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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
9-1-1914 Volume 32, Number 09 (September 1914) James Francis Cooke
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THE ETUDE 625
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Please mention ETUDE when addressing our advertisers. 628 THE ETUDE I VERS g POND PIANOS THE ETUDE SEPTEMBER, 1914_VOL. XXXII. No. 9.
The Princess Grand the origin of the Salon and told something of its history. The brilliant women of the French capital made their parlors the forums EUROPE’S WAR—OUR GAIN. for leading artists and thinkers of their day. We give these The supreme piano-type is the grand. The grandams the credit for the Salon but really there had to be first “Princess” shown here is its most noteworthy War, always hideous, is never worse than when the people of all the artists and thinkers themselves. One can not have a adaptation to the price and space requirements of of so-called Christian and civilized nations fight. Not since men Salon in the middle of the Sahara. Coming as it did with a more first chose to settle their disputes by swinging stone axes at each the American home. How little room it takes is or less superficial form of society there was a tendency to cultivate other has the machinery of battle been so horrible as now. The brilliance and effervescence rather than those substantial qualities shown by a paper floor pattern mailed on request. only war which civilization should countenance is the war against which make for permanence. How delightfully easy its purchase is told by our war. In this day, we certainly have problems of existence far We must not think, however, that the Salon was a gathering catalogue, and personal letter, mailed on request. more important to mankind than that of fighting over border lines of the useless to entertain the useless. This was by no means the for the aggrandizement of a few monarchs or politicians who show We build a complete line of highest quality grands, case. Such a figure as our own Benjamin Franklin was the lion their lack of fitness to govern by precipitating war. players and uprights. Wherever in the United of many a French Salon. Possibly the Salon may have led him to Nothing could be further from the spirit of America than invent those fascinating musical glasses which were much used in States we have no dealer we quote lowest prices the desire to profit by the misfortunes of others. Our interest their day. in the present horrible, unthinkable fighting is that of deepest and ship direct upon our easy payment plan. It was nevertheless the Salon that brought out the best in sympathy for the mothers, wives and sisters of the wounded and Liberal exchange allowance for old pianos. Our many notable men. Chopin was its musical hero and not even the dying men. Would that we could restore life, peace and happiness catalogue tells! Write for it, now. emptiness of Herz and pianists of his class could disturb Chopin’s where death, war and misery now exist. Nevertheless, it is a legitimate bid for immortality. In a similar manner there developed fact that the triumphs of battle do not go to those who fight, but a kind of Salon music such as that of Bendel, Henselt, Chaminade, to those who are at peace. The neutral, non-fighting nation is Chabrier, Heller, Raff, Liszt, Mason, Moszkowski. Poldini, Schytte, | always the real victor. Russia, France, Austria, Servia. Germany Lack and Schiitt, which has in it the element of permanence. It have little to win but everything to lose. Unwanted, unsought, Ivers & Pond Piano Company is beautiful, tuneful, well constructed music reaching thousands great gains are bound to come to us. Furthermore, there will be where the classic reaches onee. It is in a way the evolution of the 141 BOYLSTON ST., BOSTON, MASS. a loss of commerce which Europe may be a half century in re¬ Salon. , gaining. Last of all let us not forget that the Salon was not mercenary. Like sullen boys breaking up their toys in fits of anger, As a rule the artist lost all idea of personal financial gain when he Europe is now annihilating the products of half a century of labor. played for a room full of choice spirits with kindred ideals. Per¬ America will be among the nations to supply this frightful loss and the very economics of the situation insure huge profits to all. haps he was greedy for adulation, but then adulation is often the “The Crowning Attribute of Lovely Woman is Cleanliness” Americans who do not hesitate at this moment may be among the mead of many conspicuously successful and productive people. great men and women of to-morrow. Unwelcome, as is the thought, Good Salon music has as necessary a place in music as has the best war always provides opportunities for the redistribution of wealth of the classics. It is only the empty and unworthy that we would in the neutral countries and the active, confident hard-working do away with. Let us have more and more good Salon music. musician has now a chance such as he has never had before. Ethelbert Nevin showed us what might be expected in America if we see this very human need rightly. Speaking largely, America should benefit in an unheard-of manner by the European conflict. With our vast territory, bursting The fulfillment of a century of hope and granaries, enormous national wealth, earnest workers and spirit AMERICA FOR AMERICANS. promise is realized in The Baldwin Piano. of confident optimism, America should furnish opportunities so great that even the wildest imaginations might have difficulty in Never have pianos so completely ful¬ grasping them. The main thing is an atmosphere of confidence. America's musical debt to the old world will never be paid filled the requirements of the artist and No matter how black the war cloud may be, remember that our despite the Croesus-like sums which we have been pouring into the discriminating public. skies are clear blue. European capitals every year. Ten or more years ago the editor of Music is more needed now than ever. With the pressure of The Etude printed the results of a very extensive investigation In all respects—action, tone, quality, the hour, music will bring something to our lives which could not of the European conservatory systems. These appeared in the and sureness of standing in tune— they be supplied by anything else. Musicians and music teachers look form of a dozen articles during two or more years. They were are superior. forward to a year of great prosperity. Keep right ahead with your all based upon first-hand investigations of an unbiased American The enduring quality of this instru¬ regular plans and work for bigger success than ever before. teacher, proud of his American ancestry, but affectionately attached Thousands of students now studying abroad are likely to return ment makes it invaluable to you. Each to many fine European music workers with whom he had come in and a musical season such as we have never known will be the result. one carries an unconditional guarantee contact at home and abroad. for an unlimited time. Where Europe excelled, or where the equipment, systems and staff of a conservatory appeared exceptionally fine, this was set THE SIGNIFICANCE OF THE SALON. Catalogue and other information on down, in enthusiastic terms, but in many instances where he request. found American students wasting their money upon inconsequential It seems a little odd that certain pieces should be classified teachers located in conservatories with high-sounding names, but by the names of audiences toward which they are directed. We chiefly distinguished by a stench like that of a back alley, the truth speak of concert pieces, recital pieces, chamber music and salon was told. pieces where, as a matter of fact, many of these pieces are quite as Just now America has an opportunity to establish our musical suitable to all kinds of auditoriums. Many of the Chopin Waltzes work upon even a firmer basis, owing to the Satanic blossoming of Cincinnati Chicago New York for instance are just as much used in concerts and recitals as they years of militarism in Europe. Accordingly we are pleased to St. Louis Indianapolis Louisville are in the Salon, in other words the parlor. Denver San Francisco | announce that The Etude for November will be an “All American” M e have, however, accepted a somewhat distinctive classifi¬ number, an issue which every American teacher should place in the THE GRAND PRIX—PARTS, 1900. [ cation of pieces which we now call Salon pieces. In the sparkling hands of every pupil. Mind you, we shall not forget the American THE GRAND PRIZE-ST.LOUIS.i904, I article by Theodore Lack appearing in this issue he has pointed out musicians of foreign birth but long loyal to American ideals. THE WORLD'S HIGHEST HONORS Please mention THE ETUDE when addressing our adve-ti 630 THE ETUDE THE ETUDE 631 011 Tributes to the Memory of Hans Engelmann
Widely Loved Composer of Over 3000 Pianoforte Pieces
In the death of Hans Engelmann the world has lost I have always regarded the compositions of Mr. Hans Hans Engelmann was probably the most prolific ot a refined melodist and an able musician. Though Engelmann with great favor, as they possess, in a pre¬ modern writers of melody. In these days of ultra popular, his work was never banal, and it filled a great eminent degree, melodic charm, rhythmic fluency, great modern compositions, with their dissonant harmonies niche with teachers and students all over the world. naturalness and spontaneity. He was a past-master of and mystic tendencies, the works of Hans Engelmann Charles Wakefield Cadman. form and his chord-setting always reveals the sincere are really often found refreshing with their fine melb- artistic insight into what is harmonically true and dies and pure harmonies. They will, without doubt, It was with sincere regret I read of the death of correct in the blending of chords. While his composi¬ long remain popular with thousands of music lovers, It is much to be regretted that this well-known and Hans Engelmann. It is doubtful if a more prolific tions cover a wide range of human and nature moods, popular writer died in the prime of life, for, had he composer of popular salon music ever lived. He pos¬ as well as technical variety, the genial individuality of sessed a great gift for melody and his compositions will lived, the world would have gained many more beauti¬ their creator is always readily detected. It is my always find a way into the hearts of a vast number ful and perhaps even greater works from his pen. opinion that no composer of any period ever composed of people. J. Frank Frysinger. such a great number of truly delightful teaching and Frederick A. Williams. salon pieces. My pupils are invariably pleased with an Hans Engelmann has passed away, but to the music Engelmann piece, because they are all quite uniformly I am very glad to add my word of appreciation for lovers, who are acquainted with his many writings, he Mr. Engelmann’s work. The flowers which he gath¬ of Madame the Duchess of Orleans—it is true, however, PART II. MUSIC SALONS OF TO-DAY. still lives. Leo Oehmler. that he was a trifle less laconic. According to many ered so fieely from the “Garden of Melody” will con¬ Little by little the salon of affairs gave place to the ______entered “competent” musical critics (are there' atij competent His expansive temperament, as it were, was ever tinue to bloom and to brighten many a work-a-day into the spirit of tile subject so that he virtually generates salon of music. I have spoken of the salon of yester¬ inspired by such melodies which find their birth deep Composers like Hans Engelmann fill a distinct and a kind of salon atmosphere to which the reader can not critics?) it was at the house of that ultra-rich melo- hour. Who shall say which are best—the flowers that be insensible. M. Lack honored The Etude with an ex¬ day; now I will speak of the salon of to-day. During in one’s heart; in all of his writings there is tune worthy place in musical development. Not e-veryone ceptionally good article In February, 1013, How the Piano maniac, de la Popeliniere (1737), that music first made grow by the wayside, the roses, buttercups and daisies my career as an active virtuoso, which extends from everywhere, each little sentence, as we stroll through who loves music, and whose life is enriched by it, is Is Studied in France. At that time we gave the following its appearance in the private salon, where it has since that all may enjoy—or the curious exotics that are cul¬ short biographical notes: He was born at Quimper. Finestre, reigned in sovereignty. Mind you! I do not wish to 1864 to 1890—since then I have devoted njyself entirely his “garden of melodies,” breathes a fragrance of his ready for the messages of the masters. For such as France. September 3, 1846. Studied at the Paris Con¬ tivated in the high-walled garden? say that I place the origin of music in the epoch of to teaching and composition—I visited so large a everlasting versatility. For the young player his works these, the works of Engelmann, melodious, unaffected servatoire with Bazin and Marmontel and has been teach¬ Mrs. C. W. Krogmann. ing ill Paris since lsici. He is an Oilicer of Public Instruc¬ M. de la Popeliniere. Ah, no! Music has existed since number of salons that it would take a complete volume are very interesting, as his teaching pieces are easily and technically of very moderate difficulty, are a real tion, Officer of the French Academy, and Examiner at the Peris Conservatoire. Ills best known piano composition is the beginning of the world; that is unquestionably to number them all. I will confine myself therefore comprehended, combining the requisite educational boon. Engelmann’s passing will cause genuine regret the very popular /dilio.f We call music the “universal language.” It may be true. I will explain: the word “musique” in French to those salons which had so much prestige at that features without sacrificing the ever pleasing style to' thousands. James H. Rogers. also very aptly called a universal bond of brotherhood which so marks all of his compositions. PART I. THE SALON OF OTHER DAYS. period . . . and since then. This time I shall and fellowship. Our departed brother, Hans Engel¬ be speaking from memory of scenes in which I These special gifts imparted to his works naturally The salon has played a leading part in our After the clai.K and clamor of modern dynamics, mann, the exponent of cheerfulness, endeared himself have been both a spectator and actor. created an unusual demand for his manuscripts, and country, particularly in the eighteenth century. It what a delight it is to play through Hans Engelmann’s by his wholesome, jovial music to thousands. Salons, like individuals, have a character all their his compositions are therefore to be found listed in was at that period the meeting place of good com¬ music, filled as it is with the refreshing, humanizing His beautiful Melody of Love expresses more fully own. I am going to endeavor to show them to the catalogues of all the leading publishers of the pany—not infrequently of bad—great nobles, flow of melody which touches the heart. his personality than any obituary that could be written. famous financiers, illustrious gentlemen of the robe you in a few brief notes, written from memory country. Although at the time of his death he was To Engelmann was given that precious gift—m.elody He has accomplished his mission and by his works and of the sword, of the pen and of language well without attempting to preserve any chronological comparatively a young man, his writings run into the or ill put together, frequented the salon to talk order. thousands. —and its crystal clearness was never polluted by do we know him. George Noyes Rockwell. grandioso tricks or cheap’ sentiment. about everybody and everything. New Music was given every Sunday at the home of And so what he has left us are no hidden treasures. Hans Engelmann as a composer undoubtedly pos¬ orders, policies, scandals and slanders were formu the Empress Eugenie in her private apartments What his lyrics and works contain are for us, for all, What greater praise can one give than to say that sessed a wonderful gift of melody, supplemented by a lated in the salon. Academicians were tpade, at the Tuileries. In order to move about the and we shall ever pay tribute to him through our Engelmann’s music was fireside-music; homey music istries unmade—such was the bill of fare, sugar thorough practical and theoretical knowledge of music, room freely one had to be as alert as a cat climb¬ memories. Carl Wilhelm Kern. associated with the simple joys of everyday life? and salt, at this charming resort. A little of every¬ thus giving to his compositions a character and finish ing the shelves of a dealer in porcelain. The In our rush for the big and noisy things he has thing was made there, but not much music. I can so often lacking in the works of modern composers of Empress had a positive passion for old bric-a- When I first met Hans Engelmann in 1897 I was charmed and touched us, he has made us stop and not say a great deal about this period except from salon and dance music. His themes showed original¬ brac! The grand piano was covered with it. To interested in his work as a composer on account of listen to his colorful melodies and he has made r~ hearsay as I was not admitted into these selec ity and freedom from the “commonplace,” and his right and left of the piano a number of little the fluency of his writing, and the fact that in nearly l°ve ‘hem. Miss Jo-Shipley Watson. centres, for two reasons. First because I had treatment of them gave them an educational value stands and tables were scattered about simply cov¬ every one of his pieces he had at least one touch of yet been born, ... and that relieves me of the which teachers of good standing were not slow to ered with rare china. One had an impression that individuality. At that time he rather prided himself need of giving you the second. recognize. Consequently, hardly a recital program has the least touch would smash it all to bits. In in having reached a high opus number, somewhere Our great-grandmothers had, it is said, a peculiar appeared in The Etude for years past that has not faculty for maintaining a salon; the historians are such surroundings, to play a Liszt Rhapsody was between two and three hundred. I remember that on all agreed on this. Historians in agreement—that to invite dire catastrophe! Prudence demanded one occasion he remarked that he would like to reach contained one or more of his graceful numbers. En¬ astonishes you? It astonishes me, too. If it had that one should play nothing beyond a Nocturne Opus 1000. I do not know what would be the number gelmann s place as a composer of this particular style been doctors that were in question, you would of Chopin or a Mendelssohn Song Without Words. for his last writing, but I imagine it would be nearer aLvmnstWh VCry hard t0 fl11’ and his Passin& say that I was humbugging you, and you would be the two thousand mark. away must be a source of sincere regret to thousands Note bene: the Empress was a beauty, but her right for that could never be the case. beauty was of a sensational kind! Once the question of his studying compositions with -a1d Students who fou"d his compositions a means of instruction and a source of recreation. As for giving the exact date at which salons Then in the Kingdom of the Pallet, there was a celebrated teacher came up in the course of a con¬ originated, that I cannot do, or at least, I can the salon of the Princess Mathilde, cousin of versation. He gave it as his opinion that were he to M. Stults. only give a very approximate date. Beginning at Napoleon III and the good fairy of all painters,— put himself to a systematic course of study in the a remote period and coming down to modern what a delicious audience for musicians the painters higher forms of composition he would undoubtedly times (that is always so easy for the author), we make! At the salon of Monsieur Nieuwerker, take^ away from his fertility of invention' and weaken £?£ sms ir m?. ts find the Forum and the Agora as the centre of his harmonic fancy. reunion among the Greeks and Romans, where it superintendent of the Beaux-Arts at that time, If I were to try to characterize his work as a com¬ seems they discussed very loftly matters. Perhaps one met “all official Paris.” I retain also a vivid poser, it would be to lay emphasis in his facile melody that which comes nearer to the gossipy nature ot Liszt in the Studio of Gustave Dork. recollection of the musical receptions of that animated rhyhms and harmonic color, achieving fine our modern salon or “drawing-room” wou'd be the exquisite, that perfect gentleman, the Count effects with resources familiar to the average teacher Exedra of the Greeks, but if you only knew how sick Walewski, favorite minister of Napoleon III. his absence P V'1' asA teachers wil1 fed means the same as “chant” (song) in Greek, anything and pupil. Therein was his strength. Mrs. L. A. Bugbee Davis. I am of the Greeks and the Romans .... and At the home of President Benoit-Champi, the Great you? that comes from the Greek is sacred! and, as we are Mogul of the Magistrature, one met “le tout Palais”_ W. J. Baltzell (Editor of The Musician). all possessed of a voice from birth, there is nothing to THE FIRST SALONS. all the officials of the Palais de Justice. A bevy of unobtrusively the™ a'°ng unselfish'y and prevent us from singing at our entry into the world. The passing of a favorite author or composer is It is simpler to believe with Sainte-Beuve, who was elegant young men was present, and young ladies with Hans Engelmann was one of tbenefi,.ted- And since to sing is the same thing as to make music, like the loss of a friend. I wish it were in my power wonderful toilets—and with decidedly low-cut dresses will find that thev will k of.th?se’,and music teachers a very learned gentleman, that the first salons were the origin of music must consequently date back to to give as much pleasure to mankind by my musical as might have been expected in surroundings in which that he left many hrfjful a^'SS'fg hl™ albe,t the fact those of Mme. la Marquise de Lambert, Mine, du Adam and Eve. What objection have you to that? compositions as has Hans Engelmann. Fortunately the “Collet Monte” (a famous staircase) was a gracious him. A rare sift „f , aPd Interestlng works behind Deffand, Mme. de Tanein, and Mme. Geoffrin. The . . . nothing, parbleu! These venerable ancestors, the good men do is not always interred with their were possessions of mTe™ ^ Sufficient scholarship last named gave famous weekly dinners also, at which to whom we owe the present day and all its misfor¬ ornament of the magisterial pretorium. Eh! Eh! I hones so that generations to come may enjoy his sweet the guests were of some importance—“the fine flower tunes, including the mechanical piano, were very well discovered there that being a grave and austere judge melodles- Helen L. Cramm. H ^ ^e-inedt of the country.” Her husband was always present, able to sing duets in the garden of Paradise, their con¬ in no way prevented one from being a man. These t° the younger pupils, silent, unnoticed, never opening his mouth except to eat jugal domicile. gentlemen, in fact, taught me that life may be taken Nobody paid any attention to him. It is said that one Relating to this idea I recall the story of the lessee pleasantly and that I could “dry my eyes” as Gavroche day, one of the guests observing his absence from the of a moving-picture show who shouted to the crowd expresses it. That great artist and charming composer table inquired, “What has become of the old gentleman assembled before the door of his establishment, “Enter, for the piano, Jules Schulhoff, was an intimate friend who was always at the table and never had anything ladies and gentlemen, and you will see Adam and Eve to say?” And Mme. Geoffrin replied, “That was my of the house. Many a time I had the good fortune to after the photographs of the time 1” husband. He is dead!” hear him play his own works. He was a king of artists. Saperlipopette! I am wandering from my subject Pierre Veron, the wittiest of boulevardiers, founder That is reducing a funeral oration to its simplest . . . What do you say? Ah, yes! I was speaking form of expression, is it not? Bossuet, the famous of a celebrated journal, Le Charivari, had generally of M. de la Popeliniere. But since he is dead, peace to at his salon to solve the insoluble problem of making divine took more pains over his oration at the funeral his ashes. the part greater than the whole. By crowding together 632 THE ETUDE THE ETUDE 633 ADJUSTING TECHNIC TO THE DAILY a little there was room in his salon for a hundred people maternal. Mme. Erard was full of kindness and NEEDS. at most, but there were always five or six hundred simplicity; a lady of the greatest distinction, and of guests present. Those who had not an invincible deter¬ proverbial hospitality. It was at her house that I mination to be asphyxiated could only enter and im¬ heard the celebrated virtuoso, Thalberg. His music is BY LOUIS STILLMAN. mediately come out; but the host’s great reputation altogether old fashioned, I admit, but heavens, what a made it necessary to be seen there. noble, beautiful execution he possessed! No other There are three branches of music study upon which Some excellent music was also to be heard at the pianist has made the piano sing as he did; it was successful progress depends; they are Reading, salon of Adolphe Yvon, the celebrated painter of battle magical. Rhythm and Technic. They are placed in the order 0f The Dance Yesterday and To-Day. pictures, an artist much loved by the Emperor; also at their importance, though the first two are dependent the residence of Emile de Girardin; and at the house of LISZT IN THE SALON. upon the third—Technic. This arrangement is made By ELLIOT D. YARNELL. my illustrious teacher, Marmontel, professor at the Gustave Dore, the designer, celebrated for his highly from the corrective standpoint. A beginner should Conservatoire, nicknamed “the father of all contem¬ imaginative illustrations, had for a studio an ancient always receive instruction in technic at the first lesson porary pianists”; and again, at the home of Count disused chapel. In this studio, which was of gigantic _reading next, and then training in rhythm. Pillet-Will, in whose magnificent palace was heard for proportions, the great melomaniac held the most won¬ As a corrective it seems unwise from the musical “True Ease writing, comes from art not chance the first time the then unpublished Mcsse Solenelle of derful weekly feasts of music. At one of these, I saw viewpoint and unfair to the pupil to begin with technic, Rossini, under the direction of the composer. and heard Liszt for the first time, about 1868 or 1869 As those m e easiest who have learned to dance.” no matter how faulty the playing may be; besides there Pope’s Essay in Criticism. I believe. Having taken Holy Orders in 1865, Liszt at may be natural technical ability which will develop THE ELEPHANT AND THE NIGHTINGALE. that time was wearing the cassock that earned for him without special technical work when the right compo¬ If one were invited to the soirees of Doctor Mandl, the nickname “Austerlitz” (Austere Liszt).