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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
11-1-1910 Volume 28, Number 11 (November 1910) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 28, Number 11 (November 1910)." , (1910). https://digitalcommons.gardner-webb.edu/etude/564
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November modern piano THE ETIDE technics New Publications Works' Needed By Every Student COMPLETE SCHOOL OF TECHNIC TO OUR READERS EDITOR’S CHAT For the Pianoforte Tone Stories Story Time and Play Time ISIDOR PHILIPP MONEY FOR CHRISTMAS. Left Hand Recreation 12 Juvenile Pieces for the Pianoforte Price, SI 50 You are Cordially Invited to come For Boys and Girl, to Play and Sing An easy way to cam money for the Christ- By NEWTON SWIFT In this new and latest work Mr. 5 holidays is to get friends and acquaint¬ to The Etude’s Musical Banquet. Album Word, by Olive Hall Muaic by Darnel Rowe Philipp has given the t< A MONTHLY JOURNAL FOR THE MUSICIAN, THE Price, 75 Cent* . e benefit of his v»t ances interested in The Etdue. Induce them FOR THE PIANOFORTE MUSIC STUDENT, AND ALL MUSIC LOVERS. Price, SO Cent, Lew volume of teaching pieces by a successful enee, as a teacher and player, 1 to , subscribe. We pay liberal cash commis- Price, 50 Cents ican composer. These pieces are full of life, it is far in aidvanc-^ a auviliiue Edited by JAMES FRANCIS COOKE Not a banquet with mere mundane victuals, ft hand and originality. They are in descriptive vein, attempted or published. . sions on every subscription you secure. The. ibserlptlon Price, §1.50 per year in United States AUbka, Cuba, Porto Riro, it is a complete school, cuvecuijvering the more subscriptions sent us, the larger the but a feast of the best ideas and brightest respectively tl rie" fhe melody in characteristic ve entire field of technic and every iwm or some other of passage used m modern .piano play commission becomes. thoughts in music. Our editorial larders are accompanying Donkey Cart.” “The Drummer Boy.” Although easy ‘ng, with many entirely original exer- bursting with the most wholesome and entic¬ played by the Sr™*The Taes for the development oi .strength, Two subscriptions remit $1.35 for each Liberal premiums and cash deductions are allowed for nu'teristic type. eragare"brigt ljb, uca-.uUlt™6 and the Three “ “ 1.2; obtaining subscriptions. ing articles ever written for a musical jour¬ Bach, Mendels- 1 01 velocity, etc. Five REMITTANCES should be made by post-offlee or express nal. The tables are being spread, and you and A special luaiuielealure orof I •••«»■ ... money orders, bank check or draft, or registered rhythmic treatment of all the vanous 1.15 letter. United States postage stamps are always all of your musical friends should know of the Ten received for cash. Money sent In letters is dan¬ sumptuous repast which all subscribers to Musical Games and Stories of Standard gerous, and we are not responsible for Its safe SgjxfcstfSKSfcas Fifteen “ “ i.oj arrival. The Etude for 1911 will have. We hjve Twenty “ " i.ot DISCONTINUANCE.—If you join Teaching Pieces cpllel notice 1 searched the world for its choicest and most Or, if you prefer to earn the presents them¬ withii tntlis after inviting musical articles You are invited to selves instead of the money, send for our lib¬ subscription expires. Explicit directions iv111 lie sent nt the time of expiration. come to the board and join in the feast. It eral premium offer, and illustrated premium list RENEWAL.—No receipt is sent for renevvnls. ■will begin with the special Christmas issue next of useful and ornamental articles—Cut Glass, On tlie wrapper of tlic next Is.sne sent yon will be printed tlie date on which yonr month. Colonial Ware, Furniture, Silverware, China, subscription is pnicl np, which serves as a Here are just a few of the best things which Leather Goods, Fountain Pens, Jewelry and receipt for your subscription. MANUSCRIPTS.