer may pare the results of similar environ¬ °r a fine career. study? study or working hours will do of this land are offered splendid oppor¬ naturally.” In this answer lies the key make all the efforts he desires and still ments we realize that the home of art P.: Not definitely, but I thought us. The more hours you put tunities for self-help through the means to the whole problem. keep the time—and he must ke-p t P.. Why do you prefer Europe to is not in Paris or Milan or Leipsic, but probably the most practical way would in for us the more money you of concerts and musical festivals. It is natural and easy to sing correctly one of our larger American cities? in the brains of the artist. be to enter one of the national con¬ After all, the most important thing for and unnatural and difficult to sing incor¬ Sgffismg m £time. Theym give-St feverv,0lld^ thought rarely •• Putting aside the admittedly will earn. It’s an easy matter servatories. I have always heard them P.: Then I am to understand that any singer is the development of the rectly. When you were three years old to the volume of tone thev arP „ arger opportunity for purely mental to add 10 or 20 dollars a w.ek mentioned as affording the best instruc- you think I should be satisfied with my critical sense. Blind imitation is, of your tone production was in all probabil¬ ing. and do not bother themTl""' growth in an atmo.sphere so very dif- present conditions, and that an attempt to your income. Send the post course, bad, but how is the student to ity absolutely correct. All your faults about anything else. The right accents erent from your home environment, to better them would be of at least card before some one else is ap¬ progress unless he has had an oppor¬ have been acquired by great effort con¬ T.: I see that you have not investi¬ m music depend very much on the and the advantages of familiarity with doubtful success? pointed in your territory. tunity to hear the best singers of the tinued through a long period of time. gated the situation seriously. The na¬ day? In my youth I heard continually me languages and of general culture tional conservatories do, as you say, T.: It is not my desire to unduly making'air their)'desh-etdS‘efferts'’11n such artists as Lasalle, Gayarre, Patti. sp indispensable to a well-rounded provide the best available instruction, influence you in your decision, but I do Address Dept. A "The preservation of my voice I at¬ De Reszke and others. How could I singer, the attitude toward the purely but there are such strong governmental wish you to view the question in all its tribute to never having sung when tired, nlttis delrr- help profiting by such excellent experi¬ musical side of your work which yon restrictions in the admittance of for¬ aspects, and if I have been able to put THE ETUDE ences? or ever straining for high tones.”— eigners to these institutions that one Adelina Patti. would encounter there is so different it in any new light I shall be happy, 1712 Chestnut St., Philadelphia, Pa. imitated. The Gentlewoman ° b° rom the American attitude as to de¬ must have very exceptional talents to serve consideration. when addressing our TH E ETUDE 57 56 THE ETUDE “In Milan, in the churches of San Carlo and San Lorenzo, in the Con¬ Italy? In case of such a school what dress of the women. The effort at dis¬ tendency. At present this servatory and in the Andreati popular would be its chief characteristics?” play of striking hats and dresses is “I do believe such an undertaking the case, thanks to Marco Ennco Bosm, concerts; then at Como, after I had often disgusting. If all singers had possible, particularly in Bologna; and a great master and an eminent exectt^ had the organs in the cathedral recon¬ really good taste in dress to begin CHURCH ORGANS when the moral and material future of tant who unites all the glfts _4truiy structed so that I was enabled to carry with, and then had some sense of the When in the market for an organ do not fail to consult us, as we to make the music of the organ truly the organist would be more attractive fitness of clothes to time and place, out my theories in a practical manner. can give you the best possible value for the money. and his post better remunerated, I be¬ this discussion would be uncalled for. On especial festival occasions cele¬ We invite careful investigation of the many advantages afforded ^was born at Salo, April l 25, 1861, lieve not only in its possibility, but that But really good taste is not given to brated masters like Bazzini, Gomes, by our Universal Air Chest System in the manner of accessibility and when but seven years old already it will draw students capable of giving all persons, even when they are dow¬ Puccini, Cagnoni and many others came played the organ under the gu'dance serious and practical results. Its prin¬ ered with personal beauty. To see the and superb tonal qualities. to hear me; they were truly memorable of his father, Pietro, Bossi, who was cipal characteristics should be clear¬ choir loft turned into a milliner’s show¬ Write for descriptive book “A” fully explaining our system and events.” organist at Morbegno, in yal£elh” ' ness, richness and variety of color; case, filled with filmy creations in lace giving a list of organs built by us. “No doubt, on your tours,” I re¬ Like the great family of the Bachs, the austerity in the church style, nobility or gorgeous with bright ribbons and Bossi family appear to have been musi¬ marked, “you learned many novelties and warmth in the concert style; no velvets or gay with immense ostrich AUSTIN ORGAN CO. Hartford, Conn. cians in general and organists in par¬ in technic; for at that time the art of exclusion of any school or composers, plumes, is not conducive to devoutness. ticular. In 1775 a Carlo Bossi was an organ playing in our country was by whether ancient or modern, but the ex¬ The easiest way out of this difficulty organ player at Pizzighettone, and his no means in a flourishing condition. clusion only of poor music; by prefer¬ is to have a heart-to-heart talk with Organ Music In Italy To-Day son Paolo, grandfather of Marco En¬ the ladies of the choir and create a GRAND HIGHEST AWARD of What impression did these innovations ence, the cultivation of the school of IN CHAPELS rico, was also an organist. Even now make in Italy?” sentiment against all gay apparel. Written expressly (or “The Etude" Frescobaldi and Bach; the limitation of and small churches the problem of the Alaska-Yukon-Pacific the family tradition holds good; the “I did not acquire technic outside of There should be a general agreement brother of our Bossi is organist m the improvisation to preludes, postludes musical equipment is solved by the By PROF. FRANCESCO VATIELLI Italy,” he returned; “I formulated it to wear only the most modest styles Exposition has been given cathedral chapel at Milan, and his son and interludes required by the exigen¬ and quiet colors. Professor of Musical History at the Conservatory of Bologna Rinaldo Renzo, though still very young, myself and then conquered it, but I cies of divine service.” to the will not deny that the impression made is widely known as a virtuoso, a com¬ (Translated by F. S. Law.) RATED CHOIRS. poser and an orchestral conductor. in Italy was extraordinary—especially it writers upon musical subjects It ,t the present time.] At the age of ten Marco Enrico Bossi in a concert I gave for the Societa del Another and more certain way is to KINETIC Quartetto.” adopt a uniform for the women, or for entered the Liceo Communale at Bo¬ THE CHOIR IN PUBLIC SERVICE. tions and improvements into their in¬ logna, of which he is now .director, and “In your opinion, in what European both men and women. This may be the conventional cotta and cassock and Organs ORGAN struments. It is also true that the studied the piano; at twelve he went country is the organ esteemed most Perhaps the most offensive phase of great organ compositions of the masters to Milan and was admitted to the highly? Where did you give the great¬ the work of most choirs is the dis¬ “mortar-board” hat, or some other which afford in a small space, and at a equally appropriate garb. Here, again, smad price, many advantages over the were not studied in the institutes, Royal Conservatory, where he contin¬ est number of concerts, and where did organized, irreverent way in which BLOWER there is danger of striking sharp large pipe organ. neither did they form part of their ex¬ ued his study of the piano and took up it seem to you that classical organ singers come into the choir loft. Chat¬ prejudices and doing more harm than Their perfect voicing, depth and aminations. About 1870 Cavaliere van composition and the organ. He de¬ music is most enjoyed?” tering, giggling, laughing, they come for its ability to en- good. A quartet the writer saw in the balance of orchestral effect, sonority of Elewych was sent by the Government voted himself with such energy and “The organ stands in higher honor in, one by' one or in groups, take off tone, mechanical perfection and artistic hance the tonality of any West recently was so garbed, while of Belgium to inquire into the status of ardor to these branches that in 1879 in England than in any other country,'' their wraps in a more or less ungrace¬ appearance, are a few of the points of the preacher was in ordinary sack coat. music and musical Institutions in Italy. he graduated as pianist, and two years he replied. “There organists abound ful, distressing way, and then lounge superiority by which they are peculiarly It is readily applied to old The effect was very. bad. If the choir In his official report, De I’etat actuel de later received a diploma in composition. on every side, and the organs are de¬ about, still continuing their chatter and adapted to the requirements of the small is in ecclesiastical raiment, the min¬ congregation. organs, thereby increasing their But after he had heard Saint-Saens play lightful in tone and exquisite in work¬ hilarity. There is no apparent sense la musique en Italie, he wrote as fol¬ ister should be also. The whole ques¬ volume and brilliancy. lows: “It is a fact that all the im¬ the organ, first in Milan and afterward manship. 'I have, however, played the of the meaning of the service in which Catalogue with complete description tion is one of local situation and portant churches, from the north to in Paris and London, as well as the most frequently in Germany, where they are about to engage, no prepara¬ sentiment, and not of rigid rule. Some Write for the south of the peninsula, possess greatest organists of the day—Stainer, classical music is highly appreciated. tion of mind and feeling to serve in MASON & HAMLEN CO. churches can go the whole length with only organs of antique workmanship, But I must say that in Italy, too, organ it worthily and successfully. The Descriptive Catalog Martin, Bridge and Best—he was per¬ only good results; other must take the BOSTON, MASS. and that the clergy, as well as their recitals of classical music are in great wrong key-note is struck at the very suaded of the uselessness of continuing quiet course of the first suggestion.