* The sitions are studied. If the pupil cannot read fluently one did not say, “I am going to Doctor Mandl’s,” but, worldly wise might apply to him the saying, “It is not easy pieces containing scale passages may be given, "I am going to the meeting-place of the stars.” Doctor the habit that makes the monk!” On his program that such as Schytte’s Witches’ Revels or Rolling’s Flutter- THE MAXIXE—1914 Mandl was a famous and learned laryngologist. All evening were the two legendes: St. Francis of Assisi. ing Leaves; if these are learned easily. Paderewski's the most famous and all the most fashionable singers, (Bird-Sermon), and St. Francis of Paula (Walking Minuet (which contains extended scales, arpeggio recognizing his services to them in sickness, came in the Waters). Gustave Dore had painted a magnificent chords and octaves) can be taken. If this piece is crowds to the “Friday Musicals” of the good doctor to fresco, colossal in size, in which the figures were pre¬ found to be beyond the student’s natural technical charm the ears of his guests—hence the pretty name, sented with great nobility. It was attached to the wall ability, it may be kept in practice, hands separately Rhythm and dancing are twins, bop so long ago that is it about the waltz in three quarter metre, which does THE DANCING DISEASE. while dosing the delinquent fingers with an abundance “the meeting-place of the stars.” Doctor Mandl, who facing the public and above the Erard concert grand there is no record old enough to tell us just when. not make it as acceptable in a serious work as the Tarrantism, a kind of epidemic of dancing which of five-finger exercises, scales, arpeggio chords and was something of a wit, was also a hunchback, though piano before which Liszt was seated,—the great Liszt Away back when men first commeiice^-tb’write history minuet which is in the same metre but with a slightly infested Italy, was a nervous affection thought to have that is not to his discredit. The great singer Alboni, with his fine Dantesque profile, his abundant silver- octaves. Doring’s Melodious Octave Studies are easy, by scratching pictures on sandstone "or granite we find been caused by the bite of the poisonous spider, the pleasant and very beneficial. different rhythm? It is very likely that this is one of who frequently appeared on his programs, had a voice white hair worn very long and thrown back over his the images of dancers and here and There that of some those innumerable instances where we have let tradition tarrantula. In thousands of cases, however, the people of incomparable beauty. I never heard one more shoulders. During the performance of these two pieces, primitive musician. Indeed the gentfeman who sits at and custom form our artistic principles. It is-not in¬ who imagined they had the disease had never been A WEEKLY CALENDAR OF TECHNIC. the piano for six or seven hours every night “batting lovely ! Unhappily, she was physically of a size that a powerful reflector threw on the scene a brilliant conceivable that another generation will demand sonatas bitten by the spider and the complaint was one of the Each day special attention should be given to a dif¬ out” tangos, one steps, maxixes, efc.,1 etc., has a very was almost phenomenal. The master of the house light that put the rest of the chapel-studio in the shade. with waltzes in them. Tentative attempts to displace innumerable results of fear and imagination, which ferent branch of technic; for instance:—on Monday— ancient, if not a very honorable ancestry. compared here to an elephant with a nightingale inside! I shall always treasure this poetic vision of art. the Scherzo for the waltz have already been made by unfortunately have not become extinct even in our Five-finger exercises should receive the larger share of Dancing and singing have long been the steps from own day. Sometimes insanity resulted and the com¬ Doctor Mandl joked readily enough about his hump. On the same evening I heard the celebrated pianist eminent composers, notably Tschaikovsky in his Fifth At the suppers which he gave to the artists after the turn a charming compliment. Seated beside the young the time devoted to Technic:—On Tuesday—Scales barbarity to music and poetry. If you have ever seen plaint spread to parts of Europe where there was no much of the music of the very early writers;’particularly Symphony. concerts he never failed, on sitting down at the table, and pretty Mme. de B-, whose beautiful shoulders should get most attention :—On Wednesday—Arpeg¬ possibility of spider bites. People worked themselves the writers of church music, you are impressed with the A broad distinction may be drawn between those to encourage his guests with the remark, “Now, my were bare, the great artist contemplated their loveli¬ gios;—On Thursday—Octaves and Chords. In this up to such a frenzy that they not infrequently dashed way each branch will receive adequate practice, at the lack of rhythmic form. The voices-move on and on dances which have come from the aristocracy such as children, be gay; laugh like hunchbacks!” ness with evident delight. Suddenly perceiving this, out their brains against cathedral walls with the hope same time minimizing the amount of time and energy with little to give any one of the parts' a definite char¬ the Polonaise, the Minuet and others, and those’which of gaining relief. Native doctors treated the disease Hats off, gentlemen! We are about to enter a the young lady exclaimed in pretty confusion, “Oh expended. We have not realized to the full extent, acter that will help in fixing it in the mind., When the come directly from the people. The folk dances have unique salon, the like of which will never be seen again. Monsieur Liszt!” homeopathically and encouraged the patient to dance Yes, the unforgetable Saturdays of Rossini, with their as yet, that each set of the playing muscles will develop dance rhythms became a part of ltiusic’ there was some¬ perhaps the most rhythmic interest. Compare the more and more. The consequent exhaustion often “Pardon me, Madame,” exclaimed Liszt, “I was ex¬ as well, and in some cases better, if they are given a thing which made it more readily retained by the mind, Bolero and the Tarantella with the stately march. brought the cure. Our charming tarrantelle is the immense crowds, and such crowds! all the notabilities pecting to see wings spring forth.” of every kind in the world. Here was music and what rest for a day or two. The more vigorously they are —more assimilable as it were. 1$ it not juSbto reason Again, the most emotional people, that is those with, .result of this peculiar epidemic. Science now assures The memory of having heard the bewitching Genie music! All the most celebrated artists in the world used the longer the period of rest should be; however, that this gave music something fop .which there was a the most excitability, seem to be the source of many ufs' that the bite of the tarrantula is by no means fata! consoles me a little for being no longer young. came here to seek the consecration of their reputation. it is well not to neglect a little light exercise daily in very human demand? ' • ’ dances with pronounced rhythms. The Italians; the in itself and that dancing is no more a symptom than Much music was made—and good music I beg of you It was a veritable little Court, but a Court reversed, in each branch. An exercise which inculcates the habit With Wagner we find a tendency to abandon the Poles and the Spanish are responsible for many. Hun¬ it is of the young gentleman who has inspected a to believe me,—at the house of the celebrated dramatic which a subject was King and in which many Kings of thinking while playing, and which gives and main¬ rhythmic models imposed by the danpe arid 'in such a gary and Bohemia have also given us delightful dances hornet’s nest with too little caution. However, there author and academician Legouve. But at his concerts work as Parsifal this tendency is very evident except in and Queens were subject. In fact, many Sovereigns tains the mental and physical control it has developed, which some of their native masters have already put can be no doubt that the composers of tarantelles of no program was arranged. Whatever talent was fur¬ some parts of the opera where - danrie rhythms are and their Consorts passing through Paris solicited the will also insure the ability to think and feel the rhythm, into works likely to have permanent place in musical pretension like those of Chopin and Heller have not favor of assisting at one of these glorious concerts. nished by chance was used to advantage, and chance while performing a composition. purposely introduced. In the Pcllcas and'Melisande of limited their conceptions to the characteristic Neapoli¬ always did wonders. One evening found us with no Debussy dance rhythms are so completely abandoned art. There was nothing frigid about these receptions as one Paderewski and de Pachmann “feel” the music while tan peasant dance of to-day but have thought of the less than six pianists present. However, this did not that there are very few passages in the opera that can Just at present the dance craze has taken ever dances might expect with a gathering of people so becrowned. they are performing it in public. They are thinking frenzied dancing of the middle ages. interfere with us, and the pounders of the ivory would be retained. in the mind of any one except the trained of Spanish American origin. Argentina, Mexicpj Cuba Very much to the contrary, the master of the house about the phrasing, rhythm, accent, notes at different be busy still had not the mistress of the house extin¬ musician. and Brazil have been ransacked for folk dance tubes to entertained one with so much courtesy, so much good places in the compositions they are performing. Some- set the feet of millions all over the world a-dancing. BALLETS OF TO-DAY AND YESTERDAY. fellowship, and with such engaging good humor, that guished the lights at two o’clock in the morning in order to force us to go to bed. Among the habitues of times they think of combinations of these elements; SACRED DANCING. ’ How very new these dances are may be noted by the The ballet (derived from the French w&rd signifying one was completely at one’s ease. It gave one a feel¬ for instance, the rhythm and accent become the active that salon were all the members of the Academy— The idea of dancing is so shorikttfg to many of the fact that the most complete treatise on the dance, pub¬ to dance) is by no means of French origin. The idea ing of genuine enthusiasm towards the executants. elements in their active consciousness, while the dyna¬ naturally,—and all the Comedie Franqaise—still more good, dowagers who have never indulged in it (God lished as late as 1907 makes no mention of these dances of groups of professional dances performing before I see him yet seated in the midst of his salon. I hear mics and notes are being taken care of at one particu¬ in any way. The remarkable thing is that the compli¬ large audiences goes back at least to Babylon. But the him still, with his big paternal figure, his wit so full naturally. To complete the picture, in a retired corner forbid!) that the very word “waltz” will make them lar playing by reflex action, and are controlled by sub¬ cated music and the intricate steps should have been ballet as a set form of dance came to its heighth in of good natured malice, himself playing between each of the most obscure part of the salon was often to be throw up the palms of their hands in holy horror. Yet conscious processes. At another time the conscious accepted so readily by a non-Latin people. The suc¬ France during the reign of Louis XIV who amused piece of music his little “solo” of bon mots and quick seen an apparition, alive for a few moments but soon there is such a thing as sacred dancing,—that is dancing mental control may deal with the elements which were cess of the Tango and the Maxixe in France, where himself by becoming one of the performers. So repartees with which he was so prodigal. At such to disappear, a sort of phantom in black! By a sort connected with religious festivals. In the Cathedral of subconscious the last time the piece was performed. the serious musical journal Musica gave up a whole seriously was the importance of dancing considered times, everybody literally crowded round him in a circle of tacit understanding one respected the incognito of Seville there are dances held upon Corpus Christi day. It is almost impossible to catalog the complex mental issue to the subject is understandable, but in America, that the pleasure-loving French monarch founded an so as not to lose a syllable of his brilliant conversations tins spectre among the living. It was the intimate These are the survivors of many similar dances held and emotional processes, combined with the conditions England and Germany this is a little difficult to explain. Academy of the Dance in 1661, and no less a person He had a spontaneity of wit that was stupefying! friend of the master of the house, no less than Berlioz! under religious auspices in times past. Indeed we need Un_fr W 1C1 a comP°sition is learned and remembered. not go back farther than Handel td find oratorio music The tango has not always been danced as it is now than Lully was the director. The combination of A friend once asked him, “Why do you never take {M Lack’s fascinating article will be continued in 1 he mental .processes that are brought into play danced. A highly educated Spanish musician from dancing with pantomime came into existence about part at the first performances of the operas of your interspersed with dances of many descriptions. There 1 he Etude for next month.) through the eye alone are reading the notes, locating Barcelona recently assured me that he had seen his the end of-the eighteenth century and is attributed to colleagues?” To which he replied, “I do not go be¬ are many kind of dance rhythms set to sacred words on the keyboard, reading the fingering on the grandfather dance the tango many times in a most Jean Georges Noverre. This became known as the cause if the piece is bad it bores me, and if it is good and many find these quite as sanctified as an ecclesiasti¬ music, conscious use of the fingering on the piano, dignified manner. Then, it was a solo dance in which ballet d’action and' made possible the introduction of . . . that bores me, too.” cal fugue. THE ONE PURE ART. arp ^ l.processes which require the eye and ear the.dancer exhibited his grace to the members of,an plots of legends paving the way for the very charming DANCING AND THE CLASSICS. audience. The motions were made with, the body and works of Delibes, Poldini, Gounod and others. Many ROSSINI'S REPARTEE. Lyman Abbott, now serenely beautiful in his old Pf.H^imer’- rlyt lrn’ accent, dynamic signs of expression. hvdmcfg IS contro,led '>>' a sense of tonal color, guided the arms and not with the legs. In fact the feet were dancers have come and gone, composers have written The story is a good one but it is not true. Rossini age, embodies the soul of the prophet with the mind No dancing,—no suite, no sonata, no symphony. In of the philosopher. No one has given us the aspect vihrat! n’ ?xper'ence. harmonic-knowledge, laws of fact Beethoven, Mozart, Haydn and Gluck, spent the held in the same spot upon the floor. and died, but the form of the classical ballet as deter¬ was benevolence and generosity itself. It must be ad¬ mined by Noverre remains very much the same. mitted, however, that if mediocrity came into his of music in such clear relief as that found in his inirum nw\°f, the r0om or haI1' ™d the kind of better part of their lives writing glorified dances. memorable appreciation : DANCE CRAZES OF OTHER DAYS. clutches he had no hesitation about using his claws! or poor mak^ Ct grand or upright piano)—a good Glance through any library of classical music and you In order to obtain his criticism a composer of this kind “Did you ever consider that music is the one art will find many of the following names repeated many The furore created by the waltz in the early part of THE DANCES OF YESTERYEAR, once brought him two melodies which he had written. that is absolutely pure? The sculptor may so shape the melodv Cj°"s,derati.ons are tone production, giving times: Allemande, Bolero, Source, Cachuca, Chaconne, the last century was by no means the first dance Have you ever noted now very few popular dances ‘Leave them with me and I will examine them,” said his clay or his marble statue that it shall suggest evil subduimr m * Proper quality and quantity of tone; Cotillon, Courante, Csardas, Fandango, Farandole, craze in history. We are told of a similar popular become permanent? Outside of the “Sir Roger de Rossini. “Gome again in eight days and I will tell you houghts The artist may put upon the canvas the losing the to 1°^^ °f lesser importance, without Forlana, Galliard, Galop, Gavot, Gigiie, Habanera, Horn¬ dementia which happened as far back as 1374 when Coverly” (Virginia Reel), the Waltz arid the March bacchanalian drinking-scene, and bring all the degrada- pipe, Landler, Loure, Malaguena, March, Mazurka, people became so fascinated with the dance that they what I think of them.” Exactly in the time specified melodv hke °na background upon which to float the there are very few dances which v n vogue twenty- mn of human life before you and into your imagina¬ Minuet, Passacaglia, Polacca, Polonaise, Polka, Quad¬ the composer returned to Rossini, who said to him. Ss o^’ thP ^ -!lrCe different disti"ct dynamic shad- ran through the town to all sorts of fantastic steps 2 years ago which are ever heard of today i„ ulc Helas! I have only had time to examine one of them tion. Even the architect, with the aid of subsidiary rille, Redowa, Reel, Rigaudon, Salterella, Saraband, until they foamed at the mouth. The dance that ended ball room. What of the Varsavienne, tile Yorke the shouldWf nr may Md aCC°mpanim"n' The melody Seguadilla, Strathspey, Tarantella, Waltz. • • . but I like the other one better.” ?*■. °f.decorf.'™' ™ay contrive rather to injure than bass fundame ?? y,lmp0rtance' thou8h loudest. The in frenzy was very probably a legacy from barbarism- galop, the lancers, the quadrille, the polka, the redowa’ to uplift mankind. But music never can be made by Of all the dances which have been taken over to the Dances of this kind are still observed among savage The splendid Sunday musicales of Mme. Erard, the of “second^ im’ °f h“y - design, are All have fallen under the onslaught of the twq-steD itself a means or a voice of degradation. You mav classics there is none which has been used more times wife of the great manufacturer of pianos, were much the melody but *1°™?nce' and should be softer than peoples. . Here and there we encounter such a dance the one-step, the tango and a hoard of vandal-like by the great masters than the minuet. The waltz it is sought and much frequented by pianists. When one mate it to words that are degrading, and so drag it in oriental civilization and even in connection with dances with names suggesting the insipid mentality of voices whlcit are -the middle true has been immortalized by. Chopin, Moszkowski, entered into the magnificent chateau de la Muette, with 2™"’ 7y c!ustfr ab°ut it degrading associa¬ be the softest Tho 0?'^ 'mportance” and should some modern religious ceremonies of a primitive sort their inventors. y 1 tions, and so drag it down. But the voice of mu-' Schiitt, and Johann Strauss, Jr., but it has not been its sumptuous apartments, one felt enveloped in an we find a kind of prancing which is taken for devotion Fortunate is the dance which can be preserved i itself cannot be so perverted as to be other than" a of mood, little inscri'nt'gher *f-hetic phases are employed in works of large dimensions (symphonies, and which is no more or less than a gratification of atmosphere that was, if I may be permitted to say so, to suit the composer’^1-01?8 niak,ng the dynamic range memory through its music. The Bolero, Ae polonaise" voice pure and clean and sweet.” sonatas, string quartet, etc.) as has the minuet. What the abnormal appetite for nervous excitement. be subjective or objective6**'0"8’ Interpretations may the mazurka have literally departed from the ballro > 634 THE ETUDE THE ETUDE 635 THE NEW SEASON. but Chopin, Liszt, Moszkowski and others have made present tango and the maxixe may well be claimed by them immortal in the ball room. The dance that lasjts the New World Spain. BY EDWARD O’CONNOR. ‘ longest is the one with the least complexity. The waltz is said to have come from La Voita which was SOME REMARKABLE FACTS ABOUT THE DANCE. .known as early as 1555. However, the waltz as it is The Council of Trent (1562) composed of legates, Vacation days are over and before us opens the new ’now known is something over a hundred years old cardinals and archbishops opened with a brilliant ball. season—a season the outlook of which should pr0Ve and bids fair to live another century. The tango is It is said that Pope Leo X favored religious dances. a stimulus to every teacher and pupil throughout the altogether too complicated a dance to remain in favor The Burmese had ■ a custom of singing and dancing land. To the conscientious teacher it means the birth .for- any considerable length of time. beside the coffin of a dead priest. of a new period, an opportunity to prove that the ex¬ In many parts of Africa it was the custom for the perience and study of the past teaching season and the THE RISE AND FALL OF THE DANCING MASTER. natives to dance upon freshly made graves. vacation months have opened our minds, broadened our Some famous dancing masters have, like Vestris, been As late as 1814 ten thousand pilgrims went dancing outlook, and developed us pedagogically as well as lauded through all their days; others rise and fall to the shrine of St. Willibrord. musically. like chips upon waves with the ebb and flood of the The Baile de los Seises given on Corpus Christi Day To begin the new season with sound, well-developed dance itself. The present dance craze has brought at the Seville Cathedral is performed by two groups of principles and ideas, with the necessary enthusiasm for fortunes to some clever dancing masters but this in six choir boys. The Bishop and the clergy assemble imparting them to others, bespeaks in no small manner itself is not new. In the early part of the last century before the high altar, magnificently lighted with for the success—financial and aesthetic—of any teacher England was overcome by a dance craze that was so candles. Castanets accompany the dancing. During in any 'branch whatsoever during the season now at pronounced that gentlemen at balls who could not the service the clergy kneel. What is reputed to be the procure partners were said to have gone dancing music of this dance is given in Grove’s “Dancing” in The errors made in the studio on the part of the around with chairs in their arms. Then came the the Badminton Library. teacher in times past may have been due to a certain Lancers and Queen Victoria herself was one of the In certain parts of Spain the Jota is danced before ignorance of things in general and during the vaca¬ greatest enthusiasts. In fact there was a time when the casket of young girl believed to be without tion months perhaps an examination has taken place the sovereign of the most puritanical of the European worldly sin by way of rejoicing for her transit to the and the cause of those errors and faulty methods have nations spent the better'part of her days in dancing. angels. The mother sits by and listens to the clicking been gone over and a new plan devised for the coming Nothing could better illustrate the transitoriness of tured with wildly floating hair and exaggerated atti¬ How different it was with Thalberg! He was per¬ Then came the Polka, which arrived about 1844. It of the castanets. months. was an old Bohemian peasant a virtuoso’s fame than the neglected centenary, January, tudes and environments, while Thalberg was repre¬ fectly composed, convincing the observer from the out¬ Speaking in a general way dance. One Josef Neruda was 1912, of the once popular Thalberg. Although by no sented as seated with rigid dignity before a box of set that he was master of the keyboard and of himself. these errors on the part of a said to have seen it danced at means the most eminent of other-day musicians whom keys. Not a gesticulation, not a change of countenance, not a teacher may be summed up a village fair. He transported the present day condescendingly pronounces quite out THALBERG IN AMERICA. stolen glance toward the audience betrayed the slight¬ under three different heads, it .to a party of friends at of date, he is nevertheless a personality to whom the During the season of 1856-7 Thalberg came to the est agitation, or indicated that his thoughts were occu¬ Prague. Thence it spread over musical world owes a debt that should neither be over¬ United States, and it .was in Philadelphia that I, an pied with aught else than his work. Applause was re¬ Europe like a forest fire and Firstly—A lack of sufficient ceived by him with a respectful inclination of the head, knowledge of the subject we looked nor lightly estimated. ambitious but as yet poorly informed young piano stu¬ soon all Europe was dancing It was he who unfolded to the laity the beauty and and not the -slightest deviation from his courtly bear¬ the simple little steps which would teach. ing. That he was not as frigid as his demeanor be¬ Secondly—Inability to im¬ infinite variety of tone that might be derived from the the little Bohemian girl had pianoforte through the proper use of its resources. He tokened was betrayed by the soft flush that at times tripped off in the market place. part our ideas to another. gradually suffused face, ears and neck. emphasized the art of singing on the instrument and Singularly enough the polka Thirdly—Overcrowding our instituted in a free employment of the thumb and has inspired little music that pupils. ingenious combinations and changes of the fingers MAKING THE PIANO SING. has been of sufficient merit to Of the three named it would now so universally adopted that no one thinks In the most minute details his style was polished, be considered among the be difficult to say which is the of tracing them to their source. Numerous fig¬ finished and so clean and accurate it would have aston¬ master-pieces, though Dvorak most detrimental to our sue- | ures of entirely novel form were invented by him and ished one to hear a wrong note. His runs and arpeg¬ attempted to employ it as the cess, and by which are we were widely imitated and elaborated. His technical gios were crystal clear, now delicate as fairy network, scherzo movement in his string most handicapped. specialty, a feature which contributed so largely to now rolling like magnificent billows; his trill was per¬ Quartet in D Minor (Op. 34). The first reason given, that the fame of his fantasias, was his mode of sustaining fect; his octaves and chords faultless, and his cantabile l he rhythm is altogether too of not knowing one’s subject a central melody, with the aid of the thumbs and something that could never be forgotten. He made ff trite to impress great minds. matter, may be overcome by damper pedal, and surrounding it with a halo of iri¬ melody sing on the piano, as I had then never thought Nevertheless this dance was persistent effort; in other descent runs and arpeggios supplemented by full rich it could be sung by other than the human voice. I re¬ cnee so popular that the words by hard work and member watching fascinated the play of his feet on the French dancing-mas’er Cella- relentless study. Sigismund Thalberg was b6rn in Geneva, January 7, pedals, not realizing at the time how much he helped rius, who grew rich teaching The second difficulty, that of 1812. His father, Prince Dietrichstein, while failing to himself through them to his effects. it in London, was said to have not knowing how to impart to endow the boy with an ancestral name and title, reared Touch, tone and technique may have been his adored been engaged twenty or more another that which one knows, him in the lap of luxury, and from 1822, in Vienna, trinity, but he certainly used them in a manner to hours a day teaching it in the is indeed a difficulty and not British Capital. The freak so easily solved; for not only surrounded him with every opportunity for broad cul¬ cause beneficent results. He never pounded; what he ture the age and place afforded. A career in the dip¬ sought and produced was pure tone, full, round, velvety dance? of a similar day have must a teacher know horn to lomatic service had been planned for young Sigismund, all been long since buried in impart knowledge, but he must and gently graded from exquisite softness to large oblivion. Among them were do so in a definite, understand¬ but at fourteen he made his choiqe for music, with the volume. His was the most beautiful tone I had then piano as his medium of expression, thenceforth devot¬ names such as The Ladies’ able, and interesting manner. heard, although later I knew something bigger, nobler, Misfortune, The Bath, Lumps He must so place his instruc¬ ing his best energies to the art. In 1830, after several more impassioned in the tone of Rubinstein, who, of of Pudding, Rub Her Down tion before his pupil, and so years- of successful local appearances, he began his course, played on an instrument twenty years further with S*raw, showing that the Famous Pianists of Yesterday’s Salons. transfuse it into their con- dazzling series of European and foreign tours, every¬ advanced than that Thalberg used. gentlemen who coin names Rosenhai Liszt. sciousness that it will remain where the conqueror by virtue of his combined artistry and personal charm. When he was launched on his such as the Turkey Trot, the • with them and act as an in- "THE ART OF SINGING ON THE PIANOFORTE.” career as a virtuoso, his father equipped him with a Bunny Hug, the Lame Duck, the Fish Walk were not centive to further effort. A noteworthy contribution to the science of touch Charlemagne (742-814) censured his subjects for capital of $100,000, and he never had occasion to under¬ without ancestors equally inane. dancing in graveyards. The third named reason given, that of overcrowding and tone is The Art of Singing on the Pianoforte by Just now we are at the very crest of a wave of pupils; that is giving them new music when their old go the struggles with poverty which have oppressed so Thalberg, printed as an introduction to a series of Before the time of Lully men only danced in the many artists. dancing which like all similar crazes in the past will theatre. has not been thoroughly grasped, is a very common Sigismund Thalberg. paraphrases meant to illustrate its teachings. These surely go down. The dances of South America, which one indeed. Many teachers seem to be quite unable to may be given in brief, as follows: In the ballet the leading dancer is known as the first horrified our dowagers and then appeased them overcome this tendency to crowd their pupils even A KEYBOARD DUEL WITH LISZT. “Sentiment brings into play the inventive faculty, and Prcmidre danseuse while the beginner goes under the dent, received from him my first glimpse of the tonal and then exercised them are in a measure responsible. though they realize that it reacts detrimentally on their The' most thrilling experience of his existence, his the need of expressing what one feels will develop re¬ slang name of a “rat.” possibilities of the pianoforte. He was touring the It is said that we Americans are. responsible for only standing and on their work. Overcrowding is bad keyboard duel with Franz Liszt, began in Paris in 1835. sources that might have eluded the mere technician. In early Bohemia so called witch dances were held country with the famous violinist Vieuxtemps, and I one dance which has become universal and that dance policy at any time ; but this does not mean that each The musical world of the French metropolis was for on the full tops. These were given at midnight by the “The Art of Song is ever the same, no matter to is the two-step. We all know what John Philip Sousa sime time as completely split by the controversy in can vividly recall the impression both artists made upon light of torches to frighten outsiders. ‘ piece or study must be worked up to a high point of what instrument it may be applied. Neither conces¬ did for the two-step. Sousa’s marches are heard all regard to the respective merits of the two virtuosi, as me. They were the most distinguished artists I had sions, nor sacrifices should be made to the mechanism Cellarius the famous French dancing master received nnewT ff6 !, ^eChuical perfection before something I. then ever seen or heard, and I watched them and lis¬ over Europe as much now as when they were written new is offered On the contrary, a primary principle of it had been in the previous century by the Gluckists and of the particular instrument used, it is rather the busi¬ because they have become a permanent part of the 1840) aS f°rty d°llarS an hour for 'nstruction (about the Piccinnists. Thalberg and Liszt, both being gen¬ tened to them with a feeling akin to awe. Both .seemed ness of the interpreter to adapt this to the demands of repertoires of the innumerable military bands that give Nor cafthf. 