—All manuscripts Intended for publica¬ will be served to our readers soon: everything musical. tion should he addressed to THE ETUDE, 1712 SEND ONE SUBSCRIPTION (not your Chestnut Street, and should be written on one side ALFRED GRTTNJFELD, one of the very greatest of the sheet only. Contributions on topics con¬ of ■ European pianists and teachers—“the Lion of own) with the full subscription price of $1.50 nected with music-teaching and music-study are Vienna”—sends his best technical ideas to The Etude TOUCH AND TECHNIC and we will send you your choice of one solicited. Those that are not available will be re- readers. from the following list: ADVERTISING RATES will be sent on application. KATHERINE GOODSON, the distinguished Eng¬ Mathews’ Standard Graded Course (any -two Forms close on 10th of each month for the suc¬ lish pianist has written a fine article telling some ceeding month's issue. exceedingly interesting things about music study In Studies in Florid Song •grades). THEODORE PRESSER CO., England. Primer of Facts About Music, by Evans. FRANCIS MACMILLAN, the renowned young Eighteen Favorite Compositions, by H. Engel- American violinist has prepared a splendid article of advice to violin students. First Steps in Pianoforte Study, by Theo, MR. ISIDOR PHILIPP, head professor of piano¬ Presser. forte playing at the Paris Conservatoire will give you CONTENTS advice upon “Suggestions for Developing the Left SEND TWO SUBSCRIPTIONS (your Editorial ... 719 Hand.” which should be worth more than our sub¬ own may be one of them) with the full price Musical Europe.Arthur Elson 720 scription price ($1.50), to anyone who plays. for each, as above, and we will give you one Some French Pronunciations, MR. EDWIN LEMARE, the most eminent of liv¬ of the following books: Fannie Edgar Thomas 720 ing English organists will contribute to the organ How Verdi Preserved his Originality. 720 department Masterpieces for the Piano (Selections). Studies for the Left I Lessons with Franz Liszt.Emil Sauer 721 MR. JAMES ». ROGERS writes an article you Dictionary of Musical Terms (Cloth), by Dr. Musical Taste fn Public Schools.P. C. Lutkin 722 should not miss upon “Artistic Pedaling." Mr. Roger's If. A. Clarke. Tschaikowski’s Ideals. 722 position of one of America’s .leading composers makes Ak The Triumph of MacDowell.. Carol Sherman 723 him an authority on this subject. SEND THREE SUBSCRIPTIONS (your, For the 1 A Great Musical Book.... 724 MR. H. T. FINCK, one of the foremost living own may be one of them) with the full price Facing Competition.Lutie Baker Gunn 724 writers upon musical subjects will tell of the “Great for each, as above, and we will give you one Gallery of Musical Celebrities. 725 Benefactors of Musicians,” and let you know how ise tht‘ren7P0rtk rbvthmi^nv' of the following books: The Survival of the Fittest.. .Louis O. Elson 727 much famous men and women have depended upon their patrons. First Studies in Music Biography, Thos. Tap¬ A Vital Fact In Tiano Study.Alice L. Crocker 728 per. Ordinary Miss Brown.. ...Eva Higgins Marsh 728 S. COLERIDGE TAYLOR, the eminent and ex¬ The First Lesson.Harriet M. Brower 729' tremely talented Afro-English composer, will con¬ Standard History of Music, J. Francis Cooke. The Sound-Reproducing Machine, tribute a fine article upon musical composition. mm. II. E. Krehblel 730 ■ THE BEST CHRISTMAS GIFT MR. W. S. B. MATHEWS will write on “Les¬ Changing Music Teachers.. .Eugene E. Ayres 730 sons from famous Piano Recitals I Have heard.” Mr. is a subscription to The Etude. Secure your What's In a Name ?. 730 Mathews has picked up the gems from a lifetime of Etude in a club with one or two other magazines, A Lesson on the Pedals.Jcmcs F. Cooke 731 experience. Don’t Miss this Article. and Save on the cost of all. Daily Spurs to Practice.... 732 MR. CLARENCE G. HAMILTON, Professor of Take, for instance, a club of Woman’s Home Shall I Advertise?.Arthur Judson 733 Music at Wellesley, will contribute a fine article giv¬ Presser’s First Blank Finger Technic.-.Oscar Raif 734 ing the story of the metronome and telling yon just Companion, The Etude and Everybody’s Maga¬ .style in Music.Herbert Antcliffe 734 how the instrument should be correctly used. zine. Single subscriptions to these magazines The Etude Cartoons. 