— congregations, are ignorant of the beginning, and it is difficult to get into the study of the organ in an institution favor, and I am sure that this art will The Choir Leader. KINETIC ENGINEERING progress made in that respect beyond where there was no knowledge of the the proper devotional frame of mind. Lemn'iens, who both in rise in importance with us. Its recent the Alps.” construction of the instrument, nor of That the congregation is coming COMPANY and in France was the acknowledged mas¬ revival is due in part to the reestablish¬ Though it is only a few decades since the methods of study necessary to. form into the room in the same secular and Estey Church Organs ter of organ playing in his day. Saint- ment of sacred music in the polyphonic organ music in Italy was in such a con¬ a thoroughly prepared organist. He undignified spirit is no excuse—that Baltimore Ave. 6 57th St., Phila., Pa. Saens gave several concerts in Milan at style, which put an end to abuses which dition, at present our glorious peninsula therefore gave up all attempt to pass an had lasted too long in church music.” only lays the duty of reverence upon ESTEY STANDARD MAINTAINED the Conservatory, bringing out a number of has not only reached the standard of examination in organ playing, prefer¬ the conscience of the choir singers Selected Readings for the Church Serv¬ MAXIMUM FACILITIES his instrumental works, in which style of “Whom do you consider the greatest _ _ BUILDERS OF her sister nations in this field, but ring to do without a diploma that had more heavily. The primary purpose of ice, with choir responses arranged by HIGHEST GRADE OF PRODUCT composition he had made a name for him¬ organists now living in foreign coun¬ occupies the most advanced position, no real value. a choir is to produce a devotional state James M. Ludlow; with music by PIONEERS AND LEADERS ALWAYS kimWll self in early youth. It happened that at tries, and what are the characteristics of mind in the congregation, ostensibly Samuel P. Warren. Published by A. S. Pipe Organs whether as regards executants and At the time he graduated in com¬ of their art?” the end of one of these concerts he was composers or from the standpoint of by its music, of course, but also by its Barnes & Co. Price, 50 cents. COMPANY For Churches, Audi- position, 1881, he won a prize with an “The list is not a short one," he asked to play something of his own construction. What is the reason of conduct. Few choirs realize how A very effective arrangement of CHICAGO . ILL. toriums and Residences opera in one act, Paquita, which was answered. “In France I should name on the organ that stood in the hall of this sudden and gratifying develop¬ shocking their entrance is to a properly Scriptural readings, interspersed with Hundreds of Kimball Pipe Organs have been performed with great success at the Saint-Saens, Widor, Guilmant, Gigout, built in prominent churches throughout the institution. Knowing his great rep¬ ment? Certain it is that it was in no devout mind. They come in thought¬ occasional short musical passages, in¬ the United States Milan Conservatory. It is worth re- de la Tombelle; in Germany, Reger, Estey Organ Co., Brattleboro, Vt. utation as an organist, great expecta¬ small measure due to the great stir S0>idiiigjhat on this occasion Giacomo lessly, not yet realizing the fitness of tended for non-liturgical churches PLANS, ESTIMATES, ETC., FURNISHED Straube, de Lange, Pfannstiehl; in ON APPLICATION tions were entertained by those present, occasioned by the incident mentioned Puceini, now famous for his Italian time and place. They have no thought which have desired some addition to Sweden, Hiigg; in Finland, Merikanto; Prices from $1,500 to $100,000 but what was their surprise when he in the beginning of this article; then melodramatic operas, and then a good of being secular and frivolous; they their service of worship which, while in Switzerland, Hess, Barblan and declined on the ground that the instru¬ to the daily increasing knowledge of friend of .Bossi’s, sang in the chorus simply continue the attitude of the out¬ thoroughly artistic, shall at the same H. HALL & COMPANY Brietenbach; in England, Lemarc, Alan time be simple and devotional. ment, then possessing only a few the compositions of foreign classical When scarcely twenty Bossi received side world out of which they come. New Haven, Conn. Gray, Parratt, Alcock. As to general divided stops and a pedal-board lack¬ masters. It must be remembered that the appointment of choirmaster and MAKERS OP MODERN characteristics, I found in England a AVOIDING CONVERSATION. Church Organs ing no less than twelve essential tones, in Italy the organ at that time was organist in the cathedral of Como, and LATEST IMPROVEMENTS solid technic, but a very questionable PIPE ORGANS was not equal to the exigencies of generally considered only in the light during the eight years that he filled The best way to overcome this diffi¬ LYON & HEALY’S Distinguished for Artistic Voicing taste; in Germany, a technic rather BOSTON NEW YORK PHILADELPHIA modern music. However, possibly of an instrument calculated to accom¬ this position he succeeded in recon¬ culty is to march in as a body, gather¬ coarse, a heavy registration and massive GOOD CHURCH CHICAGO LOUISVILLE DALLAS yielding to the persuasions of those pany the canticles and ceremonies of structing the organs of the cathedral ing in a small room below or in the music with but little delicacy of color- who urged him; possibly to relieve the the Roman Catholic cult. One must according to modern ideas. This al¬ rear, or even in the back pews of the Main Office & Works acknowledge that the music commonly mg; in Switzerland, on the contrary, a unpleasanlr impression made by his lowed him to devote himself to the auditorium itself. Marching into place Pipe Organs of Highest Grade Only ook heard on these occasions in cathedrals coloring effective, but not always in H severe but truthful verdict, he played, study of his chosen instrument with all in this formal way, few singers will ORGANS ASTINQS Co. and churches was better fitted to at¬ good taste; in France, souglit-out At Reasonable Prices Our Instruments comprise all features which without using the pedals, the fifth pre¬ the enthusiasm of an Italian and the care to continue the badinage and light Fair Prices. Established 1827. All Sires. tract the public by its want of solemnity effects, a quasi-orchestral style, and are of real value. Many years of practical lude and fugue from The Well Temp¬ tenacity of a German; thus he owes his conversation in which they had per¬ experience. write for specifications. and by its resemblance to secular func¬ music rather frivolous. As to the char¬ ered Clavichord. universally recognized ability to him¬ haps been indulging. Shall the sing¬ tions of a choreographic nature than to EMMONS HOWARD Westfield, Mass. NEW ORGAN MUSIC self; he can call himself a self-taught acteristics of other nationalities I am ers, as they thus march into place, sing Illustrated cataloit free. StjlM from |10O to $500. Pay- This incident, that at the time as¬ inspire the souls of the faithful with master m the true sense of the term not informed.” a processional? That depends on the For the New Year sumed the proportions of an artistic "rinePrrol0dlnV T olians" #87.50: Pine Parlor sentiments of piety and self-denial. To make my account of the condition Who are the best manufacturers of size of the choir, their ability to sing Organa #45.00; Good Second-Hand Orcaiis at scandal, must have astonished foreign¬ There was no conception of the organ °rgans in Italy?” I inquired. while marching, the location of sup¬ Ou?°; of organ playmg in Italy more com- LYON & HEALY, 35 Adams St., Chicago In all in publica- ers not a little; they could hardly be¬ as a concert instrument; the great First of all, the firm of Vegezzi & porting instruments. Still more it de¬ Uons are a tew one-page pieces, lieve that such a retrogression should traditions of a Frescobaldi seemed lost; Thad^fth- rCam an interview which ossi, in Turin; then Mascioni, of pends on the spirit of the service. If casional ff sdeC^°nS’ *>mcj£UT-P*V* numbers, and an oc- they had passed into Germany, where Lf f 1 IS "Ubject with Bossi him¬ have taken place in a country where for self to the readers of The Etude. He r xt°: Tamburin>. of Crema; Mestasti, It is liturgical in character, use a pro¬ QUR organ publications aim to please the average per- a giant mind further developed and so many years music had held undis¬ had recently returned from a series of of Novara; Bernasconi, of Varese, etc. cessional by all means. If it is a popu¬ GEO. KILGEN & SON son in the p^w rather than the erudite organist. Yet continued them. Foreign masters in they are thoroughly scholarly, also churchly and dig ified. puted predominance. The Italians them¬ highly successful organ recitals in vari several of these export their instru¬ lar, unconventional service, if there is Our music shows scholarship of lh< pleasing, dainty, grace- general admired and imitated this tra¬ selves had never dreamed of being ous countries of northern Europe ments, especially to South America. prejudice against liturgical forms, if Pipe Organ Builders f”i - •’ forced, bizarre, and harsh. ditional style; the Italians appeared t« SX. LOUIS, MO. E. ^have a corps of able Ar obliged to submit to so bitter a morti¬ These had been a succession of artistic e progress made by our organ build- there is a bigoted element in the con¬ lose all interest in it. fication in a place where such organ triumphs—triumphs to which 1 ers during the last twenty years has gregation opposing such an exercise as Ira B Wilson, and E. S. Lorenz, The renaissance of organ music in A NEW EASTER CANTATA Weals< attractive from European sources. builders as the Antegnati, Da Prato accustomed and to whfch he has T" Romish on the one hand or as theatrical Italy is of recent date, though to be Pl'ti,t r jnto a co,,dition to compete FOR CHOIRS ; mention especially the ma and Serasso had made themselves accustomed his numerous admirers bm wi foreign manufacturers—and not on the other, better dispense with the id reed ( sure during the last two decades of the famous. Two causes had led to this dis¬ which have never disturbed the assidu my that, but to surpass them in cer- processional hymn. Personally, the LIGHT OUT OF DARKNESS nineteenth century there were some writer likes it, and be’ieves he could me. The American Organ,” strictly for - tressing result: First, the almost com¬ ous and constant study of his art. pomts, notably in quality of tone. A RECENT REVOLUTION By ADAM GEIBEL the pedal part being on a separate staff (32 fine executants, e. g., Petrali and get good devotional values out of it in each issue, 6 numbers a year at S$1.50ay1 cft plete ignorance then prevalent of the Certainly, maestro,” I sa;.j T . e °^an b«>lt by Mascioni, in the IN ORGAN BUILDING Capocci; but, in our opinion, not of any church; but there is not suffi¬ 50 c^nts each, subject to discount great classical organ music of other concerts you have thus far given t-tceo Musicale at Pesaro, and the one aiOmsn.Not-t such merit as to admit of comparison cient value in it anywhere to warrant nations, and of the Bach style in par¬ Italy and in other countries museum y Vegezzi & Bossi that will soon be &&***'" with the virtuosi beyond the Alps. church strife and dissension. her several hundred altogether maugurated in Bologna, may be consid- ADAM GEIBEL MUSIC CO. ticular; second, the neglect of organ This, however, was not by reason of a Another distracting element in the whatahes did you give your first con" ered the finest in our country.” builders to introduce modern inven¬ deficiency of technic, but through the public appearance of the choir is the o y°« believe it possible to found great school of organ playing in ETUDE when addressing oi THE ETUDE 59 58 THE ETUDE be worth $20,000,000 at $10,000 each. His but between 1640 etui violins are somewhat variable in tone, as genius. He only worked twenty-five his experiments did not always turn out years, so his violins are somewhat scarce. well. In some of them he made the tops His violins are eagerly sought for by TWO VIOLINS AND PIANO too "thin, thus spoiling the tone. ROOT VIOLINS artists, many of whom prefer them to all A selected list of imported music His best violins have never been sur¬ HE VERY others. Paganini’s favorite violin was a r for the above combination of instru¬ passed. Many of the world’s most noted BEST made Guarnerius, with which he did his sensa¬ ments, including the most used stand- violinists have played on "Strads,” nota¬ .n this country ard and classical compositions. Sent tional solo work. who carried the Cremona violin to bly Pugnani, Lafont, Viotti, Balliot, Hab- L. S. I.