1° ACeP \PUpil interested his work, tlemen, were little inclined to share the animosity of to me like far-away story-book men, both appeared fn nnrea w d,°ne ™hcn °ne is forced to subsist for their partisans. Once, at the outset, Liszt, stooping statuesque and cold, and yet both kindled within me daily concerts in German cities. Our dances of Ameri¬ While of all arts music seems to be the most uni¬ an unreasonable length of time on one article of diet “One of the first essentials in obtaining beautiful below his usual standards, printed a scathing attack on emotions music had never before aroused. can negro origin with the often repulsive “rag-time” versal and personal, no particular expression of this without a judicious supply of new matter to vary and sonority and variety of tone is a complete freedom his rival, but promptly apologized for it, admitting that I can close my eyes and see him now as he moved music accompanying them have been the furore in fill"®8 universal as are the expression of the other from rigidity. It is therefore an indispensable requisite many"times h* 0”e s studles' This has been tried too jealousy at seeing another than himself the idol of th we, when next triumphed in the end was due to his more intense per¬ who indulged in wild, fantastic gyrations in the air, suggests the sensuous South so very evidently that the and weaken,-n ga,n’ ,h?.VC Written upon * ^ terrible sonality and his larger creative powers. The cartoon¬ with hands and arms, and whotelevated their shoulders, ists were as busy with these two men in their day as distorted their entire bodies with exaggerated antics ever-gladdeningWword:F“Sss?” ** and they became later with Paderewski. Liszt was carica¬ and their countenances with ridiculous gestures. . Notes may be sustained by substituting o 636 THE ETUDE THE ETUDE 637 Did you ever rack your brain during the daytime for another, or by skilful use of the damper pedal, each PREPARING THE MIND FOR ACTIVE to remember some particularly brilliant epigram 0r m the proper place. The pedals should be employed MENTAL WORK. w.th infinite discretion, and careful attention must be clever thought that you had conceived while lying j„ paid to marks of expression. bed, late at night or early in the morning? In a Y B. MAXTON ELLERY. In general, pianists play too fast, and think they “physical doze.” Why does the amateur pianist bungle his perform- fit? a3v P, a.gr'6at deal when they h«e gained [Editor's ■E-.—Much has been written about the sub- n recent years. Unfortunately a great deal ance on the evening of his or her debutf Because Th! rutZ faylng .to° fast is a capital offence. of the thought up.upon this subject la pseudo-scientific—the The execution of a simple three or four-voiced fugue mere assumption ofnf ,.nHu.Mastic thinkers who repudiate the he is wide awake, his nerves have awakened every in a correct manner, requires and proves more talent slower and more Sceptical metuonsmethods otof cuethe man mof longmxig i».— muscle and cell in the body and the two minds are than the performance of the most brilliant and rapid ratory training. At best we are just at the borders of drawn further apart, so that the “orders” have to Developing the Greatest Possible Velocity in Scale Playing great mental phenomena, all hoping that somo may be-pc. piano composition. It is far more difficult than one mitted to penetrate the subject and explore the unknown travel so much further and he respectively weakened can well imagine to avoid hurrying. realms of the brain. Psychologists of the present, how before they reach the “exit.” This all sums up into By JAMES FRANCIS COOKE “The young player is urgently commended to exercise all tend to recognize the existence of a sub-conscious l i they hope may he broughtirought to our assistant the fact that concentration, which is the key to all great sobriety in the movements of the body, and great ife. The writer of tills article gives his ' v of tile success, is not obtained by sitting erect and popping A Systematic Plan Based upon Approved Physiological and Psychological Principles ?? and a™ motion ’ never to begin the n which this may be applied.] the eyes wide open, but by expelling all possible physi¬ piano attack at too great a distance from the keys; cal sensation and directing all the energies toward to listen carefuffy to one's own playing; to be strict One man who has done more than any other of the guiding the mind; not forcing the brain. Even the few of those who are spending their lives and money with ones self and learn to criticize one’s self. The successful chauffeur (who guides the car) is not the average player works too much with the fingers and in striving to word that great law (which must exist) one who sits bolt upright and clenches his hands on Section II Seotion III too little with the mind. • governing the phenomena of our minds, has created (The following is an extract from one chapter of the the rim of the steering wheel, but the man that lounges /‘To those occupying themselves seriously with the an original idea which, though based only on theory, writer’s manual of scale playing entitled Mastering the back in his cushioned seat and, by. giving the gear pianoforte, we can give no better advice than to learn,' is the most plausible of all the hypotheses that have Scales and Arpeggios. While it presupposes a thorough an occasional “tip,” keeps the car on its course. study and thoroughly test the beautiful art of singing! been advanced as the fundamental on which to build the knowledge of scale playing as may be developed through We will add that we ourselves studied singing during Law of Psychic Phenomena. He suggests that, since Is this concentration or raising the secondary mind the scale exercises and scale forms indicated in pre¬ five years under the direction of one of the most everything must have a controlling factor, our mind hard to reach? Intensely so. This fact is the true vious sections of the same book, it nevertheless pro¬ celebrated teachers of the Italian School ” (the seat of the senses) is governed by another mind reason for our having so few really great pianists. vides any advanced student with a complete plan for About a year after his American tour, Thalberg who which is, in turn, held in check by the brain (the So few people can reach the goal of Concentration. developing velocity in a manner difficult to obtain by primary mind). The seat of the second mind is sup¬ Few musicians even know of the secret. That knowl¬ ordinary means.) se'Xd on 6ar y Had made his home in Paris> settled on an estate he purchased in Posilippo, near posed by some to be in the medulla oblongata, and edge should now give you an advantage. In elementary work in scale playing the velocity of MORAL: Discard your racking stool or bench. Get rine!?rHWhT’ aS f !andDWner’ he cultivated extensive is practically the same as that which we have chosen two hundred and eight notes a minute may be con¬ vineyards. Several times he was induced to go abroad to call the soul. an easy chair with cushions and a back. Don’t recline sidered adequate. This is a very comfortable rate for concerts, and professionally to revisit Paris Lan This secondary mind must receive all its ideas and so far as to overdo the matter, but make yourself indeed even for the’player of moderate ability. In fact, This name has been adopted because we shall now When all sections have been developed singly th'e knowledge through the brain, but thoughts not physi¬ comfy. Get the strong light out of your eyes. Do not the demand for very great velocity in the actual per¬ tZ indhBra^ i" J864' jUSt fifty yearsPago ’wLhenn attempt to build up the scale between these Pier Notes student’s next step is to play two sections at a time in only in his fifty-third year, he made his last public cally present are handed out to the primary mind by be where you can look out of a window. Keep visitors formance of advanced pianoforte pieces is very limited. the following order. The pupil will find advancement appearance and retired permanently to Posilippo, where the secondary one, which (hypothetically) has a per¬ and members of the family out of your study. When However, it is impossible to over-estimate the “tonic” as though the scale notes formed a series of bridges a trifle more difficult than that encountered in playing fect memory. These ideas are made manifest by the you come to a difficult passage don’t lean forward, effect of the ability to play scales at a very high rate between the Pier Notes. ?'lved thf. rfmAam?^0f his life as a cuWvator of the single sections. soil. He died April 27, 1871. action oT the primary mind through one of the five squint and tense your muscles.. Relax, slacken the of speed, to say nothing of the acquisition of the The first step in the development is that of accustom¬ senses We are always in abeyance to this “soul” of speed. That physical motion took the “director” fur¬ skill to meet any speed emergency which may arise in ing the hand to the general contour of the scale by A very important point is that of giving the arm and A STRANGE WHIM. ours, but its control is strongest when we are in a ther from his "employees.” and they had greater diffi¬ the performance of any piece. playing the Pier Notes in succession until the highest hand sufficient rest between the repetitions. Under no strangfjt Mature of his retirement was the fact half doze, and weakest when we are awake and alert 1 culty in grasping his orders. Remember you are trying The scales employing five black piano keys conform speed of the metronome is reached. Starting at about conditions should the muscles be exerted beyond the ffiat he would not permit a piano within his home. ibis doze is most easily obtained by a steady con¬ to put something “to sleep,” and you can never obtain to the natural shape of the hand. The shortness of the 100, gradually raise the speed until 208 is attained. point of the slightest fatigue. There seems to be no explanation for his turning from centration along one train of thought. that result by an irregular series of jerks. thumb in comparison with the fingers seems to put the Sections I and II united. what he had oved so well and by means of which he Play first the left hand and then the right hand, al¬ Read those last sentences again ! Isn’t it directly Your teacher has probably preached relax to you hand in position to fit these scales with black keys far ways playing each hand separately at first. The right Accent on the first and last note only. had accomphshed so much, unless he had awakened to against the idea that you have cherished since child¬ until you have dreamed the word. Do you see the better than those in which fewer black keys are used. finger must invariably be placed upon the right note. the futility of tone for tone’s sake alone, and was over¬ hood that the man who grasps things most rapidly is reason now? Maybe, if you tell them about it, they Possibly the most difficult of all scales to play is the It is better to employ the finger touch in these exercises. whelmed by the thought of glorious interpretations and he who is alert, wide-eyed and “on springs”? will see the reason, too. scale of C major as it is the one least adapted to the tonal creations he was not fashioned to accomplish. I SECTIONS 1 and II united By concentration I don’t mean to run'your fingers natural shape of the hand. For this reason the scale Accent on the first and last notes only cannot believe with some that he was merely actuated ?!‘°Ughf,your halr> kn‘t your brows violently and of D flat major has been generally employed by experts Right Hand Fingering above by jealousy of Liszt rankling in his soul to the end. tighten the muscles all over your body. Precisely the THE IMPORTANCE OF THE SPEAKING in technic. i’usTthink GP *° 3 dark r0°m> geli co™f°rtable, then— The experienced teacher knows that velocity de¬ just think. Expel all possible physical sensation 1 VOICE. TO SINGERS. veloped in connection with one scale will also affect THE LADDER OF THE SOUL. Did you ever enter the room where a profound all other scales. That is, velocity developed in the musician was studying or .a thoughtful, literary man BY RALPH LEECH STERNER. BY RITA BREEZE. was scribbling his manuscript ? You can make a sur scale of D flat will enable the player to execute any of prising amount of noise and fuss before they become Very few singers have any idea how carefully the the other scales at a much more rapid rate. *F,musjc and. art ate to be regarded in relation to speaking voice should be preserved. If you have a It is possible to develop scale playing until a rate con¬ In similar manner unite Sections II and III ftTwhfi r?reSTe' And when thcy do ‘"omc to” the dawning spiritual unfoldment as science and phil¬ t is with the start of a man waking from a sleep. The well-placed singing voice, you do not sing with a throaty siderably higher than one thousand notes per minute is III “ IV ’. When the pupil is able to play the Pier Notes at the osophy were to the ushering in of the great intellectual reason? I have stated it. “A man waking from a tone, and consequently your speaking voice should like¬ reached. Of course, this presupposes perfect touch IV “ V highest rate of speed, each section or bridge should be awakening—as a torch, a guide, an electrifier to all sleep” Menta sleep? Never. Physical sleep? Yes wise be placed well forward. However, you may undo conditions and careful systematic playing. . V “ VI ' developed. the sleeping possibilities of the race—then they should The brain and body were “dozing?’ The sub-conscious much good singing practice by singing incorrectly. VI “ VII not be considered as an aim and an end in themselves. There comes a time, however, when the gradual de¬ mind was governing (through,one channel of the brain) If you would have a well-placed singing voice, do Play the first section, starting at about the rate of VII “ I That attitude is stultifying. Music should be encour- velopment by means of advancing the metronome step not alone sing from the head, but speak from the head J = 60. Gradually raise this rate step by step until a The next step is to unite three sections and advance aged as a means of expression, an intensifier of the W3S, tra,nSCribing the thoughts that had by step seems to fail in producing results. Then it will been stored there by the now resting brain. Its work each section as indicated in the previous examples. emotions, and as a vital factor in racial uplift, because also. Make yqyr speaking tones as forward at the be found that progress will depend upon many repeti¬ rate of about J = 132 is reached. Do not try to reach was done. It had garnered the knowledge and packed The rate of advancement may be a little slower than it enhances and vivifies the most potent elements in same t.me as robust, as possible. Remember that tions of what might be called “spurts” of speed. The t in the memory; the sub-conscious. mind was now J = 208 at first. After the pupil can play the first sec¬ with two sections. singing m the head and speaking throaty is a great method given hereafter is thoroughly scientific and in¬ civilization—moral and spiritual responsibility. The accomphshmg its mission by issuing this knowledge tion at this rate with ease and fluency, play the second development of these two forces braces the backbone f ram on any voice, and it shouts that the singing Zee Sections I, II and III united. m the form of thoughts and ideas. This mode of numerable experiments made by the author with his section and develop it in a similar manner. Then pro¬ of the race, for, figuratively speaking, they answer is either not adequately trained nr tlm pa / • Accent on the first and last notes only. thmkmg | not universally applicable for the literary own pupils have invariably been attended with satis¬ ceed with the other sections until each one of the seven as the props which keep us up on out back legs after Z'.zzir— factory results. centuries of struggle to attain that position. ™ l °f ,reas°ning brings forth fruits sections has been developed to the speed of J = 208. f only one type. It is, however, the underlying prin- The principle of the following series of exercises is The age of physical evolution having reached its c>ple of learning and production of ideas ’ ^SSSSSuT* ,0JTP f”™0” <• that of developing separate sections until a very high zenith, we are now in the full swing of an intellectual .ui iucas in any field. Now do you :e what this is all, about? It applies rate of speed is attained and then uniting the sections. awakening which, because the lines of the mind’s to your field. power have not yet been clearly defined, we are apt The system requires patience and perseverance, but will Your technic you know, does not lie in your fingers ■t° confuse with and to allow to overlap, as it were surely repay the student who persists until the desired the spiritual domain, but which, nevertheless, leads the speed is accomplished. way to the long-coveted state of soul consciousness, Accent only the first and last notes of each section. hbr it is the permanence of the spiritual entity, from t,oes *'5 “direction”, best take place? The. intervening notes, are played so lightly that the which all other things in the world emanate, that we on? ?u°i h SeKmmdL (1°gical,y) ™»t be the superior; SSf & s,r«T H-P :w“ one must be above the other. Contrary to the prevail player hardly knows that the hand has passed over are striving to establish in the mind. The race has them. In fact the performer should think only of the striven to realize this fact from the beginning of time. contrld,eYhe ^ " feally the Wffher fo7 ft first and last notes of each section. He seems to leap Music is the subtle pathfinder, the tentative guide rtf 1° rdunng our waking hours, while the “soul” from the first “Pier Note” to the last “Pier Note” as Each hand plays separately. Period of rest during through whose vitalizing influence we are able to per- «sy mTerLt'T5 dnUring °Ur Sleep' Now- it ^ the mountain deer leaps from crag to crag. The notes ceivp and to realize this desired condition. Music which the hand and arm are completely relaxed. to the other best whe? thcy ""fth^mindf)"1 are in the interim are played in passing almost without con¬ is the radiant quickener of the aspirations. It also fluently some S on cackling oTf Co"se- Proceed in the same manner with each section ^ to mine tour sections after H mg, whereas with a littU iff !■ squawklnS- or wheez- locuses the determining powers, and these activities scious thought. Poise the hand and arm in relaxed Sec. I D flat to E flat. manner followed in the preceding plan. Start eac governing the bent of the inclination, stemming the a noble individual quality ^ ^ devc,op condition over the first note and with a kind of muscu¬ Sec. II E flat to F. section of four notes beginning with each consecuth lar impulse like a “swoop,” pass easily to the last note. courage to the crucial test of endurance, resolve them- Prove a great help, for ft Zlt this wou,d Sec. Ill F to G flat. 2Z r ? mA STeS!ion’, Always give the hand abu every moment he was t • am™,m to Practicing selves at last into emotional satisfaction and intel¬ P.ay at all times without the least suggestion of strain. Sec. IV G flat to G flat. dant rest and relaxation between each section their highest point of efficiency. To reach f ? lectual efficiency. What particular bearing this vivify¬ Titto Ruffo seems tf have no i' T« gr.eat artist Invariably rest the hand for a few seconds before re¬ Sec. V G flat to F. With this drill the pupil can undoubtedly’ plav th than he does in talking- Tn? "]°re effort in sin8inS ing factor may have upon the lives of those who peating the exercise. Sec. VI F to E flat. entire four octave scale (each hand separately) at J acknowledge its limitless scope, none can tell. Through when he is singing a rob n ?? °"e hardly realizes For our purposes we shall employ the four octave rate of one quarter note equals one hundred and thirh comes the work of dozing and waking ? Z Sec. VII E flat to D flat. the singing voice or through the medium of an instru- other than speaking it preciselv V* “ d°mg anything scale and divide this scale into sections of eight notes two^beats of the metronome or about 1056 n^ ient discriminatingly chosen, the powerful sway of its speak. His art is such th fl- 5 8 gr<*‘ actor would A careful examination of the first music example each. given reveals that velocity may be obtained by merely gommance will find vent. the details.) ^ urther back, and remember normal. A normal vm? his pr°duCtion is absolutely The first note of each section we shall term a Pier leaping from one Pier Note to the next Pier Note up In order to advance the speed beyond the above feet speaking aT wen as ??frt:°np^SMpposes PT the entire process should be repeated deve1?° te Note. and down the scale. ar m°re ln th‘S than ma»y arc?illing8tfgadn?here “ section but starting at the metronomic rate Y Jf1 638 THE ETUDE
A Concise Biographical Dictionary of Noted Composers Who Have Written Music in Lighter Vein The Salon The Dance The Operetta