735 MR. ERNEST NEWMAN, the most distinguished cost $r.5o each, or $4.50 for the three. In a club Bow Much to Practice.J. S. van Clove 735 English critic will contribute a timely article. with The Etude you can buy all three for $3.30. Notes on Etude Music....P. W. Orem 736 II. TV. Petrie. 730 MR. PERLEE V. JERVIS, has Sent us You save $1.20, and we will send each maga- ceedingly helpful article called “How shall v Teachers' Round Table.N. J. Corey 761 our pupils Practice.” , zine to a different address, if you like. Musical Interest.E. von Musselman 762 Or take a club of Review of Reviews and Using the Fingers Naturally. ..A. B. Parsons 762 MR. E. R. KROEGER, eminent 1 Department for Singers.L. A. Russell 763 pianist and teacher, tells "IIow to make the most or Etude. Review of Reviews will cost you $3.00. a poor piano.” Send that $3.00 to us and we’ll add The Etude Department for Organists. .Rene D. Wilkins 766 Violin Department.Robert Braine 768 DR. H. R. LATSON, the most noted physical cul- for a year—to the same or separate addresses. Department for Children. 770 turist and health specialist, sends a finely illustrated Another dub of exceptional merit, furnishing Publishers' Notes. 777 article on “How to Develope the Hands with notes • almost everything needed in the reading line, is World of Music. 774 by Paderewski and Dr. Wm. Mason. The Etude for the Music; Delineator for Fa’sh- Answers to Questions..Louis C. Elson, 776 J. DE ZIELINSKI, the famous teacher, will send • ions, etc.; McClure’s for high-grade fiction; a Nervousness in Public.Daniel Bloomfield 777 you a message upon the “Great Innovators in Piano Interesting Items. 777 Playing.” IN PRESS value of $4.00, for $3.00. Add World’s Work for Musical Club...... 778 the world's news, value, $7.00, for $4.85. MR. L. C. ELSON, one of the most able, admired Wit, Humor and Anecdote. 700 and respected of all writers upon musical subjects, has Here are just three of the many clubs we are Recital Programs. 737 sent us an article on “The Absurdity of Opera ” which offering. See .page 714 of this issue for other New Books.782 will amuse and instruct you greatly. desirable clubs. What Others Say..'.I!!!!.'!!!!” 783 The above list hardly gives you an idea of MUSIC. the many, many good things in store for yon. A MUSICAL EDUCATION. All of the other famous contibutors to The X Forest Voices.J. Francis Cooke 737 You may not be able to purchase a year’s Polka Caprice.TV. Sapellnikoff 738 Etude, who have done so much in giving the tuition at some well-known musical college for The Nightingale and the Rose.. T. Lieurance 739 journal its immense prestige, but whose names a child, but you can do the next best thing, and Le Tambourln.R, TV. Petrie 741 space compels us to omit, will be amply rep¬ that is to give a year’s subscription to The Mhrche Russe (4 hands!.L. Ganne 74” resented. Etude. Lieber Augustin, Variations;.M. Bisninn 746 That Little Girl...... Ac Turlet 748 Theo. Presser Co., Philadelphia, Pa. ./ v Arrivf-e.4. Jackson Peabody 749 Theodore Presser Co. AGENTS WANTED. * lWi1,8,ht.h' A- 751 Surely $1.50 a year is very little to Large commissions are offered to canvassers Turkish Patroi.G. Horvath 752 Marche Legcvo (Pipe Organ!.... C. TV. Ecm 752 give for such a splendid musical treat in all parts of the country who will devote all Semper Fidelis (Violin & Plano)..77. Parker 754 as The Etude has in store for you. G Built especially for people of high or a portion of their time to soliciting sub- My Jack (Vocal!.n. TV. Petrie 755 Don’t fail to tell ALL your musical R artistic discrimination who appreciate scriptions for “The. Etude.” Write for par- Honey Chile (Vocal! . .Mrs. Carrie B. Adams 757 The Crystal River (Vocal). . .Hartwell-Jones 758 friends. J the difference between good and best itutnoi. oc KODDms Ave. _ " ---- STRICH&ZEIDLERIrNEW YORK CITY D Your correspondence solicited THE ETUDE 715 THE ETUDE IMMANUEL School and Home Marches New Christmas Cantata FOR THE PIANO | MAGAZINE BARGAINS WAG^INEBARC^^ By ADAM GEIBEL Price, 50 Cents This_ is__entirely an entirely newn collection of Piano Music marches,larches, containing tram'numbers adapted for all” the