—Bass bars vary in length today. Inbeauty on sale and subject to the usual large ultimate perfection. eneck. Rode, Spohr, Ernst, Joachim, Sara- Other notable violin makers of Italy cording to the model of the violin and of construction discount given on our own sheet music were Tomasso Balestrieri, of Cremona publications. THE PERFECT INSTRUMENT. sate, Remenyi, Wilhelmj, Kubelik, Nor- the ideas of the makers. A well-known man-Neruda, Marsick, Ludwig, Mac- and Mantua; Carlo Bergonzi, of Cremona, American violin maker makes his bars Aubrey, Sympathy .$0.90 The “greatest in the world 1S * the best pupil of Stradivarius; the Galiano Bachmann, Sorrento Mazurka.... 1.15 millen, Elman and many others. V/2 inches long, 7/16 of an inch deep, lasting service Bobrn, Prelude.75 much-abused phrase, but there 13 family, who worked mostly in Naples; the and J4 °f an inch thick, and these dimen¬ —ROOT VIOLINS reach “violin perfec- Loure .75 doubt that it is apphcaWe to Stradi JOACHIM ON THE “STRAD.” G'uadagnini family, all eminent makers, in Canon .75 sions would no doubt prove a fair aver¬ In Fugue style .75 ence, and which have always been varius. He is universally One of the most remarkable tributes Cremona; Montagna, in Venice; Ruggeri, age. The bar, of course, tapers at each We guarantee and stand back of A la Mazurka.75 THE VIOLIN ART IN ITALY. have been the greatest violin maker highly prized by artists. The great ever paid to the violins of Stradivarius of Cremona; Serafino, of Venice; Stori- end. The bar is glued on the inner sur¬ ROOT VIOLINS. You run no risk. Serenade .75 who ever lived. He was born m 1644 Ample tine tor trial allowed. Sold Gondoliera.75 STRADIVARIUS AND PAGANINI. violinist, De Beriot, used a Maggini was that of Dr. Joseph Joachim, the late oni, the last of the great Cremona makers; face of the belly of the violin, running Invention .75 and died in 1737, at the age of ninetyr on easy payments if required. Partic¬ violin for many years. eminent violinist, who said: “While the Testore, of Milan, and many others. in the same direction as the strings, be¬ Alla Marcia .75 Stradivarius and Paganini! Italy's three. A pupil of Nicolo Amati, he ulars and finely illustrated Catalogue In Sonata style.75' gift to the art of violin playing; the It was in Cremona, a town of medium violins of Maggini are remarkable for low the G string. sent on application. Intermezzo . 75 size, in the midst of a rich agricultural still had a distinct style of his own volume of tone, and those of Amati for THE MYSTERY OF THE CREMONA. Unless you are a skilled violin maker Hondo Finale . 75 one gave the most perfect of all instru¬ from the start, which he constantly Chopin, Funeral March .1.40 district of Lombardy, however, that the liquidity, none of the celebrated makers and have had years of experience, you E. T. ROOT & SONS ments—the highest type of the Cre¬ kept changing and developing. His The making of Cremona violins, and Hohmann, Canzonetta .75 mona violin—and the other enlarged making of violins centered. Cremona exhibit the union of sweetness and power cannot expect to get the best results if 8 Patten Bldg., CHICAGO Kjerulf, Cradle Song .65 violins were made with the most con¬ especially of the varnish with which they Moret, Op. 42, Last Bose of Sum- the boundaries of violin technic to un¬ was a noted center of art and music, in so preeminent a degree as Giuseppe you make and fit the bar yourself. It summate skill. He lowered the arch are covered, is commonly classed as dreamed-of lengths. Stradivarius marks and there were many monasteries in the Guameri (del Gesu) and Antonio Strad¬ takes as much skill and experience to „ On- 74, Petite Symphonie' . L25 as compared with earlier makers and among the lost arts. The diversity of Mozart, Aye Verum . go the culmination of the greatest school neighborhood which vied with each ivarius. I must pronounce the latter as adapt a bass bar to a violin properly as Allegro in F.115 made many other improvements. His opinion on the subject among various FINE VIOLIN of violin making the world has ever other in the richness and splendor of my chosen favorite. It is true that in it does to perform a difficult surgical Papini, Andante in A.\\\ i'oo varnish is singularly brilliant and beauti¬ authorities is one of the most extraordi¬ operation. Expert repairers charge from Schneider, Ariette . on known, while Paganini, taking up the their services and furnished constant brilliance and clearness, and even in — CATALOG- Schubert, Op. 51, No. 1, Military ' ful. He perfected the violin bridge and nary chapters in the history of any of the art of violin playing where the early employment to artists, composers and liquidity, G'uarneri in his best instru¬ $5 to $10 for making and adjust¬ March .’ 1 1 1 e Italian masters left it, exhausted every makers of musical instruments. For gave it the shape it at present pos- arts. A large number of causes have been ing a new bar, and it is well worth the Tourneur, Valadolid . ‘" Loo ments is not surpassed by him, but money. Inferior workmen charge less. Trew, Alla Marcia . on resource and discovered every musical what appears to me peculiar to the assigned as the secret of the extraordinary copy and study the subject belore buying. Tschaikowski, Op. 2, No. 3, Song effect of which the violin is capable. merit of Cremona violins. Among these The _ violin has to be opened, and this Without Words . 65 tone of the Stradivari is a more un¬ requires careful work. It is impossible Weiss Op. 38, Bk. I, Harvest of It is impossible to exaggerate the limited capacity for expressing the are the superiority of the varnish, the Flowers . 1 4n character of the wood used, the great age to go into exact details of all these proc¬ importance of the development of the most varied accents of feeling. It W°hTriortin °S' 81’ N°’ ' of the violins, the,sympathetic tuning esses here, nor is it possible to give violin into the form in which the Cre¬ seems to well forth like a spring and Op. 81, No. 2, Eas- Trio' in f! ! *75 of the tops and backs of the violins to exact measurements for the size and ad¬ CORDE DE LUXE mona masters finally left it. The vio¬ to be capable of infinite modification different notes, the great amount of use justment of the bar in your violin, for °P' fi8*’ ^ O*1 Sanettalma }.65 lin, viola, ’cello and double bass are under the bow. Stradivari’s violins, these vary in different violins, and this °P- B.?s- I. H. Ill, each.... 75 which the violins have had, etc. (Family Ball Easy Dances.) the foundation of the modern orches¬ affording a strong resistance to the is where the skill and judgment of the Some authorities even go to the length ~ VIOLIN E tra. Without them modern music, as bow, when resistance is desired, and repairer comes in. If you are interested we know it, would be impossible. The of denying the superiority of the Cremona USED BY LEADING ARTISTS yet responding to its lightest breath, in violin making and repairing you would Teachers and schools will be great¬ greatest music of the world has been violins, and claim that violins have been 15c Each $1.50 per Dozen ly interested in this list of easy and emphatically require that the player’s gain much benefit from a little work, created for them. Without the instru¬ made by modem makers which are their Catalog of fine violins sent free instructive compositions for ear shall patiently listen until it which retails for 50 cents, .entitled ments of the violin tribe the most equal in every respect. catches the secret of drawing out MUSICIANS’ SUPPLY CO. beautiful chamber music in the world 60 Lagrange Street . Boston, Mass. their tone. Their beauty of tone is MODERN IMITATIONS. PIANO, VIOLIN AND CELLO —string quartets, trios and the many nished by Theo. Presser, Philadelphia. selected because of their adaptability forms of ensemble music of which not so easily brought out, as in the case of many other makers. Their Hardly a year passes but what some am¬ 2. As a general rule, organizers and for children 8 and school use; all parts strings are the basis—would never teachers of bands in the smaller towns NEW CREMONA VIOLINS are of the same easy degree of diffi- vibrations increase in warmth the bitious violin maker, with great flourish of have been written. Opera and ora¬ trumpets, announces that he has discov¬ get from $3 to $5 per night for their AND CELLOS cu» ty. Sent on sale and subject to our torio, as we know them, would also be more the player, discovering their services. Noted bandmasters and teach¬ regular sheet music discount allowed. richness and variety, seeks from the ered the long-lost secret of the Cremona impossible without a grand orchestra, violins, and is prepared to duplicate the ers in the large cities receive more. Bergmann Op. 64, Easy Trio in G.$1.50 of which the strings are the founda¬ instrument a sympathetic echo of his work of Stradivarius and Guarnerius. Mrs. L. J. McG.—If the pupil takes Op. 65, Easy Trio in G min.... 1 25 tion. So perfect an instrument as the own emotions, so much so that these half-hour lessons, you should, if pos¬ Op. 66, Easy Trio In G_ 125 Some few converts may be made, but B°hm, Op. 330, No. 1, Easy Trio Cremona violin has proved a constant violins seem like living beings, and sible, have him take two lessons per the great body of the musical world G. L. MUIR & SONS inspiration to composers, and some of become, as it were, the player’s per¬ week, as is customary in all the leading Op- m No." 2, Easy Trio in g! ! L25 calmly smiles, and goes on paying ever- 9g- 652, No. 1, Easy Trio in D.. 1.50 the most noble concertos of the world sonal familiars—as if Stradivari had music schools and conservatories. If increasing prices for the old Cremonas. nS' QKO 2i, Eas-V Trio in C.. 1.50 have been written for it. breathed a soul into them in a manner circumstances prevent his taking only the PROFESSIONAL DIRECTORY on page 6 min62’ No. 3, Easy Trio in A ANTONIO STRADIVARI WORKSHOP. It is an almost incredible fact that Inserted 12 Times, Before Half Million Music; Italy gave the violin to the world achieved by no other master. It is one-half hour lesson per week, it might after flourishing for more than two cen¬ People for $12.00 °p- 352, No. 4, Easy Trio' in f" 1.50 and taught it how to play on the in¬ this which stamps them as creations be a good plan to spend practically the turies in Cremona, and other Italian cities, F.PP;nS' 352, Nom°- 6. EEasyasy Trio inin «A..