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{ThiS Dicti°nary mU be C°ntinued in the nm bsue) ing Committee °"S raC 40 4 6 Exam,n- oSkinVSoJT moreedfed g™****"* S,rain 642 THE ETUDE THE ETUDE 643 waltzes in many ways. If a Strauss waltz is prepare,., the steamer put out to his music made immediate conquests wnerever u was a program it should receive far more than usual attention sea. heard. It must not be thought that all of his four The phrasing should be studied, the accents, the markine! Upon his return to hundred or thereabouts waltzes are equally good, but and it should be stf thoroughly mastered that the Pl*£ can perform it with same elastic freedom with which h„ Vienna he was received there are a number fully as enchanting as An-der would dance It. When the Strauss family played their again with his old time schoncn blauen Donau (Blue Danube). waltzes it was the custom not to keep strict metroneai|. favor, but in September In later years Strauss made important appearances time throughout. Bven when playing for dancing there *(r, of 1849 he was taken with his orchestra in Italy and in Paris but he had gradual accelorandcs and rltards which tjie dancen with scarlet fever and forced to follow. This it is said added great charm to their found a new field and this was that of light opera. dance music. In one of the most characteristic of alia,. The Advantage of Psychology to Piano Teachers died after only four In 1871 he produced Indigo and the Forty Robbers, the Strauss waltzes, Ocschichten au> item Wlenenrald (Legend days' illness. His fu¬ first of a long series of successes which made the from the Vienna Forest), It Is possible to make all sort* of An Address Delivered in the Piano Conference at the Convention of the New York State neral was attended by Theatre an der Wien world famous. Among these interpretative changes which will add to the charming mt of the piece. It must not be thought that all that heirs Music Teachers’ Association, Saratoga, N. Y., June 18th, 1914. immense crowds and a were Die Fledcrmaus, Prim Methusalem, Zigeuner- the stamp of Strauss Is good. There are often very Requiem Mass was given baron and others. The Fledermaus is still given in the cipitous descents into what can only be called banality in his honor by his own great opera houses of the world. At the Metropolitan Again, at times, there are tunes which only a genii,, By HANS SCHNEIDER band accompanied by a a few years ago it was presented with a famous cast could have written. The following are representative Strauss pieces : great number of the with great enthusiasm upon the part of the audience. leading singers of Johann Straus*, Jr. The music and part of the plot formed the base of 1. Wiener Blut Waltz (Vienna Blood Waltz), Vienna. The Merry Countess, a comic opera recently given in Johann Strauss, .Tr., opus SH 11 . , Fortunately he was all parts of the United States. 2. Morgen Blotter Walts (Morning Journal Waltz), alle to leave a successor who was destined to Johann Strauss, Jn., Opus 2T9 For whenever a teacher’s effort is not in harmony with Strauss worked continually up to the time of his It is a well known psychological fact that the exclu¬ view. It will form a most healthy antidote against the attain almost as much fame as himself. By a * 3. Rosen aus der Siiden Waltz (Roses from the South), natural principles, his work is either bound to fail, or death in Vienna in 1899. How well his works were sive occupation with one subject and the constant purely emotional appeal of music, that may in time marriage with Anna Streim, the daughter of an fan Johann Strauss, Jn., Opus 388 if he partly succeeds it is done by a long round-about regarded may be judged by an appreciation by Wagner 4. Auf Friem Fusee (Foot Free) (Polka), stimulation of the same nerve centers makes such enervate his mentality, for scientific study compared chfldren °T TStr^uss the father of five which runs: Johann Strauss, Jn., Opus 345 stimulation less effective and decreases the interest in with mere music making is like comparing the fresh route, at a tremendous waste of labor and sacrifice of 5. Kilnstler Leben Walts (Artists’ Life). energy on the part of teacher and pupil. Of fhefe l ' J°iei’ Eduard- Anna and Therese. “While the Strauss waltzes are not deep in style the subject, and there surely must come a time in the breeze of the morning with the sultry atmosphere of Johann Strauss, Jr., Opus 316 piano teacher’s career when the purely musical element noon. Sorld hreC S°nS beCame WeH known in the musical yet one Strauss waltz often contains more charm, 6. Tausend und Ein Nacht Walts (Thousand and One EXPERIENCE A SLOW MENTOR, more delicacy and more real musical worth than all Nights) .Johann Strauss, Jr., Opus 346 may lose some of its charm, when the unavoidable And it is anything but dry; to the contrary, it pro¬ Strauss’ methods of conducting were the subject of Much is said for experience in piano teaching, but to the toilsome, constricted, factory-made musical pro¬ 7. Du und Du Waltz, from Fledcrmaus (One of the ' monotony of the teaching material will dull the finer vides plenty of excitement, to suit the most energetic most entrancing of all waltzes), become a piano teacher through experience only is a £?eraf m his timp' Many felt that he exag- ducts of some countries which to me are as inferior edge of his senses. mind and it will sufficiently occupy the imagination and Johann Strauss, Jn., Opus 267 slow and laborious way of getting there and not fair Otber d t0 -the extent of becom'ng a charlatan but as lamp posts of Paris are to the towering spire of St. 8. Em Here, Ein Sinn Polka (One heart, one mind), This is also the time when the teacher has found out fancy of the most fastidious dreamer. No scientific his thr m 11 a^St,y 6 Wh‘dl was in turn followed by Stephen’s at Rome.” Jon aw Strauss, .Tr„ Opus 523 that his mere musical and technical education will not problem ever presents itself entirely at once and only to the pupils. Experience has been defined as the h s three sons and became identified with the family The names of the most 0. Pizzicato Polka.Johann and Joses Strauss solve all problems that come before him. He then too often when almost within the grasp, it may escape process of learning things we do not care to get ac¬ Naturally quiet he seemed to become electrified und£ 10. Beautiful Blue Danube. Johann Strauss, Jr., Opus 314 longs for a deeper insight, for the last reasons of his again—will o’ the wisp like—into the hazy mist of the quainted with, and if it is perhaps not as bad as all famous waltzes by Jo¬ 11. Wine. Woman and Song, omem f mUS1C Again this' apparently made hann Strauss, Jr., are Johann Strauss, Jr., Opus 338 work, and he begins to pay attention to new schemes, grooping mind and as Fra. Elbertus expresses it “there that it is still a somewhat negative process and painful, nrrh„ “ emotional impression upon his Wiener Blut, Man Lebt 12. Oeschitan Aus dem Wiener Wald, fads and methods as they appear from time to time is no greater fun, than putting salt on the tail of an for one of its greatest me'diums is failure. orchest.so that every member was in an intense Nur Einmal, Kunstler- Johann Strauss, Jr., Opus 826 upon the pedagogic horizon. idea.” Another trouble with experience is, that it always state of musical excitement. Indeed from what the 13. Radetskg March .Johann Strauss, Sr., Opus 228 Icben, Tausend und eine Of late years the sciences of physiology and psycho¬ It will enable the teacher properly to analyze his deals with isolated demonstrations, and that only by critics of the time had to say of his work in this direc- 14. Arm in Arm (Polka).Josef Strauss, Opus 215 Nacht and of course the 15. Das Leben ein Tans-Johann Strauss, Sr., Opus 4!) logy are mentioned more and more in connection with pupil’s mind, to detect mental shortcomings, which connecting many of such, we can come to .final con¬ wifh 6 0rganization seemed to be synchronized ever vernal Blue Dan¬ 10. Donau Liedcr .Johann Strauss, Sr.. Opus 127 piano teaching, and whenever this topic is mentioned while having nothing to do with music directly, only clusions. Also frequently this process leads to the with his own spirits and emotions. He almost in 17. Doctrlnen Waltz .Eduard Strauss, Opus 78 ube. No one need have lively discussions are started, pro and contra. As this too often prevents musical study from being successful, adaptation of hard and fast rules, to mere routine work, variably conducted with his own violin in hand occa¬ is a new feature, of which the masters and the teachers as for instance lack of concentration, defects in atten¬ that stifles all observation and finally the teacher ends sionally conducting with the bow but rather leading his ahy artistic compunc¬ SOME TEST QUESTIONS. tions about playing a of the past have not made conscious use, the question tion, straying of impulses, wrongly associated states up, hopelessly travelling a road that circle-like always men by the nuances of his own playing. He stood Strauss waltz. The 1. Describe the ancestry of the Strauss family. may well trouble the progressive teacher whether these resulting in faulty reflections, and so forth. Th'e solv¬ returns to itself. most of the time with his back to his players, rarely 2. When and where was Johann Strauss, Sr., born? present writer knows 3. Describe the youth of Johann Strauss, Sr. sciences may be of value to him. The more so as the ing of these purely intellectual problems and the suc¬ But though practical experience cannot be dispensed duetbi1”8 t0 the n°teS °f the comPositi°n he was con- many world famous 4. Who was Joseph BannerV trouble with their application to practical work is at cessive gain for his work in general, will greatly with, the acquiring of it at least' can be accelerated by pianists who delight in 5. When was .Toliann Strauss, Jr., horn : present that the matter has not been investigated thor¬ increase his confidence and give his work that assurance proper scientific training, which will enable the teacher APPRECIATION by serious musicians performing them, not Strauss^famiTv?ld y°U W®S the m°St famo1,s of a11 the oughly enough, and that we lack the proper text books, that follows all exact scientific work, hut which is only to distinguish between right and wrong experiences, because our scientists are generally poor musicians, and too often lacking when piano teaching rests entirely and thus save him from making mistakes. In the face only in the elaborate Strauss6" somethl“s of the work of Josef and of Eduard paraphrases of Tausig, Josef Strauss. our musicians are generally poor scientists. upon a musica? basis. of new problems a teacher without scientific training is 8. What famous position was held by members of the To dismiss this matter, as some teachers do, with the And when once these fascinating studies have been absolutely helpless, while the well trained teacher, the Schulz-Eyler or Schiitt Strauss family for the better part of a century? remark, “I do not know anything about these matters, mastered, they soon become an inseparable part of his psychologist, knows what he is about. Through the sSS SSS but in their original form for the sake of the enchant¬ family m° S°me °f the famoas compositions of the Strauss p -2®,VV’ty; "j ing tunes. Just as our own Sousa has written incom- ' yet my pupils play” is heartily a progressive way to work and lead him on, to penetrate deeper into maze of an apparently hopeless array of conflicting look at it. We all have exceptionally and highly gifted nature’s secrets. Instead of losing in interest his work cases he quietly recognizes in them only new variations “""•- iliS in.r*“A."„da“,, parable marches of a certain type so has Strauss com¬ Strauss compositionsare.*fomp ? of the muslcal characteristics of the posed waltzes that very few if any have approached. pupils who are the lustrous stars of our classes, and will gain in it, and there is no end to the ever in¬ of a few fundamental principles, to which' they must when proper!vS°nlave'anth..v'ehS0 Spontanf!ous ln Parts that THE STRAUSS CRAZE. play well, but there are also others, struggling in glooniy creasing demand for more and greater knowledge, and be ultimately reduced according to the inexorable laws effect. ule pteno ttfev ‘S'^nsf JOSEF STRAUSS. smlrclrt ''motional ife. In 1801) the wrtkswere con- obscurity, not endowed with enough phosphorescence of consequently greater success with his work. of nature. In the foregoing the reader must have been im¬ talent to make a two days’ old lightning hug envious, series by Bivikwfaund“mrteel.edUl0n issued “ the famous Hewas &n ,se<<’n? » of’Johann Strauss. Sr. Imagination forms a part of all arts and perhaps THE IMPORTANCE OF METHOD. pressed with the wonderful ability to create a furore or but who wish to play too, and the test of a teacher’s music relies upon it more than any other, but to quote mined that he should become "an a?ehifeJt Fundamentally, piano teaching deals principally with that the elder Strauss was so busy with h s tonSS craze which the members of the Strauss family seemed true ability is after all not the playing of his talented from H. G. Wells’s address before the Royal Institute THREE GIFTED SONS. ejfSagements that he was obligee to fiv^ fT^rt the mind and the body on one side and the mechanism to possess. Like the dance craze of 1914, the croquet pupils but that of his non-talented pupils. of London: “Imagination unless it is strengthened by . In 1825 (Oct. -5th) Johann Strauss, Jr., was born of the piano on the other. Cooperation of these finally attention WSJST ePS craze of our grandfathers, the South Sea Bubble, or the The value of all theories lies in their practical applica¬ a very sound training in the laws of causality wanders m Vienna. Perhaps on account of bitter experience in become musicians they took pfano lessons through brings about the artistic interpretation of the masters’ great Tulip craze of Holland, the Strauss craze set tion and the tests by which they must be judged arc: like a lost child in the blankness of things and returns making music his profession Johann Strauss, Sr. works, subject to the greater or lesser emotional in¬ e.,15’ Europe afire repeatedly during the middle of the last Do they really accomplish anything? Do they mean empty.” solemnly and deliberately determined that none of his “”!? sratu's S-SS tensity and intellectual ability of the player. thThov! makiris in mU5ic- The rathe? caUed century. What is it which makes the Strauss music economy of effort by getting quicker and better results? sons should follow the musical profession. Why it is a due/fnr Mm l,n" a gooa scol
HUBBARD WILLIAM HARRIS. MARIE CROSBY. ALBERT W. KETELBEY. Mr. Harris was born Miss Crosby is a gradu¬ in Chicago, January 19, ate of the New England — Birmingham, Eng 1869, and graduated at Conservatory, Boston, where land, but soon made hi Oberlin Conservatory of she was for two years a way to London. He i Music. On Returning teacher in the Pianoforte one of the most activ to Chicago he took up Normal Department. She and successful of th organ playing, but later also studied abroad with younger British com gave it up for piano and Isidor Philipp, director of posers. His musical edu other teaching. He first piano teaching in the Paris cation was completed a taught Harmony at Chi¬ Conservatoire. In addition Trinity College, Londot cago ■ Conservatory in to her conservatory work where he was a gold an 1892, leaving there, 1893, she studied musical history for the American Con¬ with H. E. Krehbiel, and silver medalist for hai servatory, where he re¬ composition with Dr. Percy mony, counterpoint an mained as teacher of Goetschius, of the New York Institute of Musical composition. His ir counterpoint and com¬ Art. In teaching Miss Crosby’s most important structor in compositio position until 1909. Mr. positions have been with Winthrop College, State was that able coach c Harris has devoted a College of South Carolina, and as Director in modern English con large amount of time to literary endeavor, having Howard Payne College, Bromwood, Texas. As a posers. Mr. Frederic been musical critic to the Chicago Tribune for some composer she is exceptionally gifted, and has published . Corder. Mr. Ketelbe years. From 1898 to 1908 he wrote the analytical many delightful study pieces which show much indi¬ is at present musical director for Tom B. Davis Artln: program notes.for the Thomas Orchestra. He is at viduality and pleasant fancy. In addition to her work Bourchier and H. Lowenfeld, who own many of th present head of the Theory and Composition Depart¬ as teacher and composer, Miss Crosby also plays the principal London theatres. He is director'for th ment at the Cosmopolitan School of Music, Chicago. pipe organ, which she studied with Henry S. Dun¬ Columbia Phonograph Company of London, and ha His compositions are many and very varied in character. ham while at the N. E. Conservatory, Boston. Miss done much work as a musical editor for various Londo musical publishers. Mr. Harris’s suite entitled Musical Impressions re¬ Crosby’s Indian Love Song received the third prize ceived the first prize in Class IV of the recent contest. in Class II of the recent contest. This is a very Mr. Ketelbey’s Prelude Dramatique received th In our music pages; this month will be found two num¬ attractive parlor piece, which will afford excellent prac¬ prize in Class I of the recent contest. This is bers from this suite, entitled The Juggler .and Autumn tice in the cultivation of the singing style of delivery fine concert piece cast in large mould. In form an Leaf. These are both very fascinating and character¬ and in the development of the trill and other orna¬ famon t* reminds us somewhat of th istic pieces for students of intermediate grade. The mental work. Grade V. Not only is it of distinct famous Prelude by Rachmaninoff, but the subjei Juggler in particular is a capital example of tone pedagogical value, but it also possesses much imaginative 5 ,r a"d *e treatment are totally different. It wi painting. quality and melodic interest. ' Graf VII bCSt pOS8ible practice in heavy chon Copyright 1914 by Theo.Presser Co. British Copyright secured THE ETUDE
PRELUDE DRAMATIQUE ALBERT W. KETELBEY
Copyright 1914 by Theo. Presser Co. International Copyright Secured THE ETUDE THE ETUDE 653 LOVE’S FERVOR A ROMANTIC MELODY LEO OEHMLER Andante sostenuto m. M. J = 96
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Copyright 1914 by Theo. Presser Co. Copyright 1914 by Theo. Presser British Copyright Secured British Copyright Secured 654 THE ETUDE the etude 655
BEAUTIFUL BLUE DANUBE WALTZ” lFromEtudeiSSde erContest00™Ss°t sifi011l ALBUM LEAF HUBBARD WILLIAM HARRIS 4 3 4 n—1 aA-r Poco animato m. m. J = 144 A A 4- "ilH Hi w p* ma Jr ilh dV" ' J mu-sic that is most ei ing. P s* P Urn ►- m £ P -+4I ‘a# Jrf-m—H J * -Jl- ■ r j--M it r AN feff-H I T-ffTrl (|<& v-4 fMP] fees E=#i rypi'11, i*" bW — ibA- =^=1 4P - r 1 r 1 * 1 :±=tA i# :qcE*: ff VL-f 1 -1. 1 IkM =*4 1 1 'J 4 #—1—1— ■-+* rr ri =fc== f M i --5\— — ► 5 *_ Y> ■f- 4 -#• ^21 iA
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MARIE CROSBY
Copyright 1914 by Theo. Presser Co. Copyright 1914 by Theo. Presser Co. British Copyright Secured British Copyright Secured 656 THE ETUDE STRAUS SIANA STRAUS SIANA Favorite Waltz Themes
INTRO. SECONDO JOHANN STRAUSS
“SOUNDS FROM THE VIENNA WOODS”
“ARTISTS’LIFE”
THOU AND THOU (Fledermaus) THE ETUDE 659 658 THE ETUDE 9 PRIMO SECONDO h'l'""? ..» * - • • i ^ ' f\ ■ ——m——--+ www—w— —i—m—— —- 1 fflj 1 r 1 =?- r l =s^= i : -i- i i 3= ► i • j ^ jjj f r b
gfffj imim r r t^r ftp r f rfe frp v- ^ r - N T r 1 1 h • i* -h l[r eT
“MORNING JOURNAL” THE ETUDE 661 THE ETUDE 660 THE ETUDE THE ETUDE THE ETUDE RUSTIC MERRYMAKING CAPRICE 4 5 HENRY WILDERMERE Allegro m.m.J laJ i Si
OUR YOUNG DEFENDERS PARADE MARCH EMILE FOSS CHRISTIANI -r- 3 2 3* irH 1 Tempo di Mareia m.m.J =
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Copyright 1914 by Theo.Presser Co. seoi'^ British Copyright Copyright 1914 by Theo.Presser Co. British Copyright secured 667 THE ETUDE THE ETUDE
PETITE HUNGARIAN ^ E.KRONKE.Op.°p.mNo.2 Allegro con vivo mmJ =108 ,
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Copyright 1914 by Theo.Presser Co. International Copyright Secured LA PETITE MAZURKA Tempo di Mazurka m.m.J = 126 n n h LEON RINGUET Mazurka
PIANO
Copyright 1911 by Theo.Presser Co.
British Copyright Secured THE 668 the etude ETUDE To Mrs. W.P. Wood BLUEBELL, TELL ME WHAT YOUDREAM Mrs. M. Mitchell* JUST BEYOND A. U. BRANDER J.W. CALLAHAN PET|lt ajfaja t - 1" . | - | > > e hi J j h h 1 r * 4 f t i -■ 1 1 » * Jj- i J- •>-- j} «n i p f JjLzs Just, Tip . vnnH the sun-set, shad-ows.Clear - lV ---r-(^YAJust, he - ynnrt the flood of wa - ters Holds the r) 1. -1---\ \. r 1 1 J 1 _1_J__ ,0 ^T-rr I —TJ-^TiTTi 3^- ^ J J *- g ■ 1.- A ~-f ■— If f #3 » f f £= k=-~"
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Copyright 1912 by Theo.Presser Co. Copyrigtt^ 670 THE fTtllE THE ETUDE 671
Prepare Sw.Vox Celeste with Tremulant THE LAST HOPE L. M. GOTTS CHALK or Viol d’orehestra. A MEDITATION Arr. bv Harvey B.Gaul - I afempo^-^ tenuto il canto
Ped. uncoupled
Ped.to Sw. THE ETUDE 673 672 THE ETUDE DANSE ROMANTIQUE An Odd Lesson in the Flower Song BENJAMIN KLASMER, Op.4 By E. H. PIERCE Tempo rubato a la mazurka m.m.J = 126 In playing off-hand and informally for was their favorite, the pieces under that a group of listeners, whose taste in music name far out-numbering all others. Act¬ is entirely unknown, the player is often ing on this hint, he sat down at the ra-Quality PIANOS much embarrassed in the choice of pieces. piano, and with great inward assurance He does not wish to lower himself in the of doing just the right thing, started off eyes of a possibly discriminating listener on the very familiar “Flower Song” of and 'Player Pianos by playing something of a light and that composer. As he finished, and faced trashy sort, nor, on the other hand, tact¬ around at his audience, he was at once lessly to inflict a heavy and serious pro¬ uncomfortably conscious that in some way gram on hearers incapable of appreciating he had made a miscalculation—had “put CONSIDERATION from those it. his foot in it,” so to speak. The faces Quite early in his career, the writer of the family showed a curious mixture who demand ultra quality in hit upon the plan of glancing over what¬ of amusement, astonishment and polite ever supply of printed music his host or tolerance, but no one spoke a word for everything is merited by Kranich & hostess might have on hand, not so much nearly a minute—one of the most un¬ for the sake of playing from it, as to comfortable minutes in the writer’s recol¬ Bach Pianos and Player Pianos, not glean a hint as to the style of music to lection. At last one of the older young .which they were accustomed. In most ladies, whom I learned to be a sister of alone because of their traditional cases this plan worked very well, but on my host, broke the silence by saying (if one particular occasion it happened to be I remember rightly)—“Father used to greatness, but also because of tangi¬ attended with very odd results. ritard rather more in approaching that ble, demonstrable, really remarkable n ?. One Sunday afternoon in May, during cadenza.” “Your father, then, played the J3, 2 i 0~frrf his student days at. Leipsic, the writer piano?” said I. “Yes,” answered she, “he musical superiority was overtaken by a thunder-storm while was really a very fine pianist, although taking a walk in the suburbs. A hos¬ better known as a composer. We have which is apparent a complete collection of his compositions b/norost> .espnissivo \ pitable family seeing him about to take shelter in a barn, the door of which was here. Would you like to look at them ?” ^ to anyone who will standing open, invited him into the house, So saying she handed me a pile of sheet music, every piece of which bore as the where, the storm continuing, he remained investigate and in¬ composer’s name Gustav Lange. While I r r-yfjp with them about an hour. Learning, in waiting for the storm to clear, I spent telligently choose r: T r the course of conversation, that he was a pleasant half hour in looking them over, a student of music, they urged him to but nothing could induce me to attempt between real and play for them, but before doing so, he another performance of any more of Gus¬ , .,-1 , vfe looked over their sheet music for a few tav Lange’s compositions before an audi¬ fancied values. minutes, in a casual way, and easily ence so well acquainted with the com¬ formed the opinion .that Gustav Lange = "i i ■ iU poser’s own rendering. . ij.. 237 EAST 23rd STREET, - NEW YORK ^ *1 i-i- it idtiii The Force of Individual Temperament 1. -1_3 r f r By SIR CHARLES HUBERT H. PARRY 8- > J2j a 7~-~ ! Individual temperament makes the dif-. representation, and always bears in¬ ference between the mere mechanic and dubitable marks of the falseness and A HINT TO the genuine artist. The mechanical baseness of its obj ect. . g i i ft craftsman makes, possibly skilfully, what It would not be safe to say that no he is set to do, either by a taskmaster man can keep his eye on the public with EDITORS, LOCAL MANAGERS, PRINTERS, ' J=---=j—! or by conventions and mechanical rules. the commercial aim of making money 3j The man who fills up types of design by his effusions and still keep his per¬ ENGRAVERS, STONE-CUTTERS, STENOG¬ with dexterous applications of formulas sonality; for some men are so fortunate RAPHERS AND ALL OTHERS CONCERNED of detail may be a good craftsman. He as to attract the public by their artistic does not become a composer or a painter personality. But in such a case the thirst IN A VIOLIN RECITAL BY or a poet till he uses the methods that for pelf is part of the temperament; and are made available by countless artists invariably betrays itself in the lower in the past to express, truthfully and standard of thought and conception which essentially, himself. And herein lies one is manifested by the music produced of the clues of the baseness of commer¬ under such conditions, and the lower cial art. It has no foundation in per¬ standard of artistic sincerity. The man Maude Powell sonality, but is concocted by jumbling up who has his eyes on the profits puts the phrases and external traits of true into his work just so much as will serve STEINWAY PIANO | \ Mgr. H. GODFREY TURNER, 1400 BROADWAY, NEW YORK personalities to gull the public and secure to attain the commercial end and no their money. It is mere fraudulent mis¬ more—From Style in Musical Art. I A lVyi a firm believer in the sentiment that has The Loss from Missed Lessons crystallized into the call:—
By J. WARREN ANDREWS “American Training for American Singers!” This feeling springs from a deeply rooted national desire to preserve in Song and Singers the American Spirit, I am heartily glad that the “Missed a few hours in advance, and thus enable Whatever measure of success I have had in developing voices and whatever I know Lesson Problem” is being attacked in the me to fill the hour with the lesson of about the art of singing is wholly due, outside of twenty years of practical experience columns of The Etude. Missed lessons some pupil on my waiting list. If I am as a teacher, to what I have learned by close observation of the performances of all are the chief reason why many teachers unable to make this arrangement with kinds of singers from different countries and my training under American teachers in America, plus love of any work in any line whatsoever that promised increase of get disgusted with music as a “business” such a pupil the regular student must real knowledge. and seek other fields of endeavor. Those pay for his hour whether he takes his *Ly.°U looking for this kind of training WRITE TO ME. I will give you FULL who take up music should either do it lesson or not. INFORMATION regarding my views and my work with voices. My pupils from the West with a will or let it alone. One who The notices adopted by the Philadel¬ and South find New Haven most attractive and advantageous as a musical center pos dallies is never a success in anything, phia Music Teachers’ Association are ex¬ sessing as we do a first class Symphony Orchestra. New Haven is also a most comfortable" and will never rise above mediocrity. A cellent. When students come to know delightful and inexpensive place to live in. Population about 160,000. Mv Fall teacher soon loses confidence in one upon that if they do not fill their contracts teaching begins September 10th. Address whom no confidence can be placed. with the teacher they will be obliged to At times when I have a waiting list of suffer for it they will be in the same GEO. CHADWICK STOCK Copyright 1914 by Theo.Presser Co. P«Pils I make it known that I will ex- place as the business man who makes a V°Cal Studio: Y- M. C. A. Bldg., New Haven, Conn. °ne_____ Established 1893 British Copyright se tujse a lesson if the pupil will notify me contract and fails to keep it. Please mention THE ETUDE when addressing our advertisers. 675 674 THE ETUDE THE ETUDE