different purposes to■ which a march World”*6Events! Outdoor Interests, etc. A Monthly Journal for Music LoverS bd°W W’U ^ *“ ‘ movement may be put. New Anthems such as may actually be merely for display TWO SACRED SONGS two-steps, military Ot exceptional merit, by B. PHILLIPS marches, all bright, a. lstic. We feel stir. „ COS«OPOUTANEmaAZINEAND|$2.50 fOT $1.95 WITHIN THE VEIL-Heart touching solo, i; music will appreciate for #120 ents, postpaid. as it is the best book THE KING OF PEACE—Sublimely beautiful together. >011 t miss it. 25 cents. Both Songs, 35 cents ADAM GEIBEL MUSIC CO. FAVORITE FRENCH ■lew 7c list, free. PHILADELPHIA NEW YORK CHICAGO PHILLIPS MUSIC CO., Dorchesler, Mass. COMPOSERS t(HEi=::: f!EsS^=:i:ll sfEis-.It Price, 35c, Postpaid This NEW WALTZ TEACHERS! *"WB88**“[ assail “EI“j$2.50 for $1.90 SX FOR CHILDREN i!E^=Ji te* iK^EiiiSl mmd -mMmm "IfiSISrk? OPER2 THE DELINEATOR AND NOTICE! GOOD HOUSEKEEPING ) ffT nc fAr 0*7 1 ‘ ST0RIES v" VV SStCTi THE SAND}$2.50 for $1.90 AND THE ETUDE j iDl C Th’fe' are four others eouaPy greeting Adaptive Hat To find the cost of . fsftVcenVs for CRIST MUSIC CO.. 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THEODORE PRESSER CO. and, their supreme service, of kindling an interest in good music Child's First Grade, The. and awakening the artistic sense. An examination of the ley-Mathews and W. S. B. Mathews. “ Graded Recreations” means its endorsement and adoption. FOR EVERYTHING IN MUSIC The authors have here prepared a primary book of piano principles and practices which is intended to help tlie busy Landon’s First Steps in Harmony. Eandon. .teacher and aid the child. It has been prepared to meet the TWENTY-FIVE YEARS AGO, as a sequel to the founda¬ demand for modern material, suitable to modern, methods, by Boards - - - - = - 50 Cents tion of the ETUDE (then only a journal for piano teachers), the leading the child by the shortest practicable road to key-board A demonstration of modem ideas of harmony teaching in fluency, musical feeling and musical intelligence. The plan especially clear and lucid form. The student is fully directed publishing house of Theo. Presser was founded to furnish prac¬ and the influence of the book is that musical notation is the art exactly what and how to work out every exercise, and this in a tical teaching material in conformity with the suggestions and of representing music, as reading music, as playing music, and wonderfully clear manner. Every rule is abundantly illustrated not as reading notes and playing notes. with notation, and all written work has a system of explicit guiding hints embodied in the exercises, showing not only what advice of the journal. Price $1.00 to do but just where it is to be done. This is undoubtedly the NEW PUBLICATIONS have been issued continually—ever abreast of the times— easiest method in existence, and at the same time is unusually fdfptTd to all modern educational demands, carefully edited and annotated by the foremost thorough. able pieces by the best authors for teachers of the day, and gll of the most helpful character. the first, second, third and fourth grades. Edited by W. S. B. MliciVnl FccphTUIc 5y Haroi
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JUST PUBLISHED JUST PUBLISHED THE ETVDE VOICES FROM the GOLDEN AGE HARMONY MODERNIZED NOVEMBER, 1910 VOL. XXVIII. NO. 11 • OF A Course equally adapted for SelMnstructlon or for a Teacher’s Manual BEL CANTO ■ • ' BV. j^cjS The Life-Career Motive Miscast A Collection of Twenty-six Opera-Songs of the Seventeenth max loewengard Miscast! Yet well we know the drama “Life" and Eighteenth Centuries Dr. Charles W. Eliot, President Emeritus of Harvard University, con¬ Staged by environment, holds many a slave Translated from the Sixth Augmented and Thoroughly Revised From Rare Manuscripts and Early Prints Collected by tributed an article to the School Journal of last July which deserves the In uncongenial role, German Edition by And yet we fret and fume in strife attention of all serious music students, as well as the attention of teachers. Anil beat against the bars our Father gave HENRY EDWARD KREHBIEL