■ • 1.50 strument. The development of the violin two centuries the violin-making art sesses, so that in every violin bridge in of an artistic mind, and as positive works entire time on the finger exercises, study the art of violin making should have Foister, Op, 47, In Easy St vie in G 2 Oft by the makers of Brescia, Cremona and flourished in Cremona, and its instru¬ existence to-day Stradivarius has a of art.” and piece on which he has been work¬ Children’s Trio, No. 1, in G *90 other Italian cities is one of the most in¬ ments found their way all over the monument. No one has been able as almost died out there, to such an extent ing during the past week. When new Childrens Trio, No. 2, in F. l’i5 GUARNERIUS VIOLINS. teresting achievements in the history of world. The growth of the art in Cre¬ yet to improve on the violin bridge as that even the art of making the beauti¬ work is assigned, do not go over it, but Hofmann,SjyPfi 0p Op.^53,n 36toE ^fEasyy Trio Instructive In F.! 2i00 human art, and should be carefully mona was largely due to the genius of designed by him for beauty of lines Another great family of violin makers ful, lustrous Cremona varnish, which lies have him do what he can with it him¬ Klassert^ Op. io," Children’s ‘ Trio 1-5° studied by every student of the violin. the Amati family. Andrew Amati (1520- and effectiveness in transmitting the of Cremona was the Guamerius or Guar- on the violin like a coating of gl?ss, should self, with only the briefest directions Taking the crude rebec, a two or three¬ 1577), the head of the house and the tone to the body of the violin. neri. Andreas, the father of the house, have been forgotten, as well as the secret fiom you as to tempo, etc. If you have Mohr, Op.-’30, No.- i', 'Golden Youth, 1-5° stringed instrument, played with the founder of the Cremonese school, made In 1684 Nicolo Amati died and left his made instruments bearing dates from 1650 of selecting the wood and other secrets marked the bowing, shifting, etc., he will be able to learn a great deal of the new OP±e30,oNo. 2, Blue Heavens, bow, and in use in the twelfth and many improvements in the violin, and tools, models, designs and wood to Strad¬ to 1695. His two sons, Joseph and Peter, of the violin-making art. lesson himself, which otherwise would Aufosfabile Violin Tailpiece °P- 30, No. 2, Under ’ Green 1-1° thirteenth centuries, Italian genius grad¬ instructed his sons and many pupils. ivarius, which proved a valuable legacy and his grandson, Peter of Venice, all Boughs, Key B min. on ually developed it into the most per¬ Nicolo Amati, his brother, made double to his former pupil. SOME HIGH PRICES. have taken up much of the lesson time. made violins of some note, but the genius S. A. H.—In the manufacture of violin °PKev ’gN°' 4’ Happy Keturni fect of musical instruments—the violin basses. His two sons, Antonio and of the family was his nephew, Joseph del The best violins of the great Italian $10,000.00 VIOLINS FOR $20.00. bows, they are bent by dry heat to the as we know it to-day. Geronimo, were taught by their father Gesu, so called because he put the initials masters command enormous prices, and Few instruments made by man have and made excellent instruments. The Stradivarius seems to have been a proper curve. In the case of bows of BOsl“- Op. 12, No. 1," Easy Trio I. H. S on the labels of his violins. His their value is steadily increasing. Those the better grade, extreme care must be reached such a state of perfection that greatest of the family was Nicolo prominent citizen of Cremona. He pos¬ best violins at the present day bring of Stradivarius and Guarnerius bring H. Bauer Music Co., 135 E. 34th St., New York City H P,P; 12- No. 2, Easy Trio'in f!! L40 no further improvement seems possible. (1596-1648), son of Geronimo, who sessed vast industry and energy, and sold taken with this part of the process. enormous prices, and are much sought the highest prices. A Joseph Guarnerius Trios ffiPC.! -...N°-. Lit%50 There is one, however—the Cremona made superb violins, which are still of his violins all over Europe. There was after by artists. His violins are made has been sold in New York for the record Op. 12 No. 2. Little Trios'In D-- 165 violin as left by Stradivarius. Since great value and have much beauty of a proverb in Cremona, “As rich as Strad¬ with bold and rugged outline, and his one price of $12,000, and a “Strad” for $15,000. Sim0THo°Fn o3’ EaSy Cllildrcn s his time violin makers have done little tone. The last of the family to make ivarius.” He had a large family, and two aim was to produce violins with a power¬ It is claimed that there have been JEWELRY FOR MUSIC LOVERS SOn^‘ot 2L Easy'Trio'in'c! L25 else than copy his work with more or violins of note was Geronimo, a son of of his sons became violin makers of some OP- |6, Easy Trio in G. 125 ful tone. He constantly sought for sonor¬ “Strads” sold as high as $22,000 in -GIFTS AT SMALL PRICES Op. 39, Easy Trio in D less success. Nicolo. note. Stradivarius is said to have sold AMATI VIOLINS. ous wood, and the story is that he found Europe, and that $25,000 has been of¬ OP;, 4°. Easy Trio in A min’" 125 his violins m Cremona for four louis d’or SOME EARLY VIOLIN MAKERS. The Amatis were natural artists, and a piece of pine of vast size of exquisite fered for great specimens of this master’s 8 THo inP0 5’ No‘ X> LittIe „ Z (four golden louis, a sum equal to almost work. Violins of Guarnerius and Stradi¬ The invention of the violin is quite in their construction followed curves $20.00 in American money) each, a sum qual ty, which possessed wonderful prop¬ °min°5’ No- 2- Little Trio'in D 1-75 commonly ascribed to Gaspar Duiffo- and outlines of great beauty. In their erties for the production of tone, out of varius, which could have been bought for which at that day, no doubt, would go ten $2,500 twenty-five or thirty years ago, wSlf '1?')-’ S°- 3- Little Trio in D.’ 2 25 prugcar, of Bologna, early in the six¬ work the characteristic Cremona var¬ which he made many violins, and which Wohlfahrt, Op. 66, No. 1, Easy Trio times as far as _ now. There is also a now commands $8,000 and $10,000, or teenth century, although some authori¬ nish appears, and they seemed to pos¬ he considered a mine of wealth. There Op. 66, No. 2, Easy Trio in f1 * * 1 Ik story of a consignment of Stradivarius even more. ties claim that he only made lutes and sess that peculiar instinct for choosing is a story that Joseph Guarnerius made OPmlRS, No. 3, Easy Trio in A 5 violins being sent to London to an Italian The violins of the lesser makers have that existing violins bearing his name wood of great sonority, which will pro¬ musician, for sale at a price of four Ere violins while serving a term in prison for On fit’ 4:. Easy’Trio'in D” L15 duce violins of noble tone. The Amati some offense, mak:ng them out of wood risen in the same proportion. Some au¬ are not genuine. The first centers of lish pounds sterling ($20.00) each. It was thorities claim that the tone qualities of inin N°‘ 5’ Easy Trio in E violin making in Italy were Bologna, violins do not possess the volume of impossible to sell them at this munificent which was brought him by the daughter Op. 66, No. 6, Easy Trio in F..- 1.15 tone of those of Stradivarius or Guarne- of his jailer, who also sold the violins these violins is decreasing as fast as their Brescia and Cremona. In Brescia vio¬ price and they were returned price is advancing, but the great violinists lins were made by Gaspar di Salo, the rius, but for sweetness and quality of Stradivarius is said to have been tall outside the prison for whatever they would tone and beauty of design they are sur¬ of the world seem to think otherwise, for Send for our catalogue of ensemble two Zanettos, Rodiani and Maggini, and thm, wearing a white cap and white bring. A number of alleged Guarnerius rfinish....5o cts. ea< music, including irregular combina¬ passed by none. Many great violinists violins, which display crude workman¬ all who can afford it will play on nothing from 1580 to 1640. Maggini was one leather apron He worked and experi¬ but the Italian masterpieces. tions for various instruments. have used violins made by the Amatis, ship, are known as “orison Josephs.” It table and lasting sent for Teac_ of the greatest violin makers of Italy mented practically all his waking hours Cremona violins have been counter¬ ecu <1» a Class or club pin. Prices o antities upon applica_ and especially by Nicolo Amati. is believed, however, that the whole story ie of other musical jewelry novel! and made many instruments of the first It is estimated that he made over 20^ feited by the million, and the duplication Violins, Drums, Banjos, Mandolins, el Nicolo Amati (1596-1684) copied mi¬ is false, and that most of these crude class, some of which are now in exist¬ of the labels lead many people to think THEO. PRESSER, nutely the violins of his father at first. le e a 1 If these violins violins are counterfeits. Joseph Guar¬ were all in existence to-day they would that they possess genuine instruments. THEODORE PRESSER, 1712 Chestnut Street, Phila. nerius was undoubtedly a violin-making 1712 Chestnut St., Philadelphia, Pa. ition THE ETUDE when addressing our adverti THE ETUDE 61 60 THE ETUDE and send him to school in that town for of Justice at Cosenza. What is still Christmas carols are sung on Christ¬ Bologna to study fugue and counter- HOLIDAY MUSIC AND CUSTOMS six cents a day. On Sundays and feast- stranger, I have since learned that the mas Eve as well as on Christmas Day. houses. When he was put “ point under Mattel, who had also been OF FOREIGN LANDS. days the poor boy had to walk the three chief actor is still living, and, having making some indiscreet remarksabou Rossini’s master. In fact, for two or three weeks before miles between Busseto and Roncole to been released from prison, is now in Christmas the “Waits”-—musical de¬ politics the mother w»Wt _ algn ^ In ten years of his prime twenty- play the organ at his church. His mis¬ the service of the Baroness Sprovieri, scendants of the old Norman minstrels— support h rs^Tana the child. So she eight operas were produced, such was erable salary was increased every year joined a traveling opera troupe whmh in Calabria.” go through the snow, from door to the rapidity with which he worked. some ten or twelve dollars by the THE ORIGIN OF THE MISTLETOE. But he was very poorly paid. Though money received from christenings, wed¬ door, in the evening singing their b^^dofTlriSn^ PIETRO MASCAGNI (1863-). he never made corrections, he imagined dings and funerals. He finally made Many generations ago, when our sweet old carols. Generally it is the he could not do anything without a the acquaintance of a wealthy man of This composer, with almost every northern ancestors were still heathens, choir singers attached to the village DEPARTMENT FOR CHILDREN bUWhen the father was set at ^ small ivory eraser his father had given Busseto, which led, in time, to his hav¬ possible disadvantage, has fought his a more barbarous form of these festivi¬ church who make their rounds in this he joined the mother, playing the horn him. by his side, even if he never used ing lessons of the organist of the cathe¬ way