—before you one to ten, naming the numerals in their order of sequence. For the first few Latest Styles purchase any piano days take ten seconds to do this count¬ The Music Lover*s Digest <■ Pith 0/ the Aon, ing, dwelling one second on each numeral. Department for Singers After three to five days extend the at Lowest Prices The Best in Musical Literature from Everywhere Conducted by Eminent Vocal Teachers counting (on a single breath) from one of a fiiat to fifteen. Thereafter increase day after This booklet tell in This Catalog! and rare topie, %$ the cage may be, giving our readers tn stimulating books, and the pitfalls to Editor for September day by' fives, until thirty is reached. Do contemporary journals in all languages, and from tne m i MR. GEORGE CHADWICK STOCK this for one month, then extend the whis¬ post card, “Send me pering to thirty-five counts, in as man)1 your Style Book,’’ and it will be mailed to seconds, on one breath. Most students are, in this Use your own judgment in going be¬ you free of charge. A Criticism of Our Musical Tendencies 128 pages brim matterT’strap’sely indolent. The ..^“Sd8 re- yond this point, but do not overdo; your full of all the newest Our musical history proves that we are n mercurial people, quick to change and road.v Mr George Chadwick Stock con.es of an feelings will guide you aright. If the fashions in Women’s, to be led by enthusiasms which have made old New England family, and lum spent ninny ing muscles will, of course, be in accord Misses' and Chil¬ our progress unsteady and our growth one¬ of a work bas been obtained. This is a put- wars in the study of voice, pmuo and theory. with it. above directions seem to you to be too dren’s apparel!. sided. The first of these was for choral ■|» oommimoed bis career as a .boy sourano hurried in 'reaching the longer periods of UlUSic. and, broadly speaking, its popularity Ser°£ex^ea2gnbfh°arte if 1 thMom The complete preservation of the integ¬ All Mail or Express soloist in church. After bis voice broke, he counting, then take more time. Instead excluded other forms. A second enthusiasm, “ The Piano of Permanent Tone" studied singing with many eminent teachers, rity of tone, *vhether high or low, loud Charges Prepaid which is still with us, called for large instru¬ rHSSE\?tthe only^ope which^t and also sped! ten years touring the United of dweliing a second on each numeral, mental organisations; apd suddenly music chase! Why make such an important purclJaM states For twenty years he has been suc- or soft, is dependent upon evenly sus¬ centers throughout the country, which re¬ velops the sense of conception in performance. simply dwell one-half seccfnd. Some cently were proud of their local choruses, are eesifui as a teacher in New Haven, Conn., tained pressure of breath, and this pres¬ key board Is 6 vitiated is and ™as well earned his popularity as a voice pupils count to fifty in as many seconds now represented by fln« orchestras, and the LhpeeiirCath°en ^ V“ teacher in New England. His contributions sure varies in its degree of energy ac¬ choral art nourishes, principally, those hiber¬ without experiencing discomfort or ex¬ nating communities that wake in the spring by Sfffl '£& Write for this booklet if you contemplate, evep re current musical literature have earned him cording to the tone demanded. It is live grip. A conception of a work requires motely, exchanging your piano or purchasing a new many friends outside the limits of his chosen haustion. But this is really unnecessary. or fall for a three days' gorge of music and piano. ^ You will find »t not at all dry or technical, feut necessary for the student to learn at once 1 n heavily so to sleep again. A third wave that it shall be viewed from a IhFge plane, territory— Editor of The Exude.] In all matters pertaining to breathing ex¬ now rising, namely, local opera, the great that the subject-matter shall appeal in the how to manage this varying degree of cobs of which in New York has quickened first place to the musical sense, that eveiy SOME ASPECTS OF BREATHING. breath pressure, for it is fundamental to ercises use common sense. ston and Philadelphia; and any morning point of contrast or of climax shall he ac¬ Ijr present piaijc Another exercise is; Sustain “ah” in ....vspapor may inform us that Chicago, by a curately determined and inwardly felt, anti It is important for the beginner to bear a right play of the voice in all kinds of wave of her magic wand, has become the this process should be the result of the eon- take proper care of it. Writing for t--is booklet ^fa a prolonged whisper of ten seconds. joint'operation o£ the intellusence and the not put you undar the slightest obligation. Write in mind the fact that every feature of singing and it is of incalculable help in emotional life unaided by physical demonstra¬ to-day, mentioning "The Etude.” the equalization of the registers. Keep to this practice for a few days. vocal tcchnie is dependent upon a well- After five days extend the whisper to fif¬ tion at the instrument. The true position ot SOHMER & CO., Piano and Player Piano Makers A practice which easily leads to ability technique may now be understood. Technique developed respiratory action. Attack, teen seconds. Continue this practice for is the means whereby we are enabled execu¬ FIFTH AVE. AT 32ND STREET, NEW YORK to manage this particular and necessary mem di voce, portamento and legato, five days and thereafter sustain the “ah” tively to reproduce the preconceptions of our action of the breathing is found in a mind.—Ernest Fowler in “The Music clear articulation of consonants without f r twenty seconds. Use your own judg¬ 1 sSc’h would be dangerous, if Student" (London). simple system of whispering exercises, D.A.CLIPPINGER any lingering sounds after pronouncing, .. „„ . „rtlstle development, as which eventually yields perfect and ac¬ ment in going beyond this latter period. opera is, at best, a hybrid art which appeals Also whisper “oh in five-, ,ten-, fifteen- TEACHER OF largely to the senses, and which, if followed The Value of Chamber Music also intonation, blending of the registers, curate management of the outgoing and twenty-second periods, as above di¬ exclusively, wii) quickly demoralise so intem¬ Chamber music, among all the departments power, volume and intensity of tone in breath. The breathing muscles operate, Singing, Author, Lecturer perate a musical life as ours.—Arthur Whit¬ of the art, is the best education for the lay¬ rected. ing in The Outlook (New York), man. In it he will hear the greatest thoughts dramatic singing, all depend upon a com¬ in correct whispering exercises, as they Also E, likewise. qf the greatest composers without the pomp plete mastery of the breath for their per¬ should in singing, attending orchestral, Choral, and operatic Also A (hay), likewise. performances, or the distracting personalities fection. In the use of the exercises which fol¬ ing. Price one dollar. A book which A London paper recently i- — Also 00 (too), likewise. tion, “Which is the world's most famous Of soloists, In a wide sense it includes songs, Breath development in singing should low the student secures good breath man¬ every student, singer, asd teacher may song?” and then proceeded to make an unex¬ pianoforte music, compositions for string or Also Awe, likewise. read with pleasure and profit. wind instruments with and without piano¬ always be acquired through a system of agement for tone production even when pected answer, namely, that it is not Aitlil Also ah, A (hay), awe, oh, E, joined Lang Syne, Annie Laurie, Home, Sweet Home, forte; it is distinguished from orchestral, exercises which takes its cue from normal he is not actually using his voice. It is God Save the King, “America/’ ■■Thu choral, and organ music in having a separate together in a prolonged whisper, dwelling Me. Clippingek’s success in training and complete part for each performer. The a means by which he can save the voice breathing or respiration—that is, natural three seconds on each vowel. At the the head voice has brought to him singers combination of several characteristic voices from overwork; it takes all unnecessary from all parts of the country. in what would he called in athletics team breathing, which acts wholly independ¬ end of a week extend the period of sus¬ work, where the principal interest is shifted ently of the will. Breathing, then, for contraction off the throat, and places the from one individual to another in a melo¬ tainment of each vowel a second or two. _ __’t Go,Home Till Morn¬ singing is an extension to a considerable largest share of physical effort of sing¬ Season opens September 7th ing and For He’s a Jolly Good Fellow are dious give-and-take, brings an intellectual In the above practice it is important equally familiar in Europe and in America. quality in addition to the sensuous charm of , degree of the natural way of taking ing upon the strong breathing muscles, Students may begin at fmy time the music which demands a corresponding in- to begin whispering “ah” with teeth apart breath. We should begin breathing ex-;i where it rightly belongs. Furthermore, i telligence from the players and listeners. about a thumb’s breadth, and do not As ?uc? compositions are properly played in it prevents a fault so common among ercises with respiratory movements that1] bring them any closer together in passing familiar to Turks and Arabs, The model- small halls or rooms where effects may be singers—breathiness of tone—which is zation of the song dates from eome time afl intimate, they are classified as chamber music are slightly deeper than we ordinarily' from one vowel to the other. Whisper D. A. CLIPPINGER the battle of Malplaquet, wheu it was fii —ArtiiEli Whiting in “The Outlook” (New detrimental to all kinds of singing, This take, and from month to month they each vowel clearly and distinctly. Your sung by a French muse at Versailles, whence system is not new, but has been in prac¬ 414-415 Kimball Hall, CHICAGO, ILL it spread to Paris and throughout France, should grow deeper and fuller. The fol¬ lips and tongue may be relied upon to and, as has been said, gave the great nuke of Perfect Beauty tice by well-known vocalists, the world The Pupil Must Do the Work lowing quotation is taken from Clara form all the vowels perfectly, unaided Marlborough more celebrity than all his vic¬ over, for generations. I regard the ex¬ tories. The words were printed ou fans and T,he ™*ster Cf*n 3o only ten per cent, of the The fashion of the pretent day demand* Kathleen Rogers’ Philosophy of Singing— by any movement of the jaws. They screens, and were sung in pulaces and on work. The pupil must do ninety per cent. that the complexion of the well-groomed ercises that follow as of greatest value There are no good masters, there arc onli/ a book which every ginger should own : should be passive and relaxed. WALTER L.BOGERT the streets. The still further modernization t/ood pupils. to the student of song because they in¬ *~r the exigencies of roistering melody was “What is required in breathing,” she A word of explanation is necessary re¬ President of N.Y. Sute Music Teachers’ Ass’n, 1913, » last touch which insured the song uni- My opening studies were made at the Royal says, “is expansion without unnecessary variably give the requisite stability and Member of Advisory, Standards, and Examining L popularity.—From The World (New College ot Music in London. There I had garding the character of the whispering Committees, 1914. ^Postage Ohar|es^Prepaid. two lessons a week, and never learned mv evenness to the breath pressure or flow; York) GOURAUD’S tension. The lungs must fill themselves sound that is to be used in the above ex¬ Musical Director of Peoples’ Institute, N. Y.'City. 2JMC. -D hpgrt. From that institution I which is an indispensable condition for Home Criticism went to Bouhie in Pans. For three weeks I in proportion as the breath is exhausted ercises. The correct whisper is that BROTHERS,Chicago tone that is true to pitch, firmly resonant Teacher of Singing This horns criticism is not prompted by worked with him on the rdle of Mephisto in under the regulation of their own law—- which is made in whispering the vowel the first act of Gounod's “Faust,” and at the and well set up in all the elemental quali¬ harshness or indifference ; it is a form of love. end ot that time I had not memorized it that of action and reaction—and not by E. Do not confuse it with .the whisper¬ Our own offspring can never shine resplen- One day Bquhie said to me; "You are 1 Orienta ties. The automatic management of the dently enough ; no applause is quite loud or ■ me: “You are tl any conscious regulating of the diaphragm ing sounds that are made in sounding sh. stupidest pupil I f- ’ •- ■ - breath follows as a result of the per¬ prolonged enough ; the comment in the paper You may go*^eo.” W 1 eVGr bad in studic on the part of the singer, as this leads or F. These are made by the tongue and is not quite as complimentary as the parent sistent employment of these exercises, G. CUV A Paris, 5, rue Gounod expects Ut to lie, There was a case where a There was a situation! My hopes and ar inevitably to a mechanical and unspon- lips, respectively. In using sh, or F, father wrecked the health of his daughter and taneous production of tone. Singers will destroyed it promising career. The young breath is wasted. They sound, thin and E, JflliA VOICE Cream understand me better if I say there must BREATHING EXERCISES. singer was very gifted and was a conscientious characterless, and their use is apt to worker—but sing as she would, be recalled »itthV«tT^S£ be no holding, no tightness anywhere, In ordinary respiration, when the induce unstable, characterless vocal as often as she might, have press notices of imd" befoul'd domSot morettTn STYLE, DICTION, GESTURE the most flattering kind, invariably his com¬ but the form of the body must remain breath passes in and out noiselessly, the The first American man to sing In opera In Franc ments wore: “I have heard you sing better.” gestions, which, if I did not find the way plastic or passive to the natural acts of vocal cords are open approximately The vowel E, whispered, gives the stu¬ Write for booklet “I was not pleased with the way you sang the and “tla?art‘*» aria." “The papers did not give yon good inhaling and exhaling, as in this way dent the cue to the right kind of whisper, notices.” "You never sing in public as you new ht??mat ‘'nL 1 fol,D<* words 1 askp(i for only can perfect freedom of vocal ex¬ do at home.” “I wonder if yon really can apr,a,-“Tf°^ ■& and it is the whispering sound to be used make good in a big way?” No father made pression be obtained.” When the vowel A (as in pay) is on all vowels, in all the above practice. Notice: Musicians father love a child more than this one^Ioved In singing, when you have acquired whispered, without the slightest aspirate, It is clean-cut, firm without stress or his daughter, but the girl, a sensitive nature At Druggists and Department Stores. correct breathing habits, you will not be the vocal cords move approximately into BE A LEADER and who deeply loved her parent, consumed wis™emyandetrflLnCstan°d1B. “ayi it^'w suggestion of being forced. It acts spe¬ conscious of the action of the diaphragm, cifically yet with utmost gentleness upon «md get the big money as a herself in self-accusation and completely SThSwtTW.'Wlth that: 1 had "quir. this position!^ The breath, in passing wrecked her health. A doubly unfortunate FERD. T. HOPKINS & SON,Props. [he intercostals, or, in fact, any of the the vocal chords, and also, causes favor¬ Vaudeville Orchestra part was played by the mother, who realized thon«™i!s at ttlat'time, eleven years ago fl-i 37 Great Jones St. New York the conditions but lacked the force to counter¬ five thou^nd SjUdylng sinsiug. Out of tho’ breathing muscles. If you have devel¬ through this very narrow opening, causes able activity of the entire vocal apparatus Leader act the father's dominating personality. Such oped your breathing muscles properly, a sound which we designate as whisper. are the tragedies of life.—Alexander Hen- and breathing mechanism, giving them the at $25 to $75 a week neman in the Musical Monitor and World. these muscles will work so perfectly, In loud, coarse whispering the breath requisite toning up preliminary to actual is wasted, whereas a fine, soft whisper, tone practice. Advantages of Mental Music Study EVERYTHING FOR t™ such automatic precision, that you From Us to You, at Factory Price ""'l be no more conscjous 0f theit* exist- Firstly, the consistent daily reeding of deeply placed, economizes it. For in¬ The intrinsic value of these exercises music will continue the work begun with the ence in action than you are conscious of stance, a vowel sound can be spun out is considerably enhanced by the fact that Teevin’s customary exercises of ear-training: more¬ f li,te,'T Prov«l sufficient to carr over, it will fill the gap which so often inter¬ c muscles used in running or lifting, in a sustained whisper of this latter de¬ injury to the voice by their being care¬ Correspondence School venes between ear-training in the experi¬ “£ w«ng or boxing. You are not to un- scription for forty, fifty or even sixty lessly done is impossible because all harm¬ Orpheum Theatre Bldg, Iorni$b S mental stage and the application of aural Grand Rapids, Mich, principles to actual music. ; e tei", »< knowiedgej^and*thatrul relialilo. ha _ 88 are employed in a listless man- prevent waste and to gain management Furthermore, they are not difficult of at¬ nightmare which centers round the sight- reading problem. The power to read at sight know. In gaining an edueItion”SSTry 1 |he contrary, the breathing nius- over the outgoing air. It also acts favor¬ tainment when once perfectly understood. is only bestowed upon those who fulfil the « 5lt>ging must always be in perfect ably upon the individual voice quality in On - of the advantage of these exercises I One Year's Free Trial twofold condition—(i) abiiity immediately to eonneague0smwthoe have" had "wkf ^ * translate into abstract sound the symbols of The Professional Directory witk 10n (ready f°r instant action), singing, prom ting smoothness and good is that any one of them can be selected notation : (f() executive capacity instrument- carrying power. and practiced anywhere or any time dur¬ ally to render objectively the sounds trans- which appears on page 688 of this issue of wiout the least suggestion of rigidity. The Etude is representative of the fort- thf e !in®'ng's t0 be of a dramatic type Begin whispering practice with the fol¬ ing the day, and, at that, without giving Corttisb Co. Washington, N. J. most Teachers and Schools of Music in t“ls lowing exercise; annoyance. (Nl7°YLoDrkj? the *°™^ vZTcoZ2 i . actl°n °f the muscles will naturally country. Write for rates and partied#1’ 'nteasified i if of a soft and light char- Take a moderate breath and count in When the student has had two or three r me work placed upon the breath- a fine, soft, deeply placed whisper from months of work on these exercises, drop our advertisers. Please mention THE ETUDE when addreeeine our advertisers. 6 THE ETUDE 677 676 THE ETUDE THE USE OF SONGS IN STUDY FIRST STEPS. i a tr> lreeo from spoiling. They YEARS. the shorter periods of sustainment of the are place Come The future throws Mature judgment, the outgrowth of Every now and then some critic ad¬ long years of experience in developing whisper and simply do those calling for spoil just e • substituting other vances the idea that a number of years fifteen seconds or longer. out the musty tom , ^ meet the The Emerson and training voices, is needed to start should be devoted by beginners to abso¬ Breath management is the basis 01 brain Procjuc others. The character of PLAYER-PIANO the student of song along the road of vocal technics. This feature of the art fate of al / n(j unchangeable ; lutely nothing but vocal exercises. It right progress. A correct start in vocal of singing can with considerable degree the emotions is^ ^ eternal fountain. THE MOST MODERN AND should not be so. The idea is entirely training hinges upon a .plan of develop¬ THOROUGHLY MUSICAL erroneous. If great singers have ever been ment that harmoniously unites or merges produced by following this method, it the breath and voice into one perfect co¬ diate aid of a teacher. The earnest hope of They a.- > stimulus. PLAYER MADE TO-DAY- the writer is that this sane and safe sys- ready t0 r“P°n f “ “ must start out BY IT YOU CAN PRODUCE has been in spite of and not because of ordinate action. tern of breathing will reach and substan- The student meaning of MUSICIAN'S MUSIC ON such training. This style of practice was Development of the voice automatically tially aid many students of song who for with this apprecia acquired in vogue generations ago, when it was includes development of the breathing. one reason or another are unable to get vocal culture: that it is to e q A FAMOUS INSTRUMENT Hence wrong breathing is as sure to re¬ held that “the ultimate purpose of vocal sult in injury to the voice as wrong use in personal touch with a teacher of technic was merely for the production of TTTeEmersonPiaiio of the voice is bound to react disas¬ beautiful tone.” That and nothing more. Rely upon this: a student who has fine manner in song ourfe^means trously upon the breathing. True vocal culture i K A DEMONSTRATION The text was an altogether secondary breath development and control is already emotions. True voc artistic # REVEALS THE REASON One thing then inevitably happens to Every day, legions of well along on the road ,o success inn sing- by whichwhich_we we are enabled and must consideration. To-day this condition is a singer’s voice when it does not co¬ Co-operation people get rid of their s well prepared for the work expression to T for Emerson reversed. Modern thought holds that ordinate perfectly with his breathing, corns with Blue=jay. that is to give quality, beauty and* artistic’ not be confubtt-iconfused with*»**■*- —a --riotous, NATIONAL “the object of vocal technic is the vital- and that is throaty tones of a pernicious Makes These Yours tional type of singing. The highest form I 4* POPULARITY ization of text by musical tone, and that type. Such use of the voice is sure to WOULDN’T you like to get this chair or this This easy method now of vocal culture enables the master singer ■ lamp—or your choice of hundreds ot other the creation of the tone must be for cause trouble, besides disagreeable tone furnishings—without any extra expense removes a million corns to give utterance to his feelings with qualities. This throat unease and corrup¬ whatever? _ ... AFTER A DAY’S WORK. that purpose and that alone.” You can get them—easily, quickly. Get them a month. The reason why the art of singing noble repose. It is as impossible for a voice to en¬ tion of tone quality i^ largely due to without effort or expense, by joining the greatest I believe it is wise at the very beginning co-operative movement America has ever seen. never be acquired from the printed page tirely outgrow the influence of the en¬ deficient training and consequent lack of You who suffer with corns do is because, as Hume says, “The most of vocal practice , .introduce - -** , vironment to which it has been subjected poise in the management of the breath. yourselves an injustice. Blue- lively thought is still inferior to the dullest tone every desirable constituent ot tn “Just Join a for several years as it is for a child A singer thus crippled can never reach a jay will instantly stop the pain. sensation.” Nothing can take the place human voice that exists m our ■ high state of vocal efficiency because of Emerson completely to overcome the effect of its LARKIN CLUB” And in 48 hours, without any of the living example and the word of in- For this reason I thoroughly believe in bad vocal habits engendered by inade¬ environment during the tender period of Combine with other members in purchasing some soreness, the corn comes out struction weighted with that personal in- the early giving of good suitable song-, Piano quate preparation. of your needed household supplies such as foods, completely. terest and sympathy which should always The imagination and the dramatic Co. its life. Hence a singer who has been toilet preparations, soaps, dry goods notions, etc., A beginner does wisely in placing him¬ direct from the Larkin Factories. exist between the teacher and his pupils, stinct are thus stimulated; exercise is pro- trained on nothing but exercises is stunted self in the hands of one who, besides pos¬ You’ll get supplies of the highest quality, made About half the people know this It is absolutely necessary for a singer to vided in great variety to promote agility and can never reach a full development, sessing profound knowledge of vocal in clean wholesome f actorieswhich are inspected now. When a corn appears they by 65,000 visitors annually. And you’ll Le periodically under the guidance of a of voice in conjunction with activity o because in the meantime the emotional matters and of the art of teaching, also get in addition your choice of many hand¬ put Blue-jay on it. Then they teacher’s sensitive and critical ear. the articulating muscles. some furnishings as your bonus or ‘ prof¬ forget it. In a couple of days they Important sources have run dry. D. Frangcon- instinctively comprehends individual it-saving ” for dealing direct with us, lift out the corn and bid it good-bye Scarcely anything else can be of as great All vocalizes should be sung with color y Davies says in his book, The Singing of needs and plans: and avoiding the needless middle- forever. assistance to him in acquiring sureness and expression. If this is done the exe- the Future: “The voice of the future First, the range of tones within which of feeling and perception of true, pure ercises will be full of variety and interest, You can’t do that by paring corns. Fall Announcement must prove that it grows out of language: to commence practice. and artistic tone. The most interesting Instead of being a drudgery, they will And you can’t with old-time treat¬ and singers must begin their studentship Second, the degree of loudness of tone ments. You may get relief for a periods of study for both teacher and become a pleasure. The student who you wish to obtain a corset, to be employed. little while, but the corns simply pupil are those moments when the light practices after this mariner will at once with the singing of thoughts; for thought designed in the latest mode, Third, the approximate degree of phys¬ stay and grow. To Music Teachers is the fount of language, and language of truth breaks through the barriers of begin to individualize his tone. His per- affording absolutely the cor¬ ical stress to be thought out in managing Try this modern, scientific way— mere understanding and becomes living ception of sound and all that constitutes the fount of tone.” I would go still fur¬ Space does not permit us to list oi rect lines of the season’s the breathing; a matter largely influenced the way now employed by physicians feeling. Many hours may have been beautiful quality and desirable expression ovelties for the coming season. Musi ther by making the statement that emo¬ vogue, secure ‘your’’ model by the tone that is being used. and hospitals. Get rid of the corn. spent in discussion and endeavor to reach will improve, Teachers who are not on our mailing lists tion is the fount of thought. Listen It is just as easy, just as painless as should tell us which of the following of American Lady Corsets, Fourth, suggestions and ideas that will the ineffective ways. the expression of some particular passage again to what he says: “The color of in a song. That which is necessary to SPONTANEITY ESSENTIAL, catalogues they wish mailed to i and the perfect effect of your promote musical expressive tone in studios: correctly spoken, and the sustained singing. be done may be clear to the student’s un- There is a most important reason why gown or suit is assured. rhythm of sung, words constitutes the Under such wise and intelligent guid¬ derstanding, and he tries with utmost the vocal student should gain early mas- Latest Fall Novelties—19 1-1915 American Lady Corsets repre¬ (Con whole of the vocal art. The student first ance there will be encouraging and sub¬ faithfulness to reason a way to successful tery of all these essential elements of sent not only supreme style, Blue-jay thinks the word clearly, and listens to stantial headway. Such training is bound accomplishment. But such effort invari- artistic singing. The teaching of a voice of “Edition Wood” ^T^volumcV rly o . but superior service and satis¬ it with his inner ear; when the mind has to be in accord with the age, physical con¬ ably ends in failure to sing at all. And in a one-sided manner, that is, merely for For Corns ight and cannot be hi faction. The wide range of sounded it he says it calmly with his why? Because cold, calculating intellec- flexibility, smoothness and beauty of tone, SES£o dition, talent and temperament of each 15 and 25 cents—at Druggists tual effort chills the sense of feeling, will produce an action of the entire vocal Complete Pianoforte Catalogue i Juit Israel) voice. This is the finest singing lesson individual pupil. A pattern is formed (Containing the most important standard ud for the pupil, not a pupil formed to a Bauer & Black, Chicago and New York Such work is uninspiring, it is insipid, apparatus corresponding to these features classical compositions, and the best woriiol Gmetieati/adzA. Makers of Physicians* Supplies the words lifeless. This dreary monotony of his singing. The action of lips, tongue the well-known writers of melodious pieces el Mr. Davies was one of the greatest pattern. Herein lies the kernel of the the easier grades.) is due to a performance devoid of and larynx are in unconscious accord with baritones the writer has ever heard. He matter respecting a safe, sure and sound Handbook of Graded Materia method of vocal training. emotion. these demands, and these habits of action (A classical list of easy lead was great because he excelled in the art In any struggle to reach supremacy, become more or less fixed. Later, when pianoforte.) of investing his tones with the true mean¬ Teacher’s Book of Samples includes a perfect model for every My Beauty Exercises obstacles are encountered. They are in- the voice is called upon for something Giving the themes of 278 comp slender, medium and stout type of ing of the text. Moreover, he sang with THE SLOW SCALE IN VOCAL —rjii you i00k evitable. In the case of the singer, if the different in the way of color and dramatic 1-A to 3-C.) figure. Ask, at your merchant’s, superb style, with the most convincing PRACTICE. I2DAYn.