President Eliot points to the value of having a life-career motive, and we The bruised wings of the soul. DR. TH. BAKER Edited by MAX SPICKER sincerely regret that we can not reprint the entire article here. Dr. Eliot’s The above stanza from a short poem which appeared in the Theatre Octavo, Cloth, pp. VI and 145. Price, $1.25 net remarks pertaining to public schools may easily be applied to music. Magazine for September will appeal to many readers of The Etude who English Translations by It is a magnificent thing to find out what you are going to do, and then are forced to work for the time being tyider conditions which are uncon¬ HENRY Q. CHAPMAN AND ISABELLA.0. PARKER The author of this manual is an instructor of ripe and varied bend all your energies to the accomplishment of that one purpose. Dr. genial to them. We all know the story of the American playwright Price, Paper, $1.25 net experience. Eliot says: who, from the earnings of his first piece, bought an estate on the Bound in Cloth, gilt top (forming Volume XV of The Golden Treasury of Music) Tiie keynote of this work is SIMPLIFICATION —no* simplification “We ought net to be surprised that schools which avail themselves of. glorious island of Capri, in order th,at he might be inspired to do Price, $2.00 net by omission, but simplification by inclusion. Under the three rubrics this strong motive get the best work from their pupils, and therefore do the greater and better things. There he sat in sfemi-Orie’ntal languor, fanned The fact that hardly any of the 26 airs which make up this collection “Triads,” “Seventh-Chords’' and “Ornamental Changes in the Connection . best work for the community. All of us adults do our best work in the by the pungent flower-laden breezes of this garden spot of romantic Italy. of 17th and 18th century opera-songs has ever been printed before gives of Chords,” the theory of chordal interconnection i» developed in aston¬ world under the impulsion of the life-career motive. Indeed, the hope and Alas, the inspiration did not come, so he wisely came back to America,, the volume in question a unique value. rented a hall bedroom, got liis meals at a glazed-tiled restaurant and turned ishing simple and complete fashion. The treatment of the cadence in its purpose of improving quality, or quantity, or both in our daily work, with the incidental improvement of the livelihood, form the strongest inducements out another “masterpiece” in six months. position as a key to the art of composition is perhaps the most original and we adults have for steady, prouctive labor; and the results of labors so Many music students Eire longing for a kind of opportunity, freedom of typography the Schinner press can show. There is no detail whose important thing in the book; but also the sections on the minor mode motived are not necessarily mercenary, or in any way unworthy of an intel¬ from work, inspiration, etc., which they suppose will come to them in some n to the general scheme of the work has not been carefully studied ; seventh-chords, the harmonizing of melodies, modulation, tile fundamental ligent and humane person. decorative touches and de luxe paper seeming but a natural sequence marvelous way when means and an all-kind Providence remo.ves the obstacles of the rare charm of the beautiful old melodies themselves—echoes of a principle of the altered chords, and the noteworthy absence of the usual “There is nothing low or mean about these motives, and they lead on the which now .stand in their paths. But Providence does not do things in that day long past which, imprisoned in the time-vellowed parchment of forgot- string of “exceptions,” deserve especial mention. people who are swayed by them to greater serviceableness and greater happi¬ way. We are given the desire, and no matter in what role we may be cast we e more for the pleasure of discerning Taking all these points into careful consideration, the title “Harmony ness—to greater serviceableness, because the power and scope of individual find that in order to assume the role we desire to- play we must first Modernized” will be'found to be fully justified. productiveness fs thereby increased—to greater happiness, because achieve¬ learn how to work successfully under the conditions surrounding us now, ment will become more frequent and more considerable, and to old and young not those which may surround us ten years from now. alike happiness in work comes through achievement.”