to success with wonderful perse¬ ties took place. Great blocks of wood way. in the orchestra. The childf went with Bright Ideas on Musical Subjects for Little Folks and Their Teachers it. It was one of his oddities. The dral, with whom he studied until he verance. He was born at Leghorn, the blazed in honor of Odin and Thor, and No one seems quite sure where the them and was in danger of becoming subject of his celebrated opera, ‘‘Lucia was sixteen years of age. Y et his son of a baker, who had planned that sacrifices of both men and cattle were word “Wait” came from. A very old a little vagabond, much to his mother s di Lammermoor,” is taken from Sir when his little boy grew up he should THE CHILDHOOD AND YOUTH the sound of the organ moved him poverty-stricken youth did not sour his made to them. Our other ancestors, definition is, that it was a sort of music distress. The father taught him to play Walter Scott’s novel, “The Bride of Noticing the boy’s talent the the horn< and he was even allowed to disposition, nor render him selfish to become a lawyer. But he loved music the Celts, had similar observances be¬ or musicians who attend, or wait, upon OF SOME FAMOUS ITALIAN Lammermoor,” and the scene is laid in father gave him lessons oi the violin, p]ay second horn in the orchestra. others during the long, useful life that so dearly that he studied the piano fore the dawn of Christianity. The the various magistrates and other COMPOSERS. Scotland, which shows that the com¬ u a vcu sweet soprano voice, he ended only nine years ago. secretly, unknown to his father. mistletoe was regarded with the great¬ officials in “pomps and processions.1’ and insisted on such severe study that, he had a very poser did not forget his own wee drop although it affected his health, it made once sang the part of a child at the At last the matter came to light est veneration by the cruel priests, The word Noel has long been ac¬ of Scotch blood. GIACOMO PUCCINI (1858-). him a fair player at the age of seven, Bologna opera.opera, rreHe was a lad of such~ when the father discovered some at¬ who were called Druids. Beside being cepted as the French equivalent for tempts at musical composition scattered At eight he had composed a violin unusual promise that his parents placed VINCENZO BELLINI (1801-1848). Two of the younger school of Italian what they considered a sacred plant, it Christmas. Noel means a particular MUZIO CLEMENTI (17S2-1832). sonata, and from eight and a half he him under theinstruction of a professor composers were born in 1858, Puccini about his son’s room. This was no was also thought to possess wonderful kind of hymn or Christmas carol, One hundred and nine years ago the r dementi's day the most popular had regular engagements_|_ to perform named Angelo Teresi, with whom he and Leoncavallo. When Verdi was laughing matter, and it is said that he medicinal properties. They also made which originated far back in the Middle destined composer of “Norma” and “La r musical instruments, the piano, the churches. He was placed under the studied singing and piano to such good about to retire from musical activity proceeded to cram them one and all in sacrifices of human beings and cattle Ages and was first used either in Sonnambula” was born in the city of was being slowly evolved from the old- instruction of good masters, and at purpose that at ten' years of agethej he named Puccini as his probable suc- the fire and ordered his small son to to their savage gods. Our custom of France and Burgandy. Catania, in Sicily. Both father and fashioned harpsichord and clavichord, fourteen had written etudes of such youngster was able to earn something abandon music and devote himself to decking our houses and churches with On Christmas Eve the cock is sup¬ grandfather were musicians, and so well s we have learned in a former article difficulty that he was sometimes obligedbliged as a church singer. At twelve he had the law. evergreens comes to us from these posed to crow all night long, and by did they cultivate the little fellow’s . Descended from a long line of musi¬ (October, 1909). Consequently Clementi t0 practice a single passage hours become very skillful as a performer on Pietro, however, took the matter in same Druids, who believed that the his vigilance to frighten away evil talent that he could play the piano cal ancestors, the composer of “Manon is especially interesting as being the time. His father, bound make the piano, an excellent reader and a his own hands and entered himself as spirits. Now that is where our country reasonably well at five years old. At Lescaut” and “Mme. Butterfly” was woodland spirits flocked to the ever¬ earliest of the great pianoforte virtu- all tbe money possible out of the lad’s w-clever accompanist.-,- • a pupil at the Musical Institute. When boys and girls will have the best six he wrote some small religious able to prepare for his career without greens and stayed there until the warm ighV*say'*Vhe abihty» was a harsh and inexorable One day his father is said to have his father found it out, in the course chance to find out if it is really so. ’ taskmaster, and in order to force him asked him what he would like to do for pieces. He must have been a very opposition from his parents. Born at spring days came back. It is even said Columbus in the domain of pianoforte Our Christmas customs all represent .. living. “I should like compose,” Lucca, he was one of a family of six of time, he was very angry, indeed, and that those Druids sang what they con¬ ;tudy would lock him up for entire handsome child; for he belonged to the some legend or story, and they are playing and pianoforte composition. blonde type of Italians and had large, who were all so devoted to the art that some say that he even locked the young sidered sacred songs, and played upon _ . - days at a time, guarding him closely, he answered. At this Papa Joseph flew gathered from many lands. From Ger¬ Besides this he was an inventor and Finany) he managed to get permission into a rage and kicked the boy, ex- clear, blue eyes and a quantity of fair an old acquaintance of theirs has de¬ composer up. However, the lad’s uncle, their harps while the poor victims were skillful mechanician, and made many to travel alone to Lucca, to play at the claiming, “You might become first scribed their house as a gigantic music Stefano, came to his rescue, offered to being sacrificed. many comes our glistening Christmas hair. tree, Holland gave us Santa Claus. The important improvements in the con- mus;cai festival, 1798. He was so sue- trumpeter of the kingdom, which is far box. But Giacomo, being the genius adopt him, took the boy to his own We must not forget the pretty As he grew older the artistic tem¬ Christmas stocking hails from Belgium, struction of his favorite instrument. cessful that, instead of going home, the better than being a fifth-rate com- of the family, began to study at a very house, bought a new piano for him Swedish custom of the Christmas feed¬ perament asserted itself more and more while the Merry Christmas and Happy Born at Rome, in 1752—t > years young rebel went o a concert tour poser!” However, he continued his strongly. From his youth up the boy’s early age. His father died when he and provided him with the means to ing of the birds. Every head of a before the commencement of the by himself. Unfortunately, studies at the institute of Bologna, and was six years old, and it was fortunate New Year was the hearty old English eagerness to learn was such as to keep pursue his studies. Realizing that fur¬ family saves a penny or two to buy a greeting which was shouted from French and Indian War—he lived until know how to use his freedom. He be- him at the piano day and night. But for him that his great-uncle, Dr. Nicolas ther objection was useless, the father bunch of oats for them. These bunches 1832, during the administration of our Ceru, in whose care he was placed, gave neighbor to neighbor in the jovial his father had not the means to educate left his son free to follow his own of grain are placed on the roofs of times of “the long, long ago.” seventh President, John Quincy Adams. him properly, and therefore petitioned him as much-assistance as possible. choice. The one-act opera which houses, on trees and on fences. No His father was a silversmith and an When the time came when he had the Government to send Vincenzo to brought him fame at a single bound is peasant is content to sit down with his enthusiastic amateur, who perceived the the Conservatory at Naples. Always learned all that Lpcca could teach, he “Cavalleria Rusticana” (Rustic Chivalry), children to his own holiday dinner until HOW FINGERING MAKES early musical talents of his little son, diligent, he had composed three large was so anxious to go to Milan that the and took great pains to foster them. Queen of Italy gave him a pension for and is pronounced Kah-vah-lair-ee'-ah he has first arranged a Christmas dinner THINGS EASIER. works before he was twenty; one of Roos-tee-kah'-nah. In both words it is for the little wild birds that live in the The child’s first music teacher was a “William them so pleased Barbaja, a prominent one year to enable him to study at the relative, Buroni, a choir master. In the syllable next to the last which is cold and the snow outside. “For,” he Tell,” was theatrical manager, that he gave Bellini Milan Conservatory. When the year thorough bass (which was the art of accented. Mascagni was in very strait¬ says, “they must have a Christmas, produced in his first commission for an opera. had expired the good great-uncle again accompanying the bass notes of a piece ened circumstances when he wrote it too, you know.” came forward and supplied the neces¬ Many of my little friends seem tc with proper chords) he had lessons Once upon a time a beautiful French 1829. Sixty- sary funds from his own purse. How in competition for prizes offered by a Gade, the Danish composer, whose think that it is a kind of a hardship from an eminent organist. The boy lady asked him which one of his operas nine years proud he must have been when the music publisher. Its remarkable suc¬ name may be spelled on the four to follow the fingering, or that it is a studied so diligently that in two years he preferred. At first he evaded her young man graduated from the Con¬ cess is thought to have inspired the strings of the violin, wrote five inter¬ kind of extra task put upon them to he was able to obtain a position as question by saying that he did not servatory with an orchestral work writing of “Pagliacci” by Leoncavallo. esting little “Christmas Pieces.” In make their music study harder. This organist, he then being barely nine know. “Suppose,” she urged, “that you which gave ample evidence of his In any case, the two short operas form the first one there is a persistent clang years of age. were out at sea and the ship were sink¬ is by no means the case, for the only talent. a very popular double programme in By the time he was fourteen he had ing—” “Ah!” he cried, “I would leave of the “Christmas Bells” in nearly reason which the little numbers are this opera all the rest and try to save ‘Norma!’’’ the theatres. every bar. placed over or under the notes is to composed difficult church music of such RUGGIERO LEONCAVALLO (1858-). merit as to gain great applause from was bought make the music easier to play. the musicians and public of Rome. for $1,400 VERDI (1813-1901). This composer is known to us more CHRISTMAS IN ENGLAND. Do not fail to follow the fingering and placed NEVER KNEW HIS SUCCESS. closely, as it is put there to help you. At fifteen years of age he went to At mention of this name a piano especially by his little two-act opera, It was in “merrie old England” that the li- “I Pagliacci,” which met with such en¬ George Bizet, who married Halevy’s It simply means that some experienced England, in the care of a wealthy Eng¬ student is apt to be reminded of the Christmas took its firmest root. Al¬ lish gentleman, who undertook the ex¬ ry of thusiastic success when it was produced daughter, as Robert Schumann married teacher or musician has been over the familiar airs of “II Trovatore” (which ways associated with music and feast¬ pense of his education. In addition t _ the P „ , _ at Milan, in 1892. his teacher’s daughter, is similarly cred¬ ground and discovered the easiest and funds, but engaged to play at a means “the troubadour”) and of the ing—in former times the old halls of his musical studies he soon became con- Conservatory. We know Rossini, too, by Born at Naples, in 1858, the boy had ited with dying broken-hearted with no best way for you to follow. The pio¬ cert at Leghorn, and no violin tc play the good old church tune of “Manoah,” well-known march from “Aida” (Ah-ee- great castles and manor-houses re¬ versed in the principal modern lan¬ the double advantage of good family dream of his posthumous triumph. His neers and pathfinders in a new country upon. In this plight he applied to a.. which he. is said to have written as a dah), the Egyptian opera, a story of sounded with the sound of the harp guages and in Greek and Latin. the time of the Pharaohs, written to and excellent education. He tells us “Carmen,” produced at the Opera Com- have the hardest work of all. They .... , . . rich French gentleman by the name compliment to an American lady. and the Christmas carol, while their At eighteen he v order, in 1871, for the Khedive of that his father was President of the ique, March 3, 1875, has been one of the must go ahead and cut down the un¬ To- ot' Livron, who owned a costly “Guar- generous tables groaned under the and composer. Amongicr his10 mipupils™ = a nerius.” The generous Frenchman Egypt. High Court of Justice, and his mother most popular operas ever written. Its dergrowth, clean out the brambles, and many celebrated names, such as Cramer, GAETANO DONIZETTI (1798-1848). weight of hospitality. make a path so that others can follow. placed his precious violin in the boy’s Giuseppe Verdi was born in 1813, at the daughter of a well-known Neapol¬ great rival, “Faust,” being written by John Field and Meyerbeer. And for h^ds! The grandfather of this composer As Sir Walter Scott says in “Mar- When the path is once made, how fool- a small hamlet called Roncole, three itan artist. At eight years of age he his fellow-pupil, Gounod. But Gounod those of us who have labored patient* “ ^fit S'himaTa “as a Scotchman™“ Uby theme name otof Izett. entered the Conservatory at Naples as ish it would be for the newcomer to miles from Busseto. His parents were lived for thirty-four years after his first with the hundred studies of his cele- mv ° g *1 * t? g VI A"d In the course of a rather varied career a day scholar, and graduated at the age leave the path and get all scratched up in very humble circumstances, the keep- “On Christmas Eve the hells were rung. brated “Gradus ad Parnassum” h is 7“ the violm upon which he the young man drifted to Italy where of sixteen, a cantata being the work operatic success; poor Bizet died three with the thickets and thorns of the *. played for forty long years,^and which he married an Italian lady of some er® a small inn. The child was sad On Christmas Eve the mass was sung.’’ he wrote on leaving the Conservatory. months after his, and never knew what deep woods! The fingering is the path Bee/hoveif fifc T ^Ht To hiTS c^GenTa" and quiet, yet he early showed great 1 name to that Leoncavallo is an author as well as a glory was to crown his name. The Charles Dickens, through his Christ marked out for you. If you do not of®e rClementi’sbTT:Tba lT;Lgenius.h,gheSt adm,ratl0n his Will. And there you can see it, cTi,SS for rnusic- When a traveling thirty-seven years of his life were filled this day, at the Municipal Palace. musician. He says: “Afterward I went mas stories, has so endeared himself to follow it you will take a much longer Gaetano was from the first so bright hddler would pass through the village with bad luck. Edward Zeigler speaks time in reaching your musical goal, and he simply could not be kept at home, to Bologna to complete my literary the hearts of English-speaking people NICOLO PAGANINI (1784-1840). GIOACHIMO ROSSINI (1792-1868). so alert and so evidently talented that studies at the university there under of it as “a sequence of failures followed you may come to grief upon some but would follow from place to place. that his grave in Westminster Abbey nasty thorns of technic. By all means The most celebrated violinist the the direction of the great Italian poet, by an early death,” and comments; The future composer of “William opeT to&hhn.^The TaTher w-Tt IT011 is decorated every Christmas time by follow the fingering; it will make all world has ever known was, once upon Tell' l?m.aS h.C Was‘ the father Reified the Corducci, and at the age of twenty re¬ “He was bitterly accused of being a iell began life at Pesaro, in 1792, make a lawyer of him but th child s evident love of music when he unknown hands; but surely you have ceived my diploma as a doctor of let¬ follower of Wagner. Paris, knowing so of your work more interesting and a time, a curly-haired little Italian boy, during tnethe administration of George strong preference forfnr music “"«>u ■ * was about seven by buying a small read those delightful tales, particularly much easier. ters.” It was lucky for him that he lamentably little of Wagner’s music born at Genoa, in 1784. His parents Washington, and lived until after the parents5 to enter 1-dm T dcFlded his spinet for him. The lad practiced very the one about the Christmas goose at had a brother in the army at the time, then, condemned that of Bizet’s, which poor people, but both of them close of our Civil War. When he was of age, asmmil TiT’ _.at_ ,f'Fht years earnestly upon this spinet, and im¬ the Cratchits and “Recollections of My were fond of music, said that his sixty years of age he said that he pupil in the small but eTceT for he himself escaped military service. it did not like or could not understand, conservatory of the town, Ber proved steadily. We hear good report Christmas Tree.” I question the expediency of confining mother had a dream in which angei onjy fifteen, that being the actual n So he began his musical career by mak¬ by labeling it ‘Wagnerian,’ and thus put one’s efforts exclusively to one class of promised her that her little so_ gamo. By the time he was ten he had m«as a pupil of the organist at the Christmas carols seem to be as old should her of his birthdays. You see, he only made his'markkas" ing a tour of Egypt as concert pianist, it hopelessly beyond the possibility of composition; in time it may, nay it must become the greatest of all violinistf made his mark as a contralto soloist httle church of Roncole. Later on, at as the celebration of Christmas itself. moists. had a chance to celebrate once in four ’ where some of his experiences read like discussion. As a matter of fact there of necessity, lead to mannerism— Weber, Not all good mothers live i was appointed preparatory teacher e age of ten, he replaced his teacher During the 16th century there was a see their’ years, because he was born on the a page from the “Arabian Nights.” is no trace of Wagner to be found in special carol for the little children to dreams realized—but this o did._ The_ 29th of __February. the classes both of singing and of as organist, at a salary of about $7» “I Pagliacci” are a troupe of stroll¬ Bizet’s music, and the only resemblance sing on Christmas morning. And I child seemed full of music from baby- “The Swan of Pesaro,” as he our money. The second year he had ing players; and Leoncavallo took the Save Mendelssohn, I know no oth cm.o sceineu iun 01 music trom DaDy- " The Swan of Pesaro,” as he was lh,T.“Lpupil in harmnm, k V, as “fsPe \ TH E ETUDE 65 PROFESSIONAL DIRECTORY SHEPARD SPENCER irklSS; , SEWSB.’S g!ST.,r“' THEORY OEVINE1ENADORIA BISBEE GILBERT' BURROWES CRICKS' " Dunning HAGE FLETCHER-0"" |M'rarxr;„*s.,;sino.“..“- HAIGHT,* KINDERGARTEN storer SCHOOLS AND COLLEGES BARTEL.a&«~- Sss«sas2si:“““;: moulton NICHOLS"”"—- £ carl r,i:s aSSx’; CHANDLER “SaSt. DETROIT wS5-3^ IHSU r.a TTTiYTiTij MARKS' -SsiiE.., = - TILDEN NATIONAL TRACY _ EvSlfchW V RGIL VEON ssSs;|S:ssS WHEELERT V #1! skbsieks WILDER PIANO FRAUDS! s-JSsSiSps WINKLER ^—^31— The Piano and Organ Music typography in ail its Branches Purchaser’s Guide , n & lifeDwd.eyT.Umer^ «T' MUSIC TRADES^ CO. No. io 8. fiichs Street, Philadelphia METRONOMES ZABEL BROTHERS s ”1 - «- ss^si °"y £HS.Crr'"“ E£P" THE STYLES ARE: MUSIC PRINTERS st‘ AND ENGRAVERS 67 66 THE ETUDE THE ETUDE ANSWERS TO THE GREAT VIR¬ “FOLLOWING UP” ANSWERS TUOSO PRIZE PUZZLE FROM ADVERTISEMENTS. Answers to Questions CONTEST. The wide interest taken in this con¬ From the Forthcoming Teachers’ Busi¬ test has induced us to take particular ness Manual, “Dollars in Music.” ■care to sde that the prizes are awarded . px„ert advice for all ETUDE readers. fairly and justly. In doing this we BY GEORGE C. BENDER. A Sl'ktters not bearing full name and address have been guided by the mailing time lisle of the replies. We know when The ■ M of the sender will be destroyed Etude is delivered in different parts of Many teachers spend a great deal of TAUGHT BY MAIL, SUCCESSFULLY, PRACTICALLY, QUICKLY the country. It would be manifestly time and money in putting out adver¬ Trial lesson for stamp. Three trial lessons free. If not convinced you’ll Virgil, Bass Clef. M. J:1 and rf- ^nfwered for*Its full length. It Is called, when tw -unfair to award a prize to anyone living tisements in newspapers, magazines succeed, you owe me nothing. You must know the rudiments of music, and ters.—Your question will n°t „nrl a(j. thus, “forte tenutosecond, for mezz,,,.,, and through circulars, and then fail to mean business—otherwise don’t write. receive your correct name ana an • hlch the note l8 held in a distant city who might not receive dress. Your questionna 1 peiSonafn gn ?"