^Sse$60SS B OUtifu8ie4anndairthe student is sincere and enthusiastic, op- expression, the throat will rebel. The Supplements to see “your” model. S| interpretation and with faultless intona¬ The following exercise is most valu¬ including all essential expenses, visiting Sternal1 treatments iyou posing forces will but serve to arouse vocal organs accustomed to other mental l-Ato*-C.) Prices range, 1 to D tion and technic. Mr. Davies told the able for gaining perfect sustainment and Halifax, Nova Scotia, the land of Evange¬ NoSmassag”electricity’ w'ddn him the spirit of determination to stimuli are disturbed by an order to do Complete Vocal ^Catalogue ^ ( Send for Catalog writer that he gained this magnificent evenness of line, and St. Johns, Newfoundland, the vibr“lond8e’astringents’, conquer and win out. It is not to be something foreign to their formed habit. Norway of America. American Lady Corset Co. technical equipment and power of ex¬ oraSsurrSery — JuatfiNa- denied that> in the preparation, intellectual The new and the old are at cross-pur- Secular Song Thematic, No. 1 > ^ This cruise to these foreign lands on the Home Offices, Detroit pression by combining songs with vocal new steamers STEPHANO and FLORIZEL °r su,rsg^ay_ _ work enters to a considerable extent, poses, and as a result spontaneity is lost. Sacred Song Thematic. No. 2 Address Dept. A exercises in the very beginning of his of the But with the beginning of the real busi- If, however, at the outset of study and (With themes of 30 sacred songs.) training. This is the testimony of many stem maKes^ muuuy, Sample Block of Wood’s Pupils’ Practice ness of singing its mission ends. The training, the sensitive and peculiarly deli- other great singers. I fully believe that Red Cross Line girlhood; firms t’ feelings never get into the play of the cate vocal mechanism of the throat is NORTHWESTERN OHIO SCHOOL keeping a voice on mere exercises for voice unless there is a clear field for exercised simultaneously in the acquire- Send us your addr several years allows the real fountain of Transpose to higher keys, but for the action. While intellect and emotion may ment of legato, smoothness, flexibility song to dry up. No talent that a man first six months sing no higher than from be combined in singing, one must he the and mastery of all the varied shades of possesses and neglects to use can retain E to E. Begin on the vowel ah and ruler, and that one the emotion. It is meaning of the text, a complete and per PIANO TUNING its pristine keenness. A musical ear be¬ change as your feelings may suggest to Reduced rates for superior accommodations during Sep¬ equally true that, in science, intellect and feet coordination of all parts of the vocal awe or oh, as the voice ascends. Follow tember and October. Send now for handsome booklet 63 My Beauty Exercises are comes less keen from lack of daily exer¬ BOWRING & COMPANY, 17 Baltery PI., New York work to make the fijure mor emotion may be combined; here, however, apparatus will be the result This is th TheB. F. Wood Music Ce. D- 0. BETZ, Director these same suggestions regarding change instructions to beautify the and eye- the relation is reversed and intellect be- cise; dozens of other examples might be 4fc“ view taken by advanced thought in vocal 246 Summer Street 29 Weal 38th Street cited, but the above statement will suffice of vowel in descending the scale. The y Facial comes the dominating factor. dea of changing or modifying the vowel culture. It is the most complete as well BOSTON NEW YORK in proving the point. Also at London and Leipaig THE SINGER’S MESSAGE. e ™.OS satisfactory way for a student We agree, of course, that a certain s to make easier the work of introduc¬ “write'Xfornu to acquire the art of singing Results Faust School of Tuning amount of technical exercise is necessary ing different shades of color into the Clean Shoes Culture, Body Cultu The singer must form the habit of are surer, more rapid gain is made in tone. Sing slowly; at first count men¬ Pinw, Player-Piano, Pipe Organ & Reid Organ Courses every day in order to keep up the perfect KATHRYN MURRAY listening to the promptings of the inner absorbing the artistic features of sintL tally two beats to each note. Take breath STAGE’S SYSTEM adjustment of the vocal apparatus. But In 1,000,000 Homes Dept. 99, 209 State Street, Chicago guiding voice, and yield to it the ready and the treadmill elements that commonly at places indicated by check. Later, as The First Wo man to Teach Scientific Facial Exe in doing that we must not forget to keep and implicit obedience of the trained or- prevail in a day’s work are eliminat a y Kara of profit. pianoforte tuner. the breathing grows in endurance, each Said for FREE Tear Book giving I’nil information alive the mote vital faculty of real ex¬ gans of sound. This is spontaneity of ___ ted- note can be sustained for a longer' GREAT PIANO ACCORDEON "" C. Fauat,Principal,27 Gaimboro St., Boston .Mass. pression. To satisfy this absolute neces¬ expression; artistic abandon. When’the Music does not pvt.™.. SM^L&SSpsil period. Sing with utmost smoothness, - • • - . 1 express the sorrow. sity requires something more than merely I vaudeville'"know"1 heart enthusiastic speaks, enthusiastic the love or~7he Tonglne^of IhL SOrr°W’ Vrrfrrr|rrfr|L| eliminate the slightest vestige of a I “wY?ytoa4n3‘fe%(the hearts will answer. Then, and only then, individual, but rather sorrow 1 °F that vocal exercises. tremolo. Pass from one note to the Grab’s Automatii wi” realize the P°yer of son^ joy its very self, and indeed, throuch^ Weigh Exactly What other in. true legato style, cleanly, clear¬ Foot Scraper » s>. Every musical act .m- He will then have a message to carry and innumerable treatment of ’ the You Should The real position of the virtuoso resfs ly and without slur or drawl. This | erSipi“5 the ability to deliver it. Remember: “It is the exclusiveexcl,,a,l !!L°possessi'onT/’f.m°tlVe.S’ Z^_which I nnV^zeshLe“'Haiid6o'nie^y,ennla*ii0(fIfyi,id^”®* ^av.e ^rf»tf%32,°00 and 1 solely upon the dignity which he adds to exercise should be practiced every day nteed. Mud drops between lVS^dVarailelsfiUee _ __oai is emotional force, not intellectual, that among all the arts it i -hi ^US1C uut as many more. ietal plates. Can’t clog! NEW foot scraper attach the work of the creator; let him trifle during a singer’s career. There is noth¬ tent cleans heel also. Cun be rotated and swen :rS pauwr‘i'asmra'°rycarh,e brings out exceptional results.” Intellect to speak in all laniniaire.P«8S. 6 ,for her nte tCK*aY for my free booklet) with this or belittle it and immediately ing better. It develops to the greatest nder. Brushes can be replaced. Useful in all sea jvi.particulars, profoiouai ;s the brain’s cold storage plant where that are foreign hut in th "0t °in-ly those SUSANNA COCROFT his artistic honor is despoiled.—Richard degree the most expressive and valuable will send Grab’s foot scraper8direct^orSf, prepaid LYON 4. H EALY, 21-43 E. Ada is St., CHICAGO the things we know, or think we know, not yet been printed RICgSe ^lch have THE " MUSICAL ART COM/M JPt,a>’62< 8«. Michigan Boul., Chleag Victor M. Grab & Co,, S-6 Ashland Block. Chicago, H] 138 E. State Street - COLUMBUS, Only Wagner. tones of the voice, viz., from C to E. Please mention THE ETUDE when addressing our advertisers. 679 678 THE ETUDE THE ETUDE
covering B and C, and pull the toe^around Modern solo organ playing may be the A sharp key until it rests o • _ r “Last Chance” „ . Juiiweiuzer ana unas. described in one word—orchestral—and In connection with these pedal exe Marie Widor, where the musical text is the most essential attributes of a modern THE GUILMANT cises practice those for the hands alone, Austin Organs Magazine Bargains free of markings of any kind and the concert organ are great variety of tone marked “Exercises for editors’ suggestions as to performance, color, and convenient accessories for registration, etc., are given in extensive ORGAN SCHOOL and those under the heading Reduced Prices for September,1914, only bringing the different colors quickly into for the practice of independent^ove^nt reading matter included in each volume. play. Without a thorough knowledge of T?IVE organs in one city Prices of the magazine clubs given of the hands, on two manuals. ^actice the orchestra and orchestral effects the William C. Carl, slowly, carefully, and with a decided up T of 100,000 people and below advance after Sept.. 30, 1914. It SUPPLEMENTARY WORK. every one secured without solo organist nowadays is at a serious down motion of the finger , will not be possible to again subscribe to Third, the study of other classical Mus. Doc. and competition speaks volumes The Etude at these low prices. Now is disadvantage, and for that reason players for the tonal And mechani¬ the time to subscribe—don’t delay. Sub¬ works by more modern writers such as who- adopt the modern style of playing cal qualities of Austin scriptions can be new or renewal. Maga¬ Mendelssohn, Guilmant, Rheinberger, endeavor to know as much about the good pedal exercises. Organs. zines can be sent to different names and Merkel, Widor, Reger, etc. Along this orchestra and its effects as of the organ Re-opens After the student is able to find A score of organs of large addresses. If now a subscriber the date line compositions of the present day- itself. [Mr* Henry S. Fry w s born at Pottstown, Pa,, in 1875. He came to Philadelphia in promptly any key on the p.edal board, scope placed in Greater of expiration will be extended one year. writers, and compositions not originally Tuesday, 1889, where he studied tt organ with representative' teachers. He has played in leading New York in the past few A complete list of “Last Chance Magazine It will be generally admitted, I think, Philadelphia__ cl “~_ over twenty years and is now the organist at St. Clement’s, in proceed to the pedal exercises imme- Clubs” will be published Sept. 15th. Send written for the organ, but transcribed for tiiat an orchestra consisting of expert In addition to this, he has given some four hundred recitals and has inaugu¬ diately following those for finding the it, should be included. October 6th rated aDout one hundred and twenty-five new organs. He has filled many positions witli Our new console proves postal request for one. players with fine-toned instruments, under musical societies with success, among them State President for Pennsylvania of the National keys, to secure flexibility and become Study along these three lines can be Association of Organists ; Treasurer for the Philadelphia Music Teachers’ Association ; Vice- its marvelous qualities. Canadian and foreign postage additional: a conductor of imagination, is unsur¬ The course includes the Organ,' President of the American Organ Players’ Club; and Treasurer for the Pennsylvania familiar with intervals. Having mas¬ Several thousand feet more Canadian postage on THE ETUDE,25 cents: continued at the same time. It is impor¬ passed as a medium for the expression Chapter of the American Guild of Organists. Many of bis pupils are now filling church on other magazines about 50 cents. Prices Harmony, Counterpoint, Orches¬ tered these the next step is to practice floor space added to the expire October 1, 1914. tant that the student should early study- of emotion by music, because it affords positions.—Editor of The Etude.] factory. tration, Key-board work, Musical1 the exercises for passing one foot back some of the modern compositions for such a variety of color and such vast organ (after mastering the exercises) as Dictation, Musical Form, Hymn- of the other under the heading “Scale- Write for information. scope for the rendering of complex First Steps in Learning to Play the Pipe Organ of course congregations cannot be ex¬ ology, Service-playing, Accom¬ passages on Pedals.” After- finishing WOMAN’S^HOME The Etude] $040 rhythms. Roughly speaking, the different these and the exercises marked “Toe and pected to digest a steady diet of Bach and panying, Plain-Song, Improvisa-1 MAKING A START. Woman’s > tone qualities a composer has at his In large cities the question of proper Heel” the student may attempt to play the heavy classics. tion, Organ Tuning, Organ Con¬ But the ambitious student with little Home Comp.J command when writing for orchestra are: instruction for the organ student is one the two-part exercises for left hand and As suggestions for registration are struction, Students Recitals. or no opportunity will say “how shall I String-tone, flute-tone, brass-tone, and comparatively easy of solution—not so, pedals and right hand and pedals Easy Austin Organ Co. given with most of the compositions for Dr. Carl raturns from Paris Sept. 25th attain these important requirements?” the organ, and no set rules can be here reed-tone. These may be subdivided into however, in the hundreds of small towns exercises for giving independence of Send for new catalogue First, the' writer's advice would be to Woodland Street, Hartford, Conn. The Etude) $040 given as to the- use of stops in anthem various shades, as, for instance, string- and villages throughout the country movement to hands and feet.” Follow where in the past decade many pipe secure a modern edition of “The Organ” Woman’s ( <3 playing (proficiency in this direction tone into open and muted string tone; 44 West 12th St. New York these with “Easy Trios for producing shady viola tone; rich ’cello tone. Flute- organs have been installed through the by Stainer and read carefully the exten¬ Home Comp.f coming as the result of experience in independence of hands and feet” and tone into varying qualities to be found in generous assistance of Andrew Carnegie. sive reading matter in the forepart of the -THE“GEM”- registration of organ works, transcrip¬ “Trios embodying the previous work Pictorial Rev.J «ceo the different registers of the flute. Brass- Many of these instruments never secure book. This need not all be mastered be¬ tions and hymn-tunes, and the sug¬ done.” tone into mellow horn tone ; the strident an adequate handling because of the lack fore beginning the practical work at th“ Church Organ Pedal gestions sometimes given by the anthem Up to the point of playing the Trios, The Etude] $160 and vibrating tone produced by the slide of opportunity for those presiding over organ, but can be studied in connection Attachment for Pianos The Etude)^ J §§ composers) this subject will not be gone the registration given above will be suffi¬ into in this article. trombone; noble and majestic trumpet them to secure proper instruction, except Enjoy Organ Practice In Your Own Home Today’s } * cient. For trio playing on two manuals INFORMATION UPON REQUEST Designer j save tone. Reed-tone into the piercing and at great expense, due to the necessity for The Practical Work, First arrange (Women) J and pedals, a different registration is J *0.40 plaintive tone of the oboe, and the paying travelling expenses to reach the the stops as follows: SYRACUSE CHURCH ORGAN CO. desirable, the best effects being obtained SYRACUSE, N. Y. THE INFINITE VARIETY OF THE warmer quality of the clarinet. This is city teacher. Great Organ—Melodia and Dulciana. The Etude] $ 1 90 The Etude] $025 if tones of contrasting colors or qualities ORGAN. only a very meagre subdivision, but suf¬ To endeavor to aid those hampered by Swell Organ— Salicional, Stopped are used on the manuals. The following Ladle.’ f * Pictorial > ficient for the present purpose. Then such conditions is the aim of this article, Diapasbn and Flute 4'. registration is suggested: World J ,0*60 Review J ,S™ BY HORACE BARTON. there are, of course, the limitless blends not by a series of "Dont’s,” but by giving Pedal Organ—Bourdon. Great Organ—Melodia or Flute 8'. to be obtained by mixing the colors. some practical points that are important • Couplers. The Etude)$040 Ancient an instrument as the organ Swell Organ—Oboe or string tones 8'. Church Organs The Etudej$2- in the building of the foundation for good Great to Pedal. is, it is perhaps less understood than any COLOR EFFECTS. Pedal Organ—Bourdon 16' and a soft built by Christian “ Swell to Pedal. American 1 Save instrument in use at the present day. organ playing. 8' stop if available. Hutchings Organ Co., Boston, Mass, Now I claim that these color effects (In two manual organs the Great Organ J *0.60 H«aid J $%To While many other musical instruments If a soft 8' stop is not available couple can be obtained on a good concert organ, THE GREAT ESSENTIALS. Manual is the lower one.) WRITE US FOR ANY DESIRED INFOR. have remained in the same state for a and that the dynamic effects of the one of the manuals to pedal. MATION ABOUT ORGANS The Etude] $ 190 ffheModem Prisci 1 fa ] First of all the student should under¬ After arranging organ as above, prac¬ great number of years, the organ has orchestra can be produced as well. Of These trios may be varied by playing stand that there are material differences tice “Exercises for the free use of the Modern > * ~ undergone such changes and improve¬ course, the organist has only two hands some of them left hand on the Great in the manner of. playing the organ from ankle joint” (from book suggested) being Priscilla J ments that it has gradually developed a and two feet, but more can be done with Organ, right hand on the Swell Organ, that of playing the piano. In the organ careful that the motion of the toe and new side, until it is now an instrument ten fingers than people unacquainted with there is no damper pedal to sustain the heel is made as directed. and others left hand on the Swell Organ, SPECIAL possessing a dual character, and in con¬ modern organ technique are aware of.. tone, consequently to secure that most Next practice finding the various open right hand on the Great Organ. The Etude) $ n 15 sequence its usefulness has been increased Advanced organ technique is about the spaces on the pedal board (without look¬ Woman’s ( J— to an amazing extent. The remarkable most complex thing of its kind in exis¬ important essential of true organ playing ACQUIRING SMOOTHNESS. —a perfect legato, or binding one note ing at the feet), as follows: beginning Home Com- } skill and ingenuity shown by organ- tence at the present day, and to develop As was stated earlier, one of the two j to another,—it is necessary that the at lowest C run the toe of the left foot panion, Mod-1 Save builders in bringing about these changes and maintain it requires the utmost con¬ important attainments necessary to secure ernPrisdlla J jo.65 fingers be trained to produce it without along the front edge of the sharp keys is one of the wonders of modern instru¬ centration, as well as a great amount smoothness in playing the organ is the any artificial aid. True this legato is until the toe slips in the space between D ment building. The difference between ability to substitute one finger or set of an organ built to-day and one built a also essential to good piano playing, but sharp and F sharp—this will guide to E The Etude) $2~ The Etude) As an example of color effects to he hundred years ago is as great as exists the much abused and so-called “loud and F—continue the toe along the front fingers for another finger or set of obtained on the organ by modern methods PIPE ORGANS gJB McClure’a [ Save Delineator ( Save between ships separated by a similar pedal” of the piano covers a multitude of of the sharp keys until the foot slips into fingers. This can be accomplished by my own arrangements of Sibelius’ Minne- J *0.60 J $0.60 interval of time. The generally-accepted lied may be cited. This is a composition defects in this direction. To secure the space between A sharp and C sharp— practicing the exercises which are in¬ Our Instruments comprise all features idea that the organ, by reason of the that depends for its remarkable effect proper smoothness in playing the organ this will guide to B and C. Continue to serted for that purpose, under the head¬ which are of real value. Many years of prac¬ ing The Legato Style” and the various tical experience. Write for specification!. The Etude] $000 solemnity of its tone, is the most suitable chiefly on itscolor scheme. Theinstruments 'two important attainments are necessary the top of the pedal board, thus becoming The Etude) $25i exercises immediately following. These EMMONS HOWARD ORGAN CO. instrument for accompanying the service used are flutes, oboes, clarinets, bassoons, —first, the ability to secure an absolutely familiar with the position of the various Collier’s \ ** should be supplemented by the Chorales WESTFIELD, MASS. Everybody’s ( Save of Divine Praise is without doubt correct; horns, tympani, harp, and the usual simultaneous up and down motion be¬ open spaces representing E and F and B *0.50 Weekly j £% and Hymn-tunes appearing under that J but the oft-expressed opinion that its strings, muted. By different combinations tween the various fingers, and second, the and C. At first use the left foot for the head, played*first hands alone, with sub¬ usefulness ends there is one of those of these instruments the composer gets r-ESTEY CHURCH ORGANS-i The Etude] $ 900 ability to quickly substitute one finger for lower half of the pedal board and the stitution of fingers, then with pedals and The Etude) $025 false notions, due partly to ignorance, some beautiful effects. The tone qualities right foot for the upper half, though of another finger, or one set of fingers for lastly with the melody played as a solo, Review of > Youth’s , ” and partly to lack of knowledge, which of the above-mentioned instruments as course it will be necessary later to find another set. the left hand playing the alto and tenor Reviewi j ^ave Companion ) are so difficult to eradicate from some employed in this particular piece can be This necessity for legato playing of the pedal keys- with either foot. After parts on another manual with softer Pioneer* and leader* alwaya minds, and which, while they exist, do reproduced on the organ with remarkable thus becoming familiar with the pedal Examine stop action and wonderful reemi course applies also to the use of the stops, the bass part being played on the Oboe, Saxophone, Clarinet, etc. not give new ideas a chance to filter in. faithfulness. In arranging it for organ pedals—how many organs are presided board practice the first exercise under ESTEY ORGAN CO., Br.niel**.,Vwwrt.US.* The Etude) the difficulty is to give to each part of over by those known as “swell pumpers” heading “Exercises for finding pedal keys THE ORGAN’S DUAL CHARACTER. the harmony and portion of the melodies r • . - audllicu UT( McCall’s ( Save who place the right foot on the swell by feeling with the toes, without looking ficiency in the manner suggested shorn J $0.25 Above I have referred to the organ’s the color intended by the composer. In pedal, and with the left make frantic at the feet.” After the first exercise ~e the work along three differei Rl (Free Pattern) dual character. By this I mean that it the old style of organ-playing the colors “stabs” for the notes to be played on the has been thoroughly prepared, practice can be treated as an organ pure and would have been combined on one key¬ GEO. KILGEN & SON pedgls. those following under the same heading. , .. - irios, a me = Bennett Organ Co. The Etude\$035 simple, making little use of the many board or manual, but by that means only Alter a perfect legato is secured on always legato and without looking at the va uable means of securing independen ORGAN BUILDERS Modern f u effects that can be produced by different a very’ poor idea of the tonal effect is Pipe Organ Builders manuals and pedals it is necessary to use feet. It will now be necessary to find between the right and left hands a ROCK ISLAND - - ILLINOIS Priscilla ( combinations of its multi-colored tone, obtained, because, though of mixed color, ST. LOUIS. MO. the hands and feet at the same time, and pedal keys other than B and C and E and hands and feet. For this purpose m The organs we build are at near perfection McCall’s \ Save but sufficient to avoid ' monotony. This every 'note of the harmony would have secure independence of- motion between F. A few illustrations will guide the be used Albrechtsberger’s Trios. Mas! as skill and money can make them. Ur "! (Free Pattern) / $0.65 undoubtedly the proper way to employ the same tint. The new style of playing them. pupil to find these additional keys. To Studies for the Organ, edited by Wm .„ in accompanying a church service, and aims at giving each separate voice or Carl (which contains an abundance' The Etude Magazine Guide grand and almost awe-inspiring effects groups' of voices the color intended by TONE COLOR. find D place the toe in the space coveting B and C, pull the toe around The fiont material m trio form) and the T, PaRcs contains hundreds of ad- can be obtained by this method. No one the composer. This is quite possible, but M. P. MOLLER PIPE ORGANS Another important point is a proper Sonatas of J. S. Bach BUY ENTERTAINMENTS 10aa carefully selected magazine of the C sharp key until it rests on D. who has heard the pure diapason tone of much more difficult to do. In the case knowledge of and the ability to recognize :rom “The Hoes. That Help.,” . G.« eencern L^mbinations. Ask for a copy. i fine organ reverberating in a great of the piece now referred to, in order to mBtitufiois.' wfbuTd pfe rrganhs o?al?sf“el To find G place the toe in the space taadlee a chske line of Opereltai. Csntilu. the tone color of the different families cathedral will deny that. But it is with obtain the proper effect it is necessary covering E and F, pull the toe around the long*. Plajt, Drills. Muaical Recitations, etc. . Re*“t bt Checi or Mouse Order to of pipes, under their various names, so Writ, about -The Captain of Plrmeetb.’’ *• the other side of its character that I am to play two parts on the pedals, while front of the F sharp key until it rests on as to secure proper blending and con¬ chiefly concerned in this article—namely, each hand plays on two keyboards at the G. To find A place the toe in the space JHE ETUDE, Philadelphia, Pa. trasting results in registration. Bach s work, th„e ar, varioS'Sfc and capacity as a solo instrument. same time, the tone quality on each
Please mention THE ETUDE when K 681 680 THE ETUDE THE ETUDE