- We knew of a-girl with a New England conscience and a Puritan ances¬ try who went to New York with a view of getting employment to enable her to get money enough to study abroad. Fate cast her in a position that Ten Dollars an Hour was enough to make the hair of this Massachusetts man-hating little spinster stand on end. She- was obliged to meet liars, “grafters,” sensualists and, in fact, many of the most objectionable forms of the social human animal. Yet Wotan, according to old German legends, gave ,an eye in exchange for she would not lie, nor was she vulnerable to the other forms of viciousness one draught of the spring of wisdom. That was probably the highest price which surrounded her. All the time she had her mind on the role she wanted SCHMIDT’S EDUCATIONAL SERIES ever paid for an education, but in these days we are continually confronted to play, and determined to make those around her, particularly her employer, with the fact that the student is obliged to make yery considerable sacrifices selected volumes for the easier grades respect her. This they did. Her salary kept jumping up all the time, much in order to obtain first-rate musical instruction. 6 u to the amazement of the “grafters.” The “grafters” laughed at her, thought I. HENNING, MAX. Op. 22 _ The price of the music lesson is regulated almostentirely by the law of 13. PFITZNER, HEINRICH she was crazy. In three years she saved a considerable sum of money, and 24. BACH-FOOTE desire and command, rather than that of supply and demand. For this reason I4toJS Bach's^lriVentwiJs’l’f?eS' introductory last week she sailed over the Atlantic to enter upon her new life We do by Bach, edited by Arthur it is possible to find one celebrated teacher asking ten dollars an hour in a 6. DCNNLE, CHARLES. Op. 18 . *°'7J Six Fancies lor the Pianoforte. I5Foot7VUiCe InVe' not advise such a course as this to any of our readers, but it must be very Tbe^Childreu's lest*val' 10 Easy Pianoforte 16 a-b.^ EGGEI ING, GEORG. Op. 170 23. KAISER? ALFRED city where hundreds of teachers may be found who are willing andi glad to the Weaker Fingers. Exert. plain that if you are cast as the clown when you know that you ought to be 7. SCHY1TE, LUDVIG S5”musical tUU
722 the etude CULTIVAXm^ MU|^oTA|TE ™ T„B Many of MacDowell’s piano works are really' very difficult. These of course will be long in securing a musical in nature than Liszt’s, my relations to . f his way through a throng of languishing girls, mov¬ popular audience. He himself played them in a very were never anything but of the most gg4 * , „ from on article bu Peter ChrMin forceful and magnetic manner, but too few per-r ing to anti fro in his usual dragging tread from his acter. The two summers that I spent in Weimar :t 4 [The following »*7 fj| ,.Thc Methodist:’ Ur. Utkin piano to his writing desk and back again. Every now and 1885, brought me unmistakable evidences o formers have found a place for them since then. They and then he bends with an air of homage to one of deserve a far greater popularity. good will toward me. the fair ones, vouchsafing a longer or a shorter inter¬ *v- « The songs are less difficult - and win more imme¬ A RARE OPPORTUNITY. The orator, the pleader, the preacher, can express view according to her outward appearance. At the diate approval. Those for which he wrote original piano pounds a red-haired American; he has been Only once did I have the pleasure of hearing Liszt bu one emotion at a time, but mus.es many-voiced, The Triumph of Edward MacDowell poems are excellent, one of the best of these being introduced as a genius by the conservatory director P. play, and this—forgive my audacity—was but a^mod¬ and conflicting emotions argument and counter- “The Robin Sings in the Apple Tree.” Throughout The young man has everything against him: he is erate one. In one of the afternoon gatherings lie was anfl, '.