- 1", quarters of "itslt« Indicatedindicated length;lencth- “at “<*■ the journal before some one living in follow up the inquiries that these ad¬ Wilcox School of Composition ‘-'u."' Box E, 225 Fifth Ave., New York City therefore will receive agive your cor- for “marcato.” The player must emp a city nearer the publication offices of vertisements bring about. The method rect name and address,refs and you will receive ^S^^erperlraice^ and ^familiarity *£ The Etude. As a matter of fact, how¬ of turning inquiries into real business an answer. No question and addre ever, the first copies of The Etude are is called, in the business world, a these columns unless the- s and positions. Made for of the person asking the question sent to the more distant cities. “follow-up” system. The construction Q. If the word cadenza and a pause or The correct answers appear below: of a follow-up or form letter that con¬ Dr. C. W. Saleeby’s Book FREE hold, comes in a piece, is this an in UPON SLOW HELPING THE DULL PUPIL. In Happy Motion What Others Say Ten little rhythmic piano pieces for the PRACTICAL Kindergarten and Gymnasium TEACHING HELPS By Gertrude Madeira Smith These are published in book form, K£faSS2:ffa££ themselves^They6 are* written0 Tone The Dolls’ Musical Festivals A Story by Mrs. Crosby Adams Price, paper binding, 25c; flexible cloth, 35c. Mrs. Adams has woven into this story the actual happenings of musicales, the programs for which were made up en¬ tirely of Dolls' music. To make the festivals all the more realistic, many dolls were included in the audience. It is perhaps not generally realized to IS; what extent even noted composers have written Doll music; comprising suites for orchestra, and numerous piano pieces and songs, so that programs of unusual variety ard attractiveness can be ar¬ ranged. This story of Mrs. Adams’ ought to, and no doubt will, furnish the sSEf“il=?» incentive for many to provide similar programs for like occasions. nS|.sS’ S’ WJS SS** a Clayton F. Summy Co., Publishers 220 Wabash Ave., Chicago RESULTS OF FOOD SEE “THE ETUDE” PREMIUM LIST College of Music ON THIRD COVER PAGE wa MUSICAL CLASS PINS POST CARDS Special designs for musical clubs and classes Imported Platinotypes Write for illustrations to the manufacturers Superb Reproductions BENT & BUSH CO., 15 School St., - Boston, Mass. 4* Observer, a r rench Composers - 6 American Composers - ( Opera Singers, Series Modern Pianists - - ( OCM£— 6 Modem Violinists, Series w at Ji.oo. Mailed _r_.... Master Violinists - CARL FISCHER, Cooper Sq., New York Conductors - MUSICAL GAMES tsaaom 50 cents per dozen postpaid HISTORICAL POST CARDS LISZT—SIX CARDS-The set, 15 CENTS. CLASS PINS ;p|g|ii4ls g&UEBMS WCENTSR_TWELVE CARDS“The 8et* 30 bEETHOVEN - TWELVE CARDS-30 BUNDE & UPMEYER CO. GREAT COMPOSER POST CARDS-Four- Manufacturing Jewelers teen of the Great Composers. Printed in K BLOCK - MILWAUKEE, WIS. OPERATIC POST CARDS Reproduction, of photograph, of the Wagner Op'era. a. pre.ented in Germany. Lohengrin bas-reliefs 4 yei jterS\n§.er‘ (6), Parsifal (10) .Tristan and Isolde (3), Tannhauser(9), the Ringl28) Liszt, Handel, Schubert -- Operas printed in colors. Aida, sss!"rE?'s»s'"v^s , 50 Cents Each, Postpaid e prepared to furnish for this holiday trade the tree subjects; we have a number of others in of hard plaster, size s,l/zx6% id for hanging requirements, and appropriate decoration for of music lovers. theo. presser full of Philadelphia, Pa. in THE ETUDE when address 71 70 THE ETUDE THE ETUDE SOME INTERESTING STORIES VERDI’S FIRST INSTRUMENT. MICHIGAN CONSERVATORY OF MUSIC OF VERDI. In spite of his passion for music, Washington Ace. & Park St. . DETROIT. MICH._ FREDERICK L. ABEL. Director Verdi was not allowed to take up its an averted tragedy. study without a struggle. He had often DUNNING SYSTEM OF MUSIC Department for Club Members With Verdi adventures began early. begged permission, but without suc¬ STUDY FOR BEGINNERS Address Dept. C, and a handsomely illustrated catalogue will be mailed you, f^e. cess until one fete day he was acting Practical ideas for members and leaders He was born at the little village of MAKES YOU A SPECIALIST Le Roncole, a dependency in the com¬ as acolyte jn the church and heard the of Music Study Clubs * * * mune of Busseto, which is in the duchy Mass for the first time. Ravished by PRACTICAL and ARTISTIC , MINNEAPOLIS SCHOOL OF MUSIC of Parma, in the year 1814. That year the sound of the organ, Verdi did not in ORATORY AND DRAMATIC ART was a terrible 01* for Europe, and wit¬ hear the priest call for water. Three - - nessed the downfall of Napoleon. One times the celebrant asked for “acqua,” THEORY and APPLICATION would have thought that Le Roncole but Verdi was too absorbed to notice Presenting a new world in music alike to beginners and advanced pupils. 8. Piano (six hands)—Triumphal March would have been safe enough, but even POPULAR PROGRAMS OF ITAL¬ it. Finally the exasperated priest gave “Progress,” the 20th century slogan along every line of human here the titanic war swept all before it, from “Aida” .Verdi the youngster a nudge which accident¬ interest and endeavor, has never been more thoroughly and practically \rON UNSCHULD IAN MUSIC FOR CLUB USE. and the villagers awoke one morning exemplified in educational lines than in the Dunning System of (Grade 3.) ally threw him down the altar steps. The Mary Wood Chase School UNIVERSITY OF MUSIC The following programs have been to find their homes in the hands of the Music Study tor Beginners. Burdened teachers are realizing The Munlcnl institution of the highest standing In In falling he struck his head against a this more each year, also that there is a demand for experts along this carefully selected and arranged by a Program No. 2. French, who, under the generalship of of Artistic Piano Playing' stone corner and had to be carried line of teaching. Endorsed by Leschetizky, Scharwenka, de Pachmann, teacher of experience. To give an Italian 1. Piano (eight hands)—“William Tell" Prince Eugene, sought to stave off the Fine Art* Building, Chicago, 111. home unconscious. Of course, the affair and many others, who pronounce it the most scientific and best in use for recital the teacher need only to refer to Overture .Rossini combined Russian and Austrian pur¬ beginners of any age. The only system whereby the truly normal Author of the Hand of the Pianist, Method Leschetizky. the reading columns of this issue. Abun¬ • (Grade 4.) suers. In this the French were de¬ excited a great commotion in his home idea is carried out. Normal Training Class lor Teach¬ dant material has been provided for the feated and the villagers fled in dismay and the boy decided this was a good ers open January 14th, New York City. Address for preparation of a paper upon almost every 2. Chorus—“Hunter’s Horn” from "La ttonaTn Colleges,^aucl°'f Sonnambula” .Bellini before the horde of soldiers who drove opportunity to renew his request for a branch of the subject. The articles by all before them. Many took refuge in musical education. This time his father Mine. MARIE VON UNSCHULD. President. the eminent writers are authoritative, and (Grade 3.) Mrs. CARRIE LOUISE DUNNING °DFor fuU^nVo'rma^on adVress^Mnry Wood Chase, Director. the church, hoping to find sanctuary, gave in and bought him a very ancient they contain just exactly the kind of ma¬ 3. Piano and Violin—“Madrigal,” 326 Delaware Ave., Buffalo, New York but in vain. The victorious allies en¬ terial the club leader needs. This will Simonetii spinet. A friendly tradesman renewed tered the building, wounding and kill¬ save an enormous amount of somewhat (Grade 3.) the “jacks” of the instrument and fixed ing men, women and children alike. Miss Gertrude Paine, a well-known teacher on the SHERWOOD ■disagreeable research work in encyclo¬ 4. Piano Solo—“Golden Butterflies," a new pedal attachment gratuitously; '8 BUILDING, CHICAGO Among those who had taken refuge in Pacific Coast, and the only authorized teacher of teachers of the Dunning System pedias and dictionaries. An Italian meet¬ Bossi so with the aid of the village organist the church was the mother of Verdi, on the Coast, will hold a normal training course for teachers in Houston, Texas, ing or an Italian recital would prove an (Grade 4.) Verdi set to work to learn how to January 4th, under the same conditions as Mrs. Dunning conducts the classes. acceptable novelty, and could be arranged with her baby at her breast. Half mad play it. Address, 5. Piano (four hands'!—Quartet from with terror, she flew up to the belfry, with comparatively little difficulty. The “Rigoletto” .Verdi-Engelmann He delighted in fumbling over the MISS GERTRUDE PAINE, 1023 S. Burlington Ave., Los Angeles, Cal. large department stores now sell national and there remained in agonies of fear (Grade 4.) keyboard in the search of chords, and flags at very low rates. These flags until after the carnage, was over. Had 6. Baritone Solo—Prologue from "I one day, we are told, he discovered the Washington College of Music NORTIIWHSTHRN UNIVERSITY might be used as souvenirs, or they might she not succeeded in attaining this tonic chord of C major and was en¬ DAVID 8C1IEETZ OKA Hi, Director be used for decorating the studio. It Pagliacci” .Leoncavallo ==51 EVANSTON-CHICAQO = haven of refuge she and her little babe, chanted with it. The next night he MUSIC and DRAMATIC ART would pay the club leader to purchase an (Grade 8.) Giuseppe Verdi, would undoubtedly sought the chord again, but failed to extra copy of this issue of The Etude 7. Piano Solo—Sextet from “Lucia di SCHOOL OF MUSIC have been slaughtered and Italy would find it. He knew that it consisted of THE SCHOOL OF MUSIC-EDUCATION and cut out the pictures. These pictures Lammermoor” (left hand alone), have lost one of the greatest of her Arcade Hall Building, Seattle, Washington ^University Professional School, for the three notes, but which three he could should then be pasted upon colored card¬ Donisetti-Leschctish musicians. board, and an Italian flag might be pasted (Grade 8.) not remember. Vainly he searched, or as andement ofcuhure^Locat* efupon^he getting into a terrible temper with the in the corner of each card. The program 8. Violin and Piano—Intermezzo from VERDI’S FIRST TEACHER. ELEMENTARY SCHOOL should then be lettered: obstinacy of the instrument. Finally CALVIIV BRAINERD CADY, Principal Columbia School “Cavalleria Rusticana” .. .Mascagni Verdi’s first taste of music came from I. Course in Applied Music, lee (Grade 3.) he got so “mad” that he went out and 900 Beacon Street BOSTON, MASS. the degree of Graduate in a traveling fiddler who wandered round got a hammer and started to smash the II. Course in Theory and Hist_-„ “Souvenir of the Italian 1. Soprano Solo—From “Madame But¬ Announcements sent on application. of Music, Chicago leading to the Degree > from village to village eking out a instrument! Clare Osborne Reetl, Director Recital ” terfly” .Puccini miserable existence by means of his Then came school days in Busseto, a Offers most complete education for least (Grade 9.) music. Little Giuseppe’s father was the expense in Piano, Voice, Violin, Theory, GIVEN BY THE '• Piano Solo—“Miserere” from “Trova- little township near by. Verdi went to ivi th d PubUc Sch°o1 Mu8iC village inn-keeper, and naturally poor live there, and it was there he met Public School Methods; leading to grad¬ ses I, II and V include literary studies tore”.Verdi-Gottschalk Bagasset made this his headquarters uation and degree. Our graduates occupy liege of Liberal Arts or Academy * (Grade 9.) Barezzi, a friend of his father’s, and a the foremost positions in the country as AT THE STUDIO OF when in Le Roncole, and would play successful wine merchant. Barezzi was JUST ISSUED A thorough Preparatory Department is: . Piano Solo—“Vox Populi” (concert artists and teachers. Best location and in front of the door to please the cus¬ much struck with the boy’s talent and equipment in Chicago. Write A. Shaw etude) .Sgambati tomers. Doubtless his scraping was a enabled him to undertake the study of Faulkner, Manager, for illustrated cata¬ (Grade 9.) sad business, but it gave Verdi his first logue. Ohio, Building, 328 Wabash music in a more thorough manner than MUSICAL KINDERGARTEN The reader will note that program Tenor Solo—“Cujus Animam” from ■ ~*TICAGO, taste of music, and he would always heretofore. He allowed the young P. C. LUTKIN, Dean, Evanston, III. number two represents a different and “Stabat Mater” .Rossini rush and listen to the fiddler’s tunes genius to play upon the piano which higher grade of music than program (Grade 6.) with the greatest joy. Thirty years METHOD had been bought for his own daughters, number one. The numbers have been . Chorus—“Be Thou, O God, Exalted." later, when Verdi was a rich man and selected with a view to giving variety to one of whom Verdi afterwards married. For the Nursery and the Class Room Mercadante had bought an estate in his birthplace, the programs and interest to the event. Busseto boasted of an excellent Phil¬ American Conservatory (Grade 4.) the fiddler had grown old, but still came Especially Designed for the Use of Mothers and Music Teachers Kimball Hall 239-253 Wabash Ave., Chicago, 111. harmonic Society directed by Provesi, Program No. I. to Le Roncole, and would go to Verdi’s The Leading School of Music and Dramatic Art. • Seventy eminent instructors. Course of study . Piano (twelve hands)—“Ballata and an excellent musician, who recognized By DANIEL BATCHELLOR and CHAS, W. LANDON modern and progressive. Unsurpassed Teachers’Training Department Public School Music School Bizania” .Pagnoncclli home and endeavor to please the now of Acting, Hart Conway, Director. Diplomas and Teachers’ Certificates. Many free advantages. 1. Piano (four hands)—Fanfare from Verdi’s great talent and undertook his (Grade 3.) famous maestro with his music. Verdi .. . Catalog mailed free on application. “William Tell” Overture. . .Rossini invariably invited him in and gave him instruction. Provesi was rather an old Price, $1.50 JOHN J. HATTSTAEDT, President (Grade 3.) money and food, and no doubt a few man and was glad to have Verdi take ^HIS is the first complete Musical Kindergarten Method ever pub¬ 2. Piano Solo—Petite Serenade_Bossi The capacity to understand the intrica¬ words of praise. The old man would his place as conductor of the Society. (Grade 31/2.) lished. It is a concise, practical manual, a logical exposition of IV. *J. COREY cies of music is extremely limited among thank him, saying, “Ah! maestro. I saw In this way Verdi began to lay the the art of teaching music to the young in a pleasing and attractive 3. Piano Solo—Intermezzo from “Caval- the public; it frequently happens that the you when you were very little, but foundations of his musical education. manner. Pianist, Organist and Musical Lecturer leria Rusticana” .Mascagni whole audience is thrown into uproar by (Continued on page 72) This method uses various devices to awaken and to hold the Interest (Grade 3.) one false note, while it listens not un¬ of the little child, but this is not its sole purpose. The aim is to develop 4. Piano Solo—Sextet from “Lucia di willingly, nay, even with pleasure, to the subject in conformity with the natural bent of the child’s mind largely in the spirit of play; but these playful devices are simply illus¬ : Lammermoor” .Donizetti-Engelmann pieces which are absolutely misin¬ terpreted.—Berlios. trations, useful because they illustrate the subject to be taught. (Grade 4.) Fletcher Music Method Music is now an essential factor in general educa ion. Conse¬ 5- Piano Solo—“L’lngenue,” Gavotte, quently the music teacher must keep pace with all advances in modern Arditi The modern custom of giving names SIMPLEX AND KINDERGARTEN methods. By the use of this work young children may be started in (Grade 3.) to compositions is deprecated by many music far earlier than is ordinarily the case, and a valuable foundation In criticism of the Fletcher Method, Harvey Worthington Loomis laid for future work. Even the mother by its aid may make a beginning 6. Piano Solo—“Vecchio Menuetto,” on the ground that “good music does not in the nursery. require such sign-posts.” True; but writes: How any music teacher could ever allow young pupils to struggle Sgambati This method follows the educational axiom—“The thing before (Grade 6.) neither is the merit of the. music im¬ on in the old stultifying grind after seeing your ingenious invention is be¬ the sign. Everything is first introduced as an appeal to the ear 7. Piano Solo—Grand Valse de Concert, paired thereby; and it is, moreover, the yond my comprehension. You are indeed the Froebel of music. The When the principle has been grasped the sign can be added. The coni most effectual means of preventing mis- Tito Mattei importance of your educational work cannot be overestimated.” tents of the book are grouped under these general heads: The Musculai (Grade 7.) tn erpretation of the character of com¬ bense, lime, Tune, Ear Training, Harmony, Voice Training. All positions.—Schumann. The Music Courier, Dec. 28, 1908, says: “The Fletcher Method has the topics are introduced in a manner to please and entertain the child. permeated the musical world, and the various methods for beginners have, Many drills, games and other interesting exercises are given after all, all taken root in her example.” In ■!V\la“er p,art ,o£ the volume a number of useful and taking note songs will be round, also music for m=r».W;.„v r. r. .t DANA’S MUSICAL INSTITUTE, WARREN OHIO Applications for the first class of 1910 are now being received. book is as thorough and complete a; ;s possible to make it. THE OLDEST SCHOOL OF Miiqi^T^ ARREN> OHI° : taught in all its branches. Instruction^ t , NOR™ AMERICA Mrs. Evelyn Fletcher-Copp dormitories for the pupils Hea'uhf.M"^- Pra^tice ™ buildings devote Send for a 64-page IcA^traand two fine MfSbE?Foodstuffs. etc., from ou 31 York Terrace : : Brookline, Mass, Theodore Presser, 1712 Chestnut St., Philadelphia srull information.iformatioi WILLIAM H. DANA. President. or P. O. Box 1336 : : : Boston, Mass. 'VIRGIL PREMIUMS Gifts of Value Easily Earned by SCHOOL OF MUSIC mg Subscribers to THE ETUDE WINTER TERM begins Tuesday, Ja THE ETUDE is of copy is, therefore u.„ Samft: :,t' THE “TEK’ 5.areceivterPinP,auchbca''esTayTthe VarPoriat Fines! and best practice instrument Jftwawtswtw* !S. A. M. ' own DacK trom tsasily. Easily Had ..y , wu-toum co/tec- been complaining to Lavigna that not 'h,‘M interesting essays one of twenty-eight young artist*, who *«*>JeeU Of importance to tie had taken part in a competition for a ' " “Hand Positions,” j post as organ master at an important 'be ale Playing,1 A Thorough Teacher.” church, had been able to develop cor- Con,sin» *"*»r »*elpfnt saggtstions. rectly a fugue subject given by hint. THE NATIONAL Flower Ballads Actuated by a spirit of mischief, I .at igna Education Throuck Music, bv Charles persuaded Easily to give the subject to Hubert I'arntwonh America Book MRVATOHY . Company. Sgfc, |p“S tinging ,h„ convcs.n,i„„ Vcr.li' ".. .,,‘Ci r„,;..!;r*'TSV£ ,h,'VS History of Music. W. J. Baltzell. twimm L?,'V,orBC.XPl"'td "nd College of Cotombi, Vnivtrsity, fit* .f (Bfth *3: K4 «S3‘5ib^ghtjwi“|w'gTd *t? £ sit |i*s. L-r^uir^S\ work. “But how if . comp®ser on his ing teacher* Mr i trth has very a double canon onmv" 'T " I ' ** thingS f asked afterwards y Subjcct? he which they should know to conduct *|[ institute dU^MJBMSSSL her work and dorr, to leave IIO« I^- MUSICAL------ment.oned WORKS AT COST sSg-passs below wll be gent postpaid._ OFFER NO. 1 Adnsc lo the subscription price oi ill?” BURROWES MURSE OF MUSIC STUDY J5 *"du^r^arY~Instruction for Teachers by Home Study *»»■..-*, , ^ ’ ««ve -OORR, w,„ ,tf KATHARINE - Study.V. '. This is an Estey Suggestion; it won't lead you astray The Finest Quality about BAKER’S a IhinkRujlif piano Breakfast Cocoa When you think right about a piano, you will set A product of a perfect process, thl musical quality above every other consiJeration. result of years of painstaking andlj The endorsement of high-priced musicians adds conscientious effort to produce j nothing to the value of a piano. We buy only the materials and the skill to make an equal or better grade A perfect food piano and save you the price of the musician. Spend a penny for a postal and write for “The beverage Pocket Estey.” Take five minutes’ time and read it. It is of absolute purity, deliciou! It is a guide to right thinking about pianos generally— flavor, and possesses all the^ with a few pertinent facts about Estey Pianos. It isn’t strength that a pure, unadulterated a struggle with superlatives. The Estey is a piano cocoa can have. as good as the best and is sold at a fair price. Address, Dept. I, and say: “Please send me ‘The Pocket 52 Highest Awards in Europe Estey.’ ” _ and America Estey Piano Company Registered IT. S. Pat. Office A new and handsomely Illustrated recipe book containing chocolate and cocoa recipes by Miss Parloa, and lorty new New York City recipes for home-made candies by Mrs. Janet McKenzie Hi|l, about will be sent free by mall to any address WALTER BAKER & CO. Ltd. Ihinkffighf/^ Established 1780 DORCHESTER, MASS. -[ Important to All Pianists and Students IVERS & POND IV EW PIANOS a Superlative Quality. GRADUS AD PARNASSUM” Viewed from an artistic or a mechanical stand¬ By ISIDOR PHILIPP point, piano-building has never reached a higher <1 In this unique work each separate department of technic is considered by itself, all the studies bearing upon any particular technical point being classified standard than in the latest together and arranged in logical and progressive order. Proceeding in this models of Ivers & Pond manner each subject is treated exhaustively in a separate part. The main Pianos. We want seek¬ points thus covered are : ers for the best in piano¬ forte construction to know H?11* ,T«ch,nic Arpeggios Broken Octaves and Chords Right Hand Technic Double Notes The Trill how superlatively fine both Hands Together Octaves Various Difficulties musically and mechanic¬ •I The entire literature of educational piano music has been ransacked in order ally Ivers & Pond Pianos to select the best possible studies adapted to each of the above classifications. are, and we invite critical New Model. Style 6 A student completing any one of these will have fought that particular subject tests of tonal effects with Jmbodyinsr the latest in to a finish and have imbibed the ripest and best ideas on the subject. the few other pianos in the iiKnr- ^ M°^ieur I. Philipp, leading Professor of Pianoforte in the Paris Conserv¬ first class, when the superiority of Ivers & Pond Pianos win oe atory is admirably equipped by knowledge, experience and natural talent for the apparent. ey stand in tune twice as long as the average piano. compilation and preparation of a work of this type. He has engaged in the task with devotion and enthusiasm. Interest to Music Teachers. <1 Each classification will be published as a separate Part. to the profession af!^rtif^S Tvers & Pond Pianos, we furnish them ADVANCE OF PUBLICATION OFFER and on convenient'°7a or their PuPils’ use at special prices guarantee sltSion or SLS«y"«nt- We shiP on “PP^val a.i^ railway freights p ° returns at our expense for hot We will send the first Part, when published, for only 20 cents, postpaid information;free to anyone sending us this amount. An exceptional opportunity. IVERS & POND PIANO COMPA THEO. PRESSER f'S ls;rh“ta 141 Boylston Street, Boston, Mass. PIANOS have been established 60 YEAP« r. h°“ “ “■*». Wrta ,of*c;i1oS'rSr.S vose vose e sons PIANO bo:: wr /. as