HOW TO PLAY THE ARPEGGIO. manual being different. This arrange¬ elephant they find it tripping along as . St as a fairy. Such people often accuse A correspondent writes; “Hereby I ment can only be played on an organ an organist of not treating his instrument For Nervous Women take the liberty of asking if in one of VIOLINS having at least three keyboards and with the respect due to its ponderous your future articles in The Etude, in pedals. The tempo of the Minnelied is dignity. They are listening to somethmg Horsford’s Acid Phosphate quiets regard to the violin, you would give a few very slow, but the effort made to pre¬ that they are not accustomed to, and, the nerves, relieves nausea and head¬ ideas or advice for the arpeggio. Also serve the true color-scheme makes it very Real Old Violins, $40 up of course, having such a weighty thing ache, and induces refreshing sleep. the best way to improve it, and the studies difficult'to play. as an elephant on their minds they find a Best of all tonics for debility and appropriate for it. I have what is “GEMUNDER ART” VIOLINS There being a popular notion that the difficulty in making room for anything loss of appetite. considered a presentable staccato, but $150 UP Catalog No. 2 E organ is what is called a mechanical else. The effect of rhythmic lightness is Repairing, Exchanging and Easy Payt’s. cannot say the same about my arpeggio.” FREE, Our Booklet. Best methods of instrument, it may be as well to refer to produced by nothing more outrageous "ng violins for personal use, and that point. . By mechanical is meant, I than perfect phrasing and extensive use Our correspondent is not alone in his suppose, that it is not capable of so much of the agogic accent. t.oubles with the arpeggio, for passages HUEU5T EEMONDER Si SONS expression as the piano, for instance, or The organ is still being developed and MISSED LESSONS. of this character often prove troublesome "--~S ADV, 141 West 42d ST., NEW YORK the teachers- of a cit ) establish ; the violin, or the ’cello, or any other improved. Percussion effects are being IN THE to otherwise good violinists. The word- instrument on which the player has direct introduced, and others are bound to The missed lesson problem is of vital fessonfbSn/^-d “f all l " mlssed “arpeggio” means that the passage should L. C. Smith & Bros. interest to almost every violin teacher, wol.,r, g, pa'd f°r' control over the actual means of causing come, such as tremulants of varying AH the teachers be played in a harp-like style (Italian Typewriter for many violin teachers lose a generous US °e benefited, vibration. In other words, the organ- power to produce string tremolo. There T , ‘ “arpa,” a harp). An arpeggio occurs ROOT VIOLINS slice of their income from it. A teacher player has no direct control over tone- is ho reason why a real harp worked in tne case’ of the private teacher the when the notes of a chord are played Beauty and utility are combined gradation. If the keys of the piano are from the keyboards should not be in¬ of the violin in a city of 100 000 inhabit- estimation in which he is held by his after the other instead of simultaneously, depressed quickly loud tone results; if cluded in specifications. Its graceful outlines are in keeping ants said to me recently: I lose at least Patrons has much to do with his power Arpeggio passages are peculiarly and depressed slowly a soft tone is obtained. The question is often asked, “Why do with its ease of action, its non¬ $600 every year in the way of missed to enforce the rule. If he has such a well characteristically effe ctive for the violin, friction bearings and its light touch. A violinist or ’cellist gets tone variation not organists confine themselves to music f f t l A l Ta T I C°nSldTnS ?tabh?hed station as a teacher and harp, viola, cello, piano, guitar, mandolin by varying pressure of the bow. The specially written for their instrument?” It takes less pressure to print a what I had best do about it. I have there is such a demand for his lessons banjo, in fact any instrument in which The same question might also be asked letter with a key on this machine. rate of descent of the organ key makes finriffiat1manv of mTutik^k^ ^ 1 ‘I** Pi-e0ple WlH Patronize him and no one the tones are produced from strings. no difference to tone-volume, and, more¬ of pianists, violinists, ’cellists and even This is why operators of this type¬ t e of the fact IF the leather is 'hTd ^ ^ find that he wil1 have l;ttle Such passages are especially effective for over, the note sounded retains its full orchestras. It is not so long ago that writer finish the busiest day’s work ' with no feeling of fatigue. several of my pupils are sure to miss a H dlfficuIty ln enforcing the rule. If, how- the violin, and almost every violin concerto volume so long as the key is kept de¬ Bach’s Organ Toccata and Fugue in F pressed. On the piano directly a note is was transcribed for orchestra and played Send for booklet “The Measure of all through the year I get a dribble of ex hold ^ ..finds ^ dfcult to obtain and aadelaborate 7iolin composition has tm¬ sounded it begins to lose volume; thus in London. What organists feel the need Worth.” It explains how to find cuseseses of all kinds and character.character Pupils ho,d. pup,ls’ and lf there are other teach- portant a™° passages. there is a continuous shading off. This of is composers who will write orches- out by actual test which typewriter will stay away because they have not ers in the same town who do not charge The greatest faults in arpeggio playing continual shading off is supposed to be trally for the organ. Some do. Hollins, has the lightest touch. practiced, or if they have . company, or for missed lessons and who are equally are Paying out of tune, lack of evenness, a great aid to expression. Sometimes it for instance, in his Concert Overture in L. C. SMITH & BROS. wish to attend some social event, or a more popular than he, it might be and tbe ^adure to hold the fingers down is, and sometimes it is not. Composers C minor, and Concert Rondo in B flat, TYPEWRITER CO. thousand and one things happen to keep suicidal to be ti ) strict in this regard. while the arpeggio is being played; of piano music have had to invent all and other works. But there is not enough them from their lessons. If I should think the pupil will get the idea of the left NEUNER VIOLINS “S Syracuse, N. Y CONTINUITY OF LESSONS ESSENTIAL. hand work in arpeggio playing best by sorts of devices to counteract it; Beet¬ ot them; so organists, knowing what the make and enforce an iron-clad rule that ra players throughout hoven, for instance, in his piano works organ is capable of, fly to orchestral Branches In all principal cities missed lessons must be paid for, I am One thing is certain, pupils who make a playing the passages in chord style makes use of broken chords to produce music, the greater part of which is far quite sure that I would lose a certain Practice of missing lessons for all__ first. For instance the following arpeggio passage; sustained tone, the notes of which, when finer music than that written for other number of pupils, since it has never been of trivial reasons, gain nothing by it in properly played, are not heard singly, but instruments. the custom in our city to charge for the end, even if they fail to pay for the give the effect, more or less, of long- The organ not being a household in¬ CARL BARCKHOFF missed lessons. Whether the better at- lessons. Musical instruction to be of real sounding chords of equal volume. It is strument, comparatively few people have tendance of the pupils who would be will- benefit must be regular. The pupil who anything like a really familiar acquain¬ true that players often pride themselves BUILDER OF ing to pay for the missed lessons would is continually missing lessons makes little tance with it. But, in my opinion, as a on the clearness with which each note of compensate for those whom I lost, I can- progress. The pupil who has been unable such passages stand out, but the musical solo instrument its possibilities are bound¬ Church Organs not say. It would be an experimentto practice one week often reasons that effect that Beethoven intended is not pro¬ less. Such being the case, I believe that AND duced by so doing. its great usefulness in the past will be 1 housands of violin teachers all over it will be useless for him to go for the Self Playing Instruments Though an organist has no control eclipsed by its far greater usefulness in Z Teacw h Thefficf of thTilTw “ ,the end of. the week ^count it will be best to practice it at first over tone by key speed, he can control the future.—The South African Musical that it i*q difficult fnr +ti + , ls ^IS lac'k of practice, and that it would a chord as in the following: the tone by other means. On an organ Over 3000 Barckhoff organs in use L A ■ prlva,-e teacher be better to practice the following week which testify to their Superiority in the average American town to charge •.xr.vi,™,* u , , .. , ® _f . with a well-constructed Swell pedal on for missed lessons. In the case of a hav.ng taken his lesson. This the balanced system he can emphasize and Durability in Construction, and vary tone volume at will, and obtain Workmanship and SweetnessofTone regularly incorporated and established “'"u "T Sound; he knfw conservatory or school of music it is fxaetly h°w, to practice that particular the most delicate gradations. It is pos¬ BASIC CITY VIRGINIA sible to put as much expression into a much easier. The manager of the school Iesfn’ a"d kne™ every mistake as soon Chopin Nocturne on the organ as on the BY SIR FREDERICK BRIDGE. has the plea to make to his patrons that as he made lL The fact of the matter is, piano. Expression depends as much on he is obliged to pay his teachers whether however’ tllat the average pupil will for- . Rubato as on tone variation. Both of The question as to the choice of volun¬ the pupils come or not and if he should get in a week many of the points which lhls wlU Prevent the student from the these means are at the organist’s com¬ taries depends mainly upon the amount of make deductions for missed lessons he his teacher has given him in the lesson t«n.denc3r re,™ve his, finSers from the mand. executive ability possessed by the organ¬ would have difficulty in keeping up his °f the. preceding week, so it would be strlngs while playing the arpeggi, as so rrcommendiojumc^nails^rtilKd. ist. There is an immense field for choice, salaries. Then people are aware that in better for him to go for his lesson at ?•? T* b\made t0 THE SOURCE OF EXPRESSION. and this point in itself causes difficulty to Distinguished Dutch Composer and Viol colleges and schools where general the end of the week of little practice, to (• a w 1 e p aying the afpeggi The whole truth of the matter is, that thos’e whose experience of organ playing “250 Progressive Position Exercises” ° violin branches are taught, tuition is paid in ad- have his teacher go over the lesson again .s„ t expression springs from the developed i$.in the main limited to their own efforts, Endorsed by leading artists. Used by the besl vance for a definite period, and no de- with him, and point out all the points he }s a]so like] th t h conservatories. The opinion of Mr. Knens a imagination of the human being at the and who have to depend for their guid¬ duct,on is made if the pupil is tardy or should observe in his second week’s prac- £ better tune bj nla in/them InTnrd instrument, and if he can rise above ance upon the catalogs of music pub¬ jMtWhen they send their children tice. People who have children attending form first. Having practiced the arpeggi technique, which is only the means to an lishers. One thing is, however, certain— r„ scb°o1 of, muslc 11 therefore seems the public schools would see the absurdity as chords until hecan olav them in tune end, and keep his imagination alive, his that it is unsafe for the inexperienced or¬ playing will express some emotion or tat:He Sh°^,d °f theif ChildrCn, t3king a leSS°n in “?*- ««» make ganist to add to the difficulties of perform¬ ducrion"Sll°: hZ" term, and no de- met.c or geography once every two or three one chord to the other promptly without other. A player with heart and brain in ance by playing from mere pianoforte chon be made for missed lessons. weeks, but they often fail to see why it is having to grope around fori the fingering Ingram's full working order, and who can rise Don’t Stand In Your Own Light scores, which necessitate his “arranging” and buy cheap publications when for the sa above technique, will get more expression as well as executing the piece before him. less money you can get the latest novelties si,- .- TEACHERS should cooperate lhat a teacher CanT ™ke a finished artist while making the change, he will be ready out of a broomstick than another—who best American and Foreign Music and Teaching . ' out of a music pupil who comes at the same to play the passages in arpeggi form. At Music of the simplest character, yet Material. Write us for catalog and prices or let u- n tlle case of the private teacher, how- infrequent intervals. A very large amount first the notes forming the arpeggi should has developed his fingers but allowed his properly arranged for the player, can . r’ U,nla,r as !t is’ people seem to reason of the money spent for music lessons in be played not faster than as quarter r oouvirawc imagination to- become atrophied—will readily be obtained, not only in the case MILWAUKEE CONSOLIDATED MUSIC CO. Face Powder 50c Successor to Rohlfing Sons Music Co. > a different manner. They are deal- America is wasted just through the ir- notes, Andante, and with a somewhat The ARTISTIC DUET PIANO squeeze out of any musical instrument of music originally written for the organ, Nsu & Schmidt Music Co. Milwaukee, Wit ng direct with the teacher, and if they regularity of instruction. Then music exaggerated accent on the first note of invented by man. BENCH AND MUSIC CABINET but also of those which have been adapted are made to pay for lessons which have patrons should remember that the teacher each group as in the following: The touch of organs now being as light to it. This should be sought by all those not been given they seem to feel they cannot fail to resent people engaging his as the lightest piano-touch, rapid passages who desire to make effective use of their ave been swindled. They are used to -time and failing to pay for it, although Souveraine, of InsraSca liuge.^o Zodent ™tooth Powder® Andante. can be played with ease, both legato and instrument in a legitimate manner. The janc°'T Folio of Classics d|sappointing their dentist, their doctor he may submit to it. A teacher cannot FREDERICK F. INGRAM COMPANY ’ staccato. Imperfect phrasing and faulty voluntary selected on any particular occa¬ _ For Orchestra and Mandolin Orchestra and lawyer without being charged for it, take much interest in the pupil who Windsor, Can. a Tenth St., Detroit, U-S A part-playing may often pass unnoticed on 4 sion will depend in a great measure upon 15 High Class Favorites—A Separate Book for and think their music teacher should continually missing lessons. He loses i the piano as tone dies away. On the 26 Different Instruments— I Ingrams Milkweed Cream the time and place where and when it is Violin, Comet, Flute, Mandolin, Etc. c°tne in the same class. terest in such a pupil. He forgets what organ such faults become very glaring. required. It is obvious that an appropri¬ Let a good pianist play a Bach Fugue on The custom in regard to paying for ‘he pupil is doing, and loses the con- _ ate piece for Easter Day would not be Walter Jacobs, 1 1 Boston, Mass. massed music lessons differs greatly in nection of the lessons. The teacher can j $l«0a?dn^8t8,inETCryJar* Price50c™6 an organ keyboard, and he may find that suitable to Ash Wednesday or Good Fri¬ his part-playing is not as perfect as he •different towns and with different teachers also favor the pupil who is regular and It is this lack of slow practice which day. The nature of the service should not ‘he same town. In some cities the punctual, and throw many extra priv- causes so many students to fail in learn- imagined it to be. be lost sight of and while not attempting The Combination Products Co.® People listening for the first time to ™stom of paying for missed lessons is ileges in his way, in addition to the actual ing the arpeggio. It requires.the greatest too much to point a moral or adorn a tale iMUSIC MATER ‘horoughly established and the teachers time which the pupil pays for, but it is strength of mind on the part of both MUSIC MATERIAL 426 Armour St., Chicago, Ill. really good organ playing are often the player should take care that his incom¬ For Kindergarten Tea FOR KINDERGARTEN TEACHERS astonished at its lightness and crispness, “ave little difficulty. In other cities it is pretty safe to say that he will not give teacher and pupil to get this slow practice ing and outgoing voluntaries are not at The Color Bird Scale; Color Note Seal arid the rhythmic swing of the music “M the custom and if one teacher tries these extras to the pupil who failed to done. Most pupils practice the arpeggio at variance with the sentiment of the serv¬ Color Scale; Music Staff Peg Board: Mi Children," ’by Mary E. Grie WRITE FOR BIO Fill AND WINTER CATALOGUE, generally. Where they were accustomed Folding Board, etc. Send for catalog. !° establish the rule in his own business show up because “Uncle John came to full speed, grinding out the notes Department T. SIEGEL COOPER A CO., CHICAGO. ice with which they are associated—Or¬ s of offer and complete Price List to regard the organ as a kind of clumsy gan Accompaniment. DANIEL BATCHELLOR & SO M. E. GRIEVES & CO: Please mention THE ETUDE when addressing Germantown, Philadelphia, ‘hat the most sensible plan would be for in order to go skating.” the passages do not sound right. The reason 4664-4666 our advertisers. Please mention I [E ETUDE when addressine : advertisers. s the etude 683 682 THE ETUDE totally deserted; only here and there WAGNER’S INCREDIBLE is that they are not playing the notes in could one see a drenched straggler bat¬ INDUSTRY. even succession at all. Tell the average tling his way homeward through the | gome Violin Questions pupil to practice such passages very slowly blinding snow storm. It was long past That Wagner was most of his life a and he will only slacken the speed in J the hour of beginning, and the poor man¬ Answered sick man is now generally known, and in slight degree, but at the same time im¬ THE DITSON EDITION ager peeped up and down the street every 5 this fact it becomes almost agine that he is doing slow Practlce. now and then to see whether there was miraculous that he should have accom- Everyone, teachers and pupils, admit that a sign of hope anywhere in sight. His [ K.—Either you have misunderstood pushed so much. His letters are full of slow practice is the best way to learn any “Absolutely the best of the so-called cheap editions.” prayers were answered by the howling accounts of work completed under the thing on the violin, but how very very greatest possible physical disabilities, wind. ■no German violin in existence o'f the date It might be called the “Triple A” Edition, little of it is done. I have often had to which, added to his ever-present financial “Meanwhile the meager audience inside f l->75. A leading authority says: “No .force pupils to practice an arpeggio pas¬ instrument of the violin pattern that can troubles, must have entailed a terrible because of became very impatient and called out “ fairly assigned to a date, earlier than the sage with the metronome, making a note amount of nervous exhaustion. Accord- loudly for the artist. The manager ..fiddle of the 16th century is In existence.” ACCURACY.A musical text without errors. at each tick of the metronome set at 6U. “ The firm you mention is one of the largest mg to Mr. John F. Runciman, however, rushed hack of the stage and implored 7' Ls in musical instruments In the world GonoVar Where the pupil has no metronome, he Wagner had his full share of artistic AUTHORITY.Edited by the most notable authorities. Ole Bull to begin his program, but on s thoroughly reputable. 3. In buying can be directed to make a note each time « violin for $50 or less from a violin dealer temperament—if that is the name for a learning that there was scarcely any audi¬ APPEARANCE.Convenient size, handsome appearance, the clock ticks. Evenness will come with “ w0uld probably get a more satisfactory capacity for rapid change of moods and ence outside Ole Bull refused to step out. instrument by buying a new one than a genu- this slow practice, and the speed can be n| old one at that price. A really good views. “We must not take Wagner’s pages not crowded and clear print. As a last attempt the frantic manager gradually increased. If pupils will only nld violin In a good state of preserva- plaints in his letters too seriously/* says came out and without much ceremony E is worth considerably more than $50, - THE EDITORS INCLUDE - do enough of this slow practice their one made by an obscure maker. Like this interesting writer, in his Richard success is assured. One of the most fre¬ took myself and a few more brave but eal estate, horses, or diamonds, one can Benda, Dr. L. Kroeger, E. R. occasionally purchase a violin or any other IVagner: Composer of Operas. “He (Pianos quent faults in playing such a passage as rather shabby lovers of music by the Bornschein, Franz C. Krogmann, C. W. article below price, but such opportunities was an over-worked, nervous man of the above is the omission of the first note arm, and. nolens volens, we were made a Busch, Carl Liebling, Emil ire rather scarce. 4. Neither I nor any one moods; like Mr. Micawber, he seems to of the second group (in this case the note part of the audience. llse could advise you in selecting a violin Clough-Leighter, H. Lucchesi, Riccardo L looking over the descriptions!, in a cata- have come home of an evening weeping Cutter, Benjamin Macdougall, Hamilton C. A). For this reason it is best to insist “I could hardly realize that they would iA« in order to give an opinion as to and declaring himself a ruined man, and de Roode, R. Mathews, W. S. B. on a considerable accent on this note. allow me to hear this great artist abso¬ th°e Quality of a violin, one must test the instrument thoroughly. 5. You have a mis¬ in a few hours gone to bed calculating Elson Louis C. Orth, John Having mastered the arpeggio in legato, lutely free, so I insisted that I hadn’t taken idea in regard to genuine old violins, Are Built Deliberately Farrar, Frederic Emerson Orth, L. E. the cost of throwing out bow windows the various forms of staccato, springing enough money to pay for my admission. made by the great masters. If you should to his house. NOWHERE IS THERE AN EVIDENCE OF HASTE Fox, Felix Pascal, Julian bow, etc., can be taken up. By giving ao to an art store in one of the large cities, Goetschius, Percy, Mus. Doc. Philipp, Isidor But I was soon assured that this was ‘a von would find hundreds of oil paintings Throughout his life his resilience of a little impulse with the wrist on the which you could buy at prices from $15 Gruenberg, Eugene Preyer, Carl A. treat on the manager.’ spirit was one of his most amazing first note of the arpeggio, the ?tick of the and upwards. You would also find other Johns, Clayton Prout, Ebenezer, Mus. Doc. oaintings by great artists for which you you would know bow can be easily put in vibration to characteristics; I have no doubt that in Joseffy, Rafael Reinecke, Carl A FREE CONCERT. would have to pay thousands of dollars. In the depths of despair he would write Kelley, John Craig Singer, Otto produce the staccato effect over the the same way you will find in the cata¬ how enduring is a “At last Ole Bull came out and in a logs of violin dealers many old violins to Liszt swearing that he only wanted Kotzschmar, Mary A. Tapper, Bertha Feiring strings, a well-known instance of which by obscure, unknown makers which are Tapper, Thomas is found in the Mendelssohn Violin Con- very ugly mood commenced to play his priced from $25 to $100. In the same solitude; and in an hour’s time he would 1 work of art, ask first program. The pocket edition of an audi¬ catalog you may find violins by Stradi- be thinking that it would be pleasant to The DITSON EDITION is an ideal edition of standard educational vatius, Guarnerius and other great makers this question-4‘How ence became very restless after listening which are listed at from $5,000 t~ $10,000. spend an hour with the Wesendoncks— works, chiefly technical, for the piano, organ, violin, The arpeggio should be practiced with a great variety of bowings, as given in for four or five minutes, and finally they These violins were made by th=! greatest and go. In the same way he longed long did it take to and other instruments, and for the voice. violin makers the world has ever produced, many of the standard violin studies. The insisted that they wanted ‘another piece!’ and they command prices accordingly. earnestly for death while spending all You are right in your belief that even his friends’ money on baths and cures , complete it?” And Complete list free on request following are good studies for the “Evidently they did not find the com¬ violin dealers occasionally make mistakes in arpeggio; Exercise 85 (first position, over position as interesting as its title. It buying imitation violins for genuine, but this and doctors, and seeing to it that Minna if you would know two and three rtrings) in Hermann’s was the Devil’s Trill, by Tartini. Ole might happen in any trade. There are, of provided the best of everything for his course, unscrupulous violin dealers, but rep¬ table. The pile of work remains to show Violin School, Vol. I; Etude No. 10 (in Bull battled with the angry elements for utable houses in the violin trade do their to what age living things attain, OLIVER DITSON COMPANY, Boston first position, over three and four strings, a minute or so, then with disgust struck best not to misrepresent the maker or the his life was ore of incredible industry. Quality of an instrument. They' list their Between the end of 1848 and the end learn first how many years it takes and with various bowings) in Kayser his bow against the piano and, scoffing violins at what they really believe them to CHAS. H. DITSON & CO., New York of 1854 he wrote at least a dozen long Studies Book 1, Op. 20; Exercise No. 80, at the audience, abruptly turned and left be worth, according to the maker, the state them to mature. of preservation, tone qualities, etc. Other pamphlets, and as many more that are in Hermann Etudes for the Violin, Edition the stage. Only after the longest per¬ things being equal, Italian violins command Peters No. 2031B; Kreutzer Etude 13 suasion could his manager convince him the highest price in the genuine old violin not so long; he wrote the words of the market, but a good German or French -violin Ring and composed and scored the Rhein- Man, maturing in twenty-one years or more, long (otrer three strings) ; also Kreutzer Etude that all would be well if only he played will command a higher price than a poor gold, and began the music of the oudives his best steed, which requires but six years No. 30; Fiorillo Caprice No. 23, also No. some compositions of less gray matter. Italian, unless the Italian violin was made by one of the great Italian makers and has a to mature. And the horse outlives the ox, which 36 (over three strings), which is given Ole Bull was not to be pacified, and 1 Valkyrie. Further, he revised the over¬ IMPORTANT WORKS ON MUSIC historic value aside from its tone quality. requires but four; while the ox, in turn, outlives the With fifteen different bowings. Many believe it was only his desire of reveng¬ Not all Italian violins, even those of the ture to Gluck’s Iphigenia in Aulis, and Published by CLAYTON F. SUMMY CO. greatest masters, have first rate tone qualities. sheep, which completes its growth in three years. other good studies could be cited, but ing himself on his unsophisticated audi¬ reconstructed his own Faust overture. 64 E. VAN BUREN STREET CHICAGO, ILL. 1 have seen genuine Strads, which had been there is no lack of material for arpeggio ence that brought him back. This time scraped and which were in a bad state of How on earth he managed his intermin¬ THE VERY FIRST LESSONS at the PIANO TEACHER’S LOOSE LEAF JOURNAL-LEDGER technic, since any series of chords for preservation, which were not fit for concert able correspondence is more that I can There are exceptions, but precious few, in the By Mrs. Crosby Adams. Price, 75c. he played Home, Sweet Home. It is use, and were far surpassed in tone by a good the violin can be made the basis of an needless to say that soon he held his l.npot or Stainer. A good Stradivarius vio- guess. When we bear in mind the calls piano business. The longer it takes a piano to arpeggio study, by playing the notes of audience spellbound under the sway of in first class preservation, 1'~" upon his time by his superintendence of reach its completed state, the longer that piano will the chords in arpeggio style. )e finest tone l yet made b.v opera and concerts, we cannot wonder pared the Preliminary Studies (25c), and Home Study his beautiful tone and magnetic person¬ ian. Very few dealers < wear—and what is more important, the richer, Hooks, Parts I and II (85o each). ality. One by one he played for them the r two genuine Strads n stock, amLwhrn that a man who did so much, and was deeper, and more permanent will be its qualities melodies of old, and after each number born a weakling, was never quite well and of tone. LITHUANIAN DANCES 50c A CONCERT THAT COST OLE specimens for their his listeners gave him a louder ovation incessantly complains of his nerves. Imitation leather (taioderm) - * .8 BULL A PRECIOUS DIAMOND. of cheers and applause. C. E.—Aug. Riechers, Berlin. Germany, Conover Pianos are a year in GRADED STUDIES “Ole BuT worked on their emotions Source, by Mrs. Orosby A WHEN MUSIC WENT TO THE the making, to say nothing of the three to BY HELEN WARE. craftily. He realized that, once his power five years required for the thorough seasoning of over them became absolute, they would DOGS. Money’s their woods. They are built from top to caster listen to the most classic of classics en¬ Music has always been going to the Worth “There have been hooks and books wjth made to order care, and under the direct raptured. And so it happened. Without violin, but the information might be obtained dogs. There has never been a time when written about the pioneers of all profes¬ YonrMoney supervision of J. Frank Conover, one of America’s any explanation whatever he commenced m some oT the following works, all of which some elderly person has not seen fit to sions and trades in America, but about »'e of great interest to the violin maker : Back” greatest tone specialists. the pioneers of musical art there has to play the very composition he was Fiddle Makin,/, Brondhouse : How to warn the rising generation that the fu¬ hissed for. He played through The M;e a Fiddle, Hand; Violin Making, Allen: been very little said in comparison to the u»in, MnH, f„ yake lt Buondhouse and ture outlook for music is hopeless. The WRITE TODAY FOR OUR ART CATALOG AND DETAILS Devil’s Trill from beginning to end, rising vast amount of material that would re¬ ™ I ; Holm Makers’ Guide, Davidson ; Violin following is an extract from a work pub¬ OF OUR MONTHLY OR QUARTERLY PAYMENT PLAN to such glorious heights in its spirited mini, Mayson. ward the collector of these fascinating lished about 1778 in London, entitled USED PIANOS ACCEPTED IN PART PAYMENT rendition that when he ended it his hand¬ „?• Jf- 0.—If your little daughter Is strong tales, so rich with pathos and humor.” Euterpe, or Remarks on the Use and ful of audience rushed to the stage and ™ Ms good health, ten years of age is Not long ago this fact was forced upon on tu • tl>0 earl? t° commence instruction Abuse of Music as a Part of Modern Edu¬ 'Me FjiMe Himifraruj The New School Year begged him to p'ay it once again (no De violin. As some children are much cation. Music in those days was regarded me recently when I played for an old •iRir at the same age than others, I can- mean encore). Ole Bull faced them, as a sort of sedative with which well- The World’s Greatest Manufacturers of Pianos and Inner Player-Piams To the Music Teacher: Canadian one evening not long ago. Fol¬ h»L ex?,ctl.v what size violin she should bowing and smiling good-naturedly over ror the beginning, hut she probably dined old gentlemen might be lulled to CHICAGO, ILLINOIS This is the time of the year when you do most of your shopping for the year; lowing our impromptu musicale, he asked WM’require either a hol( 01. three-quarters his triumph. sleep after a laborious day’s work in the you must buy not only for yourself but for your pupils. for permission to tell his tale, ar.d that ami i10,1 l183 hotter engage a go'od teacher, You need Methods, Studies and Recreations; also a large and diversified col¬ “Suddenly his smile vanished and his > could advise you In the choice of a hunting field, or at the pump-room. But he d.d in a simple, hearty manner. “ regards size, quality, etc. You can lection of different styles of music to suit the individual wants of your pupils. features reflected a great fright. Upon n for a there were signs of a change; Bach “While you were playing,” he said, "my Let us help you do your shopping. being asked the cause of this, he replied yarn,, n t a violin of too cheap little known, it is true, but he had already The Teacher who will ask for our Free Thematic Catalogue, and will allow us to thoughts wandered back to 1866, when that he had just discovered that the pre¬ your daughter to enjoy leceed. since the rough, sown the seeds of musical revolt; Handel “The present state of dissipation in the fashion establishes by its sanction. Under send a Selection of Music on Sale, will receive the benefit of our Thirty Years as a youngster I was just commencing cious diamond which had been set in the of Experience in publishing and ministering to the wants of Schools, Academies and • had stepped aside from writing trivial fashionable world, and the agitation of this state it is, that our Music has become to eke out a scant living independently, point of his bow was missing. All morp th Hiuacuve to a ennu au.v Teachers. This selection will be of great value in choosing the necessary studies, and Prohnhi, thp-v would to an dlder student. Italian operas to please the classes for the spirits ever attendant on crowded assem¬ totally changed. It is not sought now as in Toronto, Canada. That winter Ole helped to look for the gem, but after a outfit which you could get for pieces needed at this time of the year; and they should be tuneful as well as useful, purpose of writing profoundly serious blies, and the pleasurable pursuits, elevate a repose, for the mind after its fatigues in order to hold the attention of the pupil and secure the proper progression. Bull came to town to give a concert. I lengthy search we gave up in vain. The, »ou answer for the beginning, and to tnt.Af h’Tnnge with the music dealer works to please the masses; and in a few the mind of Taste above the standard of but to support its Tumults, not to impress We include in our selections not only the best of our own, but also the best of saved my pennies long before he came, diamond was lost, not to be found. At • full '.tnlin back in part payment on years Beethoven was to knock at the door sober Thought. Every thing is sought the Delights of calm reason, or to prevail other publications. Your orders for any publications of all publishers, are filled but with all my stinting I could not least, not by Ole Bull.” That was the promptly on the day received. 4trvlolin ,ater on’when she was of Fate with his wonderful, terrible which can assist the temporary Phrenzy, us to listen to the charmer; but she must scrape together the price of the admission price he paid for the victory he won while and nothing deemed worth our knowing, Write today for our free Catalogue, Liberal Discounts, Terms and Conditions. e difficult of the studies symphonies. Evidently the author of leave the purty of her own Nature, and fee. The night of his concert a terrible fighting for the recognition of Tartinis S&A name art I.I ■ Euterpe felt the signs and portents of hut how to forget ourselves. Tibs un¬ wonderful composition. wAL'y?u P'a.V these compositions really by divesting herself of Simplicity, force blizzard blew up. I lounged about the daily Dra,*,tw° years' study with an hour's coming evil. He had probably been ac¬ happy situation renders the generality of us to admire, not feel, and yield to aston¬ The Joseph Krolage Music Co. .. had seen the sparkling glitter of entrance of the concert hall, waiting for loss' fnii„ l
trying to serenade her; but the cobbler New Hand-Book of opening their new session. Unfor¬ tunately, the ordering of their music who has been impolite enough to “st“ ° Catalogs , , supplies is oftentimes left to the last all that has been going on outside h« ELEMENTS During the past six months we have nljnute and we have literally tens of shop door, interrupts Beckmesser by been preparing a singing himself. Magdalene steps out on Publisher’s Notes have called them Hand-BooksH-fRCatl7° gbecauseh' WC thousands of opening orders sent to i Department for Children the balcony, and Beckmesser mistaking OF MUSIC they are more than catalogs. They—-■ tms time oi tne year is-perfect, vve ; her for Eva, sings louder and louder, A Department of Information Regarding New , lUalLC°UrfS iStU<1CS- Tley ™?ke ready for the rush, but some better s Sachs all the time beating the measure on suggestions for particular needs., They. - vii-ii «,
Our ConfidenceFINAL in our latest publicationsINTRODUCTORY assures us that if „„„ OFFERS ON NEW PUBLICATIONS your enthusiasm will lead to many more desirable sales CY, Y purfhase any CONDITIONS: Order by Offer Number. Cash to accompany all orders. Postage customers this last chance to secure oneof“I. IrP’f1?1'? we give our additional when charged to regular account At the following prices these works are the cost of manufacture. One copy only at these prices a^tntwork' at. iust about not returnable. Final Introductory Prices are good only for September, 1914. to those “who know a good thing.”thing.’” Number?1 32to74^ _P°stpaid,’ at Don’t overlook the bonus of your choice of one of four books given with every sale publishedfuiKlisnpn Andand immediAtpivimmediately deliverable.rlplnmi-okio ■ refer to works already of $2.00, made from offers 1 to 74 inclusive . Send orders only to Theo. Presser Co., 1712 Chestnut St., Philadelphia, Pa. No.Mo. 32—Worship32—W in Song.- Anthems Introductory c„h Arr3n§6(l from Known Son^s No. 39^—The Progressing Piano ■"troJuctory Cash Player. Louis G. Heinze m MS&m
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ARTISTS AND TEACHERS OWpAKER^ CHICAGO BECKER 7"vv-^""r CHICAGO DnrcRTW11^ N' CHICAGO US "rf '1 psssiai. s combs IQMMftriaWg CRANE .-- MOULTON *r,“;i^r"a:£TiI DETROIT TSHSars^ NICHOLS »r.!afa~-' “Six*™, DINA’S “tlS:..... PETERS ILEA HAWTHORNE^au PORTER “Ssi-S-ar- KNOX °~zzmsks.._- MARKS' -TEagaarv-. MINNEAPOLIS, S»Si5Z TRACT c.ri.^it'iuirN.'. v’ir'CN. v NEW HAVEN THEORY AND NORMAL rurrowes aaeR-. NEW YORK "SSg-Sv.H. COURTRIGHT (SSSS NEW YORK rggS-igC FLETCHER^ZsaSSL NEW YORK E^SSafir KEBIIBSSBBtSSBS normal 0""a’---;i,.:rr,r.: INSTRUCTION BY MAIL OREGON sSSt;““£SS BORST -w, -PEABODY rBS«sa^ «*,» orth: S. C. I. fSS;!?5ja"fca‘;L SCHOOLS AND COLLEGES VIRGIL *&iis*ia.".‘.ggisrTM BARTEL 5=sejss-i.s;r... VIRGIL rsjSg^ CHICAGO-Hss““‘H~‘.”‘ VONENDE ‘TOSSSSb*
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Granberry Piano School NEW YORK SCHOOL OF MUSIC AND ARTS SUMMER INSTRUCTION HANS JEANNE MARIE Teachers’ Training Courses VAN DEN BURG MATTOON 56-58 West 97th Street, New York City lion (£ni>e Stjhool For nine years pupil and FAELTEN SYSTEM. BOOKLET The eminent Dutch piani teacher under Theodore RALFE LEECH STERNER .... Director _ CARNEGIE HALL - - NEW YORK T„. connected buddings delightfully situated between Central Park and the Hud.on Ri'ver — College of Fine Arts — of Jflusic ALBERT ROSS Syracuse University PARSONS Merwegb von Enfce, Director All Branches of Music and the Arts taught New York’s Modern Up-To-Date Music 5TUDENTS of Singing, Piano and Violin will find the Courses of Study arranged from the beginning to the highest artistic for this Fall exceptionally thorough and complete, establishing an unusually high, finish by a faculty composed of School with standard of musical excellence, as the following condensed schedules indicate. ADRIENNE REMENYI Dormitories in School Buildings and PIANO SINGING VIOLIN Se'befcanto voke^tu™ Americas Most Eminent Teachers Proper Chaperonage Your Music Is Torn! Chamber Music — Sonatas, Opera Class. Chorus. Stage Chamber Music—S o n a t a s , TERMS, including Tuition, Board, Practicing, etc., on application It will Take One Minute to Trios, Quartets, Quintets. Training. Trios, Quartets, Quintets, Repair it by Using Literary—Musical—Art Lec- Church Services. Protestant, Orchestra. SEND FOR BOOKLET Multum-in-Parvo Binding Tape Literary—Musical—Art Lec¬ Catholic, Hebrew. Oratorio. roll of paper, 2o cents earh, postpaid. Theory, Rhythm, Solfeggio, tures. English —■ French — German For the winter of 1914 a great series of free classes and lectures have been arranged, and Transparent Adhesive Mending Tissue Ear Training. Theory, Rhythm, Solfeggio, Diction, Style, Interpreta¬ LOUIS STILLMAN there will be something of special interest every day. Each lecturer will be a specialist in his HaVmony, Musical Form, tion, Repertoire. Ear Training. If your music dealer does not carry it, send to ALFRED ILMA or her line, and this will be one* of the greatest opportunities ever offered to music students. Harmonic Analysis, Count¬ Literary—Musical—Art Lec¬ Harmony, Musical Form, The concerts in Carnegie Hall, Waldorf-Astoria, Cooper Union and the Wanamaker Auditorium Theo. Presser Co., Philadelphia, Pa. erpoint, Canon & Fugue, tures. Analysis, Counterpoint, will be continued at regular intervals. Composition and Orchestra¬ Theory, Ear Training, Canon & Fugue, Compo¬ SIGISMOND Philadelphia, Pa. PAUL KEFER tion, Score Reading and Rhythm, Solfeggio. sition, Orchestration, Score STOJOWSKI Internationally emi Conducting. Harmony, Musical Form. Reading and Conducting. Pedagogy, Practical Teaching Pedagogy, Practical Teaching Pedagogy, Practical Teaching ALBERT ROSS PARSONS OF THE CITY OF HENRI LA BONTE Experience. Experience. Experience. STUDENTS QUALIFIED AS CONCERT PIANISTS AND TEACHERS NEW YORK RECENT NOTICES OF MR. PARSONS’ PUPILS: Institute of Musical Art Frank Damrosch. Director ‘The program was given by eight unusually gifted pupils who owe their splendid training to AN ENDOWED SCHOOL OF MUSIC PRESCRIBED COURSES FOR ARTISTS AND TEACHERS Parsons.”—(Musical Leader). “The playing of these by these pupils of Bach preludes and fugues and Students may enroll for the ELECTIVE COURSES IN ALL SUBJECTS at any time. modern pieces was unusual, brilliant and musically warm.” “M. Redderman played the Revolutionary ENTRANCE EXAMINATIONS SEPTEMBER 28th to OCTOBER 8th PlmnlnChopi- nrlth- a Mot.- hrllllnnt 1> T?-.’__ l.: _ Jr;_• T...L-_• / DORMITORY FOR YOUNG LADIES. CHAPERONAGE. SOCIAL FEATURES. ANTON WITEK Etude. M. Kotlarsky SESSION OPENS OCTOBER 12th Violin instructor and O ‘Aida Dol insky’s Bach gue in C sharp major was esp< Clarinet, Oboe, Bassoon, Trombone, Flute, French Horn, Trumpet, Harp and other certmaster of the Bost —(N.Y Musical Courier). The opportunities of the Institute are intended only for students of natural ability Orchestral Instruments taught by soloist members of the N. Y. Philharmonic Orchestra Symphony Orchestra. with an earnest purpose to do serious work, and no others will be accepted. For catalogue FALL TERM OPENS SEPTEMBER 14™ and full information address SECRETARY, 120 Claremont Avenue, New York. VITA WITEK For Schedules, Catalogue or Dormitory Reservation Address Secretary, Dept. A. 44 WEST 85th STREET, NEW YORK CITY The National THE NEW VIRGIL Conservatory of Music MUSIC EDUCATION of America CALVIN B. CADY PRACTICE CLAVIER Lecturer in Music Teachers College, Institute of Musical Art rtered in 1891 by Columbia University, N. Y. THE VIRGIL Special Act of Congress. Far superior in its latest construction to any UTICA other instrument for teaching and practice. PRIVATE AND CLASS WORK IN PIANO, of the City of New York HARMONY, ETC., RESUMED PIANO SCHOOL CO., NEW YORK, SEPTEMBER 23rd 120 Claremont Avenue CONSERVATORY VIRGIL SCHOOL OF MUSIC BOSTON (Saturdays) SEPTEMBER 26th FRANK DAMROSCH - - Director 42 WEST 76th ST., NEW YORK catalogue and prospectus address: Dales of Examination and Enrollment NORMAL CLASSES Manufacturers of OF MUSIC NEW YORK, OCTOBER 7th September 21st to September 30th, inclusive. 1205 Cameron Bldg., 34th St. and Madison Ave. BOSTON, OCTOBER 10th SPECIAL COURSE FOR The “ Tek ” UTICA, N. Y. Ole Thirtieth Scholastic Year Opens October lsf. =NEWYORK= Address and Studio The Bergman Clavier IRGIL SUPERVISORS OF MUSIC Tor farther information address the Secretary, r Barbarossa Strasse, 30 Berlii NEW YORK - - 15 CLAREMONT AVE. The Bergman 2 and 4 Octave A complete^ European Conservatory in 26 West 79th St., New York. BOSTON - - - 6 NEWBURY STREET IN PUBLIC SCHOOLS instruments for travelers pedagogues of international f
SOUTHERN Conservatories—Schools —Teachers Conservatories—Schools —T eachers Normal Conservator? CLARA BAUR, Fou AMERICAN CONSERVATORY Faculty of International Reputation /Jk - Brenau College Chicago’s Foremost School of Music and Dramatic Art Alt Departments Open Throughout NewEngland CONSERVATORY Elocution—MUSIC—Languages GAINESVILLE, GA. Offers courses in Piano, Voice, Violin, Public School Music, Dramatic Art, etc. Also Special Summer Course in Summer Session, June 30th. 75 eminent artists. Superior NormalTraining School supplies teachers for qol- PUBLIC SCHOOL MUSIC leges. Desirable Dormitory Accommodations. Diplomas and Degrees. 29 An- Location and surroundings ideal for Summer study m>nseryatorV Fall Session, September 15th nualSession beginsSept. 10,1914. FurCatalog and general information address GeorgeW. Chadwick, Special Courses for Music Teachers and Year Opens advanced students. Location, foothills JOHN J. HATTSTAEDT, Pres. - 671 Kimball Hall, CHICAGO, ILL. MISS BERTHA BAUR. Directress, Highland Avenue and Oak St, Cincinnati, 0. OF MUSIC--* Jept. 17th, 1914 Blue Ridge Mountains, delightful climate T, BOSTON, mass. summer and winter. Many attractions. Beautiful illustrated catalogue on request. len“rsest and Best pipped School of Music Cosmopolitan School of Music THE COLUMBIA SCHOOL OF MUSIC NORTHWESTERN ADDRESS CLARE OSBORNE REED, Director BRENAU, Box 97, Gainesville, Ga. and Dramatic Art Piano—Voice—Violin—Theory—Public School Music Complet, , Special Training Department for Teacher. Public School Class Limited Account of Practice School UNIVERSITY Mrs. W. S. Bracken, President 1 FOURTEENTH SEASON OPENS SEPTEMBER 7th Sixty Teachers. Ideal Equipment. Dormitory Facilities. For Catalog and Programs, Addr Evanston - Chicago CHARLES VEON, Pianist. Assisted by eminent faculty of SO artists. MANAGER, OHIO BUILDING, 509 S. Wabash Avenue, Chicago ,n?p78t® 0^^hestra^Fe^JdyaS™.!!!*L^^;or.e *nV.a^uakJ®^a<^vaiRa8e3°to th^musi^atAuSent?1*^ Southern University of Music, Inc. Offers to prospective students courses of The University School of Music offers courses STEREOPTICON LECTURE RECITALS mblic appearances with orchestral accompaniment ^ piano* organ and vio,in experience in rehearsals. GERARD-THIERS, KURT MUELLER, Directors in Piano, Organ, Violin, Voice and Theory of 3S3 Peachtree Street, ATLANTA, GEORGIA study based upon the best modern educa¬ Music leading to academic degrees. Also courses “MOZART AND HIS MUSIC” Iaar8hiDsePartment- Practical training in aedng. tional principles. Diplomas and degrees in Public School Music, and Piano and Voice ■ are >ps. A limited number of scholarships in Composition (Director’s Class) available 1914. conferred. Many free advantages. Pedagogy. Literary studies in the College of Beethoven Conservatory £ Liberal Arts or Evanston Academy included with- Address, RALPHL. FLANDERS, Manege,. Fall Season begins September 14. out extra cost. Thorough Preparatory School Statfstlesij Affli'lHtcd TMaKm ! '. 1 1,1 Jo Registration Week, September 7. maintained. Refined social environment and we of State Normal School, California, Pa. For particulars address Secretary, Box beautiful situation on the wooded shores of Lake Michigan. 44 Auditorium Bldg., Chicago, Ill. The professional String Quartet, the student Symphony Orchestra of sixty, the A Cappelia MR. AND MRS. CROSBY ADAMS BURROWES COURSE °STUDYIC Choir, the Evanston Murical Club, and the great Hugh A. Clarke. Pqc. ECKWER’SmJSaS., WILL CONDUCT FOREST PARK' Kindergarten and Primary—Correspondence or Personal Instruction LESSONS BY MAIL RICHARD ZECKWER, Director 1617 SPRUCE STREET A MID-WINTER CLASS Stockhoff, Piano. Nords Happy Pupils—Satisfied Parents—Prosperous Teachers. Classes are doubled by use of this method In Harmony, Counterpoint CAMILLE W. ZECKWER 6029 Main St. : Germantown IN THEIR HOME STUDIO IN MONTREAT, N. C. Itca^rS; KATHARINE BURROWES and Composition z Assistant Director 446 S.52d St. : West Phila. ANNA S. CAIRNS,“lIUNIVERSiTY 4618 CHESTER AVE., PHILADELPHIA, PA. Opens 46th Season Sept. 10th, 1914 Permanent Address: Montreat, North Carolina Its course m Pedagogy is unexcelled; the graduate teachers being trained in a most scientific, progressive and thorough curriculum. EDITH LYNWOOD WINN Ruskin School of Music THE MARY WOOD CHASE SCHOOL OF MUSICAL ARTS It can now accommodate 2,000 pupils. Some idea of the important RAY G. EDWARDS, Director WESTERN CONSERVATORY MARY WOOD CHASE, DIRECTOR—Author of “Natural Laws in Piano Technic.” SCHOOL OF MUSIC ™SffiSS*T- part it has played in the musical education of Philadelphia can be . Orches- Eighth Season Opens September 14, 1914 Miss Winn returns from Europe Sept. 1 and gleaned from the fact that more than 29,500 pupils havibeen enrolled. al and Ensemble Work. Harmony ians as one of the foremost American Schools for training professional students. 1 will teach the Ostrovsky System of Hand De- PRIVATE LESSONS LECTURES CLASS EXERCISES RECITALS All branches of music taught. Theory of music a specialty > in Violin, Special Normal Course Desirable Boarding Facilities efoIZg Certificates, Diplomas and Musical Degrees conferred by State authority Among our eminent faculty are, Richard Zeckwer, Camille W. Send for View Book and Catalogue E. H. SCOTT, Pres., Mailers Building, CHICAGO y, E. H. LOGAN, Fine Arts JuiSding^ Zeckwer, Wassili Leps, Charles E. Knauss, Clarence Bawden, RUSKIN, FLORIDA Joseph Clarke Walter Golz, H. S. Kirkland, Paul Meyer, Bertrand Austin and lady teachers. Open September 1st, for registration of pupils. :: Send for prospectus. Eastern Conservatory of Music Centralizing DETROIT CONSERVATORY OF MUSIC GUIDO FERRARI J. R. ZECKWER, Business Manager FRANCIS L. YORK, M.A., President FINEST CONSERVATORY IN THE WEST 42nd Year EFFA ELLIS VOICE CULTURE SPECIALIST School of Fall Term Begins Offers courses in Piano, Voice, Violin, Organ, Teaching System »» , o , , , ... , Theory, etc. Academic Dept. Students (3 FIFTEENTH SUCCESSFUL SEASON Monday, Sept. 14, 1914 may enter at any time. Send for Catalog. Music KEYBOARD. HARMONY FULL PARTICULARS ON REQUEST SCHOOL OF MUSIC coSSt JAMES H. BELL 1013 Woodward Avenue DETROIT, MICHIGAN r n A V TOM \7 A _ Gertrude Radle-Paradis and MELODY BUILDING 1714 Chestnut St., Philadelphia, Pa. DAYTON, VA. DR. H. U. ROOP. Pree. Manna Offers a broad variety of musical courses, includ¬ Effa Ellis Perfield be pleased to give a to any Mother, Mu- ing Pianoforte, Violin, and other stringed in¬ VOCATIONAL EDUCATION isrissriss Teacher interested struments. Band and Orchestra, with weekly, Piano, Voice, Violin, Dramatic Art, Har¬ Valparaiso University harmony" and cerli Shepard School of Music, Orange, N. J. concerts, Pipe Organ, Piano Tuning, Voice J. ALBERT ALLEN, Jr. mony, Public School Music, Theory and k Culture, Elocution and Physical Culture, The University School of Music offers courses in Piano,Voice,Violin, Organ, Theory and Public School Music Business Training. Fall term opens Sep¬ Students may attend the Music School and also take the regular work at the University. Names of auth, Arts and Crafts. Rates: 3200 to 3275 per Pianist—Instructor THE EXPENSES ARE THE LOWEST tember 1. For catalog address: Tuition, 220.00 per quarter of twelve weeks. Board with Furnished Room, S1.80 to S3.00 per week year. No Extras. 39th year begins Sept. 16th. Steinert Building, Providence, R. I. Sec., Box 8, 20 E. Jackson Blvd. Catalog will be mailed free. Address Henry B. Brown, President, or Oliver P. Kinsey, Vice Preside!,* EFFA ELLISELL PERFIELD Students from 20 states. Address Box 110. TEACHINC SEASON OPENS 42ND YEAR WILL OPEN SEPTEMBER IS, 1914. CHICAGO, ILL. MeClurg Bldg.,211Bldg.,218 So. Wabash, Chkag r-wugsaa exe SEPTEMBER THE NINTH 9 of leading art Address, P. O. Box 61, Providence, R. I. ed to pupils’ dc IK EXCEPTIONAL FACILITIES, COMPLETE ORGANIZATION AND COMPREHENSIVE COURSES Jl MASTERING THE SCALES & ARPEGGIOS All-round Child Culture gives HEALTH, physical and mental. By James Francis Cooke Price $1 25 „ MINNEAPOLIS SCHOOL OF MUSIC A COMPLETE DAILY PRACTICE MANUAL. BRANDON INSTITUTE st., s. ORATORY AND DRAMATIC ART Everything fully written out with abundant explanations. May be used with any MUSIC LITERATURE ART E BECO«fXTZEI> LEADING IN8TITTTION OF TITE NORT1IWF.ST w. rrTTwaii a v SEPTEMBER 1 THE HUGHEY COLOR-MUSIC SYSTEM The Musical Leader system. Contains scores of original ideas. Strongly endorsed by Moritz Rosenthal FALL TERM enables the child to save from two to three years in public school. Published Weekly, $2.50 a Year Wilhelm Bachaus, Ossip Gabrilowitsch, Emil Liebling, Katharine Goodson and hundreds ofac°A O.(an^ftTA^WDRy’H0ascene^y’s;'nitl^I^^!^l, Address F. E. HUGHEY, care F. M. Ford, 1400 E. 57 St., CHICAGO, ILL. of teachers who have made it a regular part of their teaching plan. Ail grades in one book. water unsurpassed. Exrwiinnt.ccommodations. SeI£ Puts practical American efficiency and European conservatory thoroughness in your work! Rates $225 to *350 :l. Address THEO. PRESSER COMPANY - PHILADELPHIA, PA. land Western St, Bnnlc, Virginia | Music typography tn all its Branches MRS. STACEY WILLIAMS ,n “"junction ■ h ETUDE, advantage ESTABLISHED 1857 Voice Production: Repertoire HYMN AND TUNE BOOK PLATES ' . CLUB OFFER:’ In Europe June 15th to Sept. 15th. BEGINNER’S BOOK Pianoforte mrwader’ regular price / dub Price Atlanta Conservatory of Music Studio Re-opens October 1st By THEODORE PRESSER Price 75 Cents Dudley T. Limerick CONSERVATORY The foremost school of fine arts Attention will be given to all letters addressed to $2.50 in the South. Advantages equal HE latest work along lines of elementary instruction. The material used -60SPEL SONG PLATES— W’3U for year. \ FOR BOTH PEABODY BALTIMORE, MD. to those anywhere. T HAROLD RANDOLPH, Director is entirely fresh and is presented in an attractive manner. It is intended S. Kicks Street, pbtUdelp! Fall Term begins September 7th. for the veriest beginner; little tots just out of kindergarten. A very large note is used in the early part of the book. Questions and answers are given to Its endowment enables it to offer exceptional advantages in music culture in all grades and branches Send for Catalogue. ATLANTA, GA. clinch every subject. Writing exercises are introduced at the very start. Hahn Music School The utmost care has been given to every part of the work to make it as nearly a Lyceum Arts Conserval perfect Beginner’s Book as it is possible to make. A trial of this new book is earnestly solicited by all who have to deal with elementary piano instruction Dir. Frank A. Morg , ZABEL BROTHERS COURTRIGHT SYSTEM OF MUSICAL KINDERGARTEN Liberal discounts. The oldest, practical and most scientific method of instructing children in music ever placed before the musical world. Teaches PIANO from the «t 1 3919-8 Junius Street, f MUSIC PRINTERS Mb ENGRAVERS THEO. PRESSER CO., 1712-14 Chestnut St., Philadelphia, Pa. SIGHT READING, TRANSPOSING, RHYTHM and EAR TRAINING! Teachers all over the world are taking this course and are making a erpat « t • Please mention THE ETUDE when addressing our advertisers. AVeMSSSTS: “ "d S*ThILaDELPHU. PA i THE ETUDE when addressing o 696 THE ETUDE
New Edition Proves Success Dana’s Musical Institute THE UNIVERSITY MUSICAL ENCYCLOPEDIA AGAIN WARREN, OHIO HEARTILY PRAISED BY MUSICLOVERS EVERYWHERE PORTY-SIXTH year. All instru- YOU who are in any way musically interested will mentsand voice taught. Lessons be glad to learn that the New Edition of the and Fine dormitories University Musical Encyclopedia is completely daily private. ready, and full sets are being shipped for inspection. for pupils. Buildings for practice The appearance of the University Musical En¬ (new). Pure water, beautiful city and cyclopedia gave to America the first satisfactory compendium of the kind. It was an event of no small healthy. Not a death in forty-six importance to the music loving public. The first edi¬ years. Superior faculty. Every state tions were quickly subscribed, because of the general and country in North America patro¬ appeal of the work. The University Musical Encyclopedia is a nizes the school. Fine recital hall necessity to the teacher—whether a novice or of long with an orchestral concert and soloists experience (its appearance in studios gives confidence to pupils); to the student—whether elementary or every Wednesday night. Incorpor¬ advanced. The general reader finds it a mine of de¬ ated and confers through state author¬ light and instruction. A great company of experts and specialists contributed essential and entertaining ity the degrees of Associate, Fellow, articles of inestimable and enduring value. Master and Doctor. The greatly reduced engraving gives some idea of the outward appearance of the volumes in the half ENSEMBLE CLASSES DAILY leather binding. The actual size of the volumes is Chorus 10 A. M. Military Band 1 P. M. 5-g- x 8J inches. Orchestra 5 P. M. in Dana Hall THE UNIVERSITY MUSICAL PUPILS MAY ENTER AT ANY TIME ENCYCLOPEDIA Send for 64-page catalogue, blue book, and historical sketch to WM. H. DANA, R.A.M., President contains a bulk of knowledge that saves you looking in many scores of widely scattered and often rare volumes. Teachers use it, and urge their pupils to consult it. Professionals Fall Term begins Monday, September 14th, 1914 declare the University Musical Encyclopedia is instrumental in their successes. 10 Volumes-4000 Pages-100 Full-page Illustrations Not an encyclopedia in the old-time formal style, but a big, live, human set of books. The half-tone engravings will suggest to you the outward appearance of the volumes in the half-leather style of binding. Some Contributors Annie W. Patterson Richard Hoffman Mark Hambourg Xaver Scharwenka John Philip Sousa W. Garret Horder The Underwood Typewriter Kathleen Schlesinger Nellie Melba William S. Rockstro William H. Sherwood Arthur Elson R. Farquharson Sharp Theodor Leschetizky Lillian Nordica R. A. Streatfeild Constantin von Sternberg Edward M. Bowman Blanche Marchesi G. Delle Sedie James F. Cooke K. Markham Lee Shortens The Day by Rev. David R. Breed Horatio W. Parker Charles Annesley Louis R. Dressier Rafael Joseffy Bernardus Boekelman Hubert P. Main Reginald de Koven Comtesse de BrfSmont Sebastian B. Mills Henry T. Finck Frederick J. Crowest Lessening the Work Anton Seidl Henry E. Krehbiel S. J. Adair Fitz-Gerald William Shakespeare Rev. John F. Rowbotham Benjamin J. Lang Fanny Morris Smith Mathilde Marchesi Lilli Lehmann Gustav Kobbe Sir C. Hubert H. Parry William Mason International Records for Helen Kendrick Johnson J. C. Grieve Victor Maurel Valuable Book Free Speed is, of course, impossible for us to explain in this limited space the character and scope of the University Musical Encyclopedia. To any reader or friend of this periodical who will fill out and send in the attached coupon, we shall Accuracy \ be glad to furnish full details in a direct personal letter. This letter will also explain prices and terms. ’ In order properly to direct the attention of lovers of music to this unusual publishing event, we have had prepared some Stability literature on the subject that you will be glad to receive. We shall also take pleasure in mailing to you under Kindly send me by \ separate cover a copy of our “Musiclover’s Handbook,” which is entirely independent of the University Prove mail details in regard to V Musical Encyclopedia, and which gives in 194 pages a pronouncing dictionary of musical terms This the University Musical X will make an exceedingly convenient and attractive pocket' reference book for all interested in music In this Encyclopedia, with prii \ writing, kindly use the coupon and fill it out carefully, so that there may be no mistake. All are held by the and terms; also, in accordance with your agreement, a copy.of the “ Musiclover’s Handbook,” without any eharge to me whatsoever. THE UNIVERSITY SOCIETY 44-60 E. 23d STREET - - NEW YORK CITY UN DERWOOD “The Machine You Will Eventually Buy” Occupation \ Please THE ETUDE when addressing our advertisers.
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