* can be presented at one and the same y CAROL SHERMAN all his work inspiration is constantly apparent. By freckled and homely, ignorant and destitute of* tem¬ good-humored enough to sit down to the piano an arg It is indeed doubtful if any product of the Unspoken words at parting play one of his own “Consolations,” Chopin s noc¬ hrmmn brain is so highly organized, so carefully cor- Find their voice in song. this we mean that although he kept the practical perament—then he is not even playing a Liszt com¬ Ah! sing them soft and tenderly, position! That is too, too much by far. The master turne in B flat minor, and Weber’s “Perpetuum related, so delicately articulated, and withal so log- The song will ne’er last long. knowledge of the trained musician continually engaged Mobile” for us. Notwithstanding my best will to tne bears it for a time and accompanies the performance ical so systematic, so intricate and so finely balanced, in supervising his musical efforts,- it is very apparent contrary, I could not but find what he gave us And hand grasps hand at parting. with various satirical side-remarks, but at length claps as the sonatas and symphonies of our great musical Heart finds heartI in song. that the unique harmonic and melodic combinations entirely too slight to warrant my joining in the rap composers Such complex structures demand close UnspokenInspoken lore sing■ tenderly. never came from any process of deliberate intent to the music together before the young fellow’s nose, ture expressed by the faithful. I was prepared for ‘Twill l— study for their comprehension, but that they richly : Edwabd MacDoWELL. exclaiming, “America, to-morrow you may disgrace the fact that flexibility and elasticity of touch coum —From Verses b compose. They could only be derived from those yourself further h’m repay such study goes without saying. Their appeal flashes of thought which burn brightly in the brains of not be expected from a septuagenarian, but not for Three years is perhaps too short a time in which publication. His long residence abroad and his asso¬ The director grows pale, his protege grows red. is by no means altogether emotional; it is intellect¬ the surprise of finding that his musical performance to determine whether the qualities of permanence in ciation with great artists; poets and painters did a few great men and then disappear forever. It is His place & taken by Friiulein S., who in addition to produced no impression to speak of upon me. What ual as well. Highly-endowed natures have spoken this which gives his works their poetic quality. It is a great message and the inexperienced cannot grasp an artist’s work have become evident, but it. must much to mould his artistic judgment, which in after a rather pretty face brings an old Liszt arrangement was truly remarkable, however, wa^the silent play ot be remembered that although Edward MacDowell died years led him to select his musical materials with this which is winning MacDowell the artistic triumph the import without guidance and explanation. which the!'composer himself has almost forgotten. the eye, of face and feature, the classic pose of the less than three years ago, nearly six years have passed taste and discrimination. whch can come from no other source. A great com¬ entire person. All this revealed not a pianistic but Here again a start has been made in the right This thoughtfulness, however, gives her the privilege since he ceased to produce new compositions. Those MacDowell personally was poetic and aesthetic to poser is a wonderful natural phenomenon, more direction. In at least one high school in this coun¬ of boring Us almost to death for half an hour, while a dramatic talent of the highest order. familiar with musical conditions, not only in this his finger tips,—-and this without giving any sugges¬ remarkable than the awe-compelling masses of water, Notwithstanding Liszt’s peculiarities they can in no try (in Providence, R. I.) an hour is set apart every the master with a delighted smile, now and then let¬ country, but in Europe as well, must realize that the tion of the effeminate'. Although, subdued, he always stone, fire or vapor which in the form of oceans, wise diminish his incalculable services in the cause of Friday afternoon .for the systematic development of ting his hand drop on her shoulder, helps her over fondness for MacDowell has been clouds win the eternal admiration of art. There may be strong differences of opinion as to the capacity to listen intelligently. It is doubtful false notes and rhythmic confusion and with an occa¬ upon the increase instead of on his creative ability, but it cannot be denied that in his if any other hour spent in the school will yield such facades, mountains, volcanoes and sional “Good!” tranquilly allows her to murder his the decrease since his death. These piano concertos, in his symphonic poems, in his a large return on the investment, for the student piece. Mademoiselle pounds worse than the Amer¬ indications point to the fact that Amer¬ songs, we possess original art forms which serve as will take away with him that which will be a source ican, but she has roguish dimples,, and these disarm inspiration and models for the youthful generation ica has had a composer whose real WAGNER ON MENDELSSOHN of delight and pure pleasure for the remainder of AND SCHUMANN. criticism. Next comes Friiulein M., a pupil of Sgam- and which rise far above the influence of party feel¬ his life. In some of our Evanston public schools greatness was such that the world has No musician was ever more severely bati. Who plays really welt; but she is homely and ing. They form a boundary mark that every one who the happy idea has been inaugurated of having the been fpreed to recognize it. The de¬ criticised than Richard Wagner, and it inexperienced in the school of artifice, hence she does is not content to remain a backwoodsman all his life piano played immediately upon the opening of the mand for MacDowell’s composition is must pass, whether he is willing or not. No one in is equally certain that Wagner spared not find her way to the piano so frequently as Frati- morning session. now greater than ever. During the no opportunity to express his contempt lein P., who is a human thrashing machine and seem¬ the last century has exercised such a reformatory- The absolute silence after the outdoor play is most past summer a MacDowell celebration ingly indispensable to the master. influence—save Wagner, who could hardly have won impressive. The young bodies and minds have been in the form of a historical pageant was for those who believed in views con¬ his way to success without the aid given him by thoroughly awakened by the morning romp. The given at his summer home in Peters- trary to his own. Nevertheless; he was LISZT ON BRAHMS. Liszt. To thousands of musicians who had the for¬ children are fresh and in a most favorable condition borough. This pagent was a huge suc¬ not by any means insensible to the tune of being brought into personal relation with him greatness of other musicians. Nor was Leaning against the wall, his roll of music clasped for receiving impressions. A piano on the staircase cess from every standpoint, and at¬ he was like a messenger from above, showering upon he so deadly in his hatred of “Judaism tightly in his hand, I see a talented young fellow who landing is distinctly heard throughout the whole tracted national attention. Hundreds them the riches of his bounty with the utmost prodi¬ in Music” Jhqt he failed to appreciate building. Here is an almost invaluable opportunity of visitors came from all parts of the for the fourth time is trying to gain permission to gality. Before him such generosity was unknown. the genius of Mendelssohn. Here is for instilling the artistic spirit. But the musical country to pay tribute to America’s play the Brahms concerto in B flat. He is a born something of what he had to say about virtuoso, but a poor politician, otherwise he would message should not be intrusted to the haphazard greatest composer. selections or the undeveloped performing powers of Mendelssohn’s powers as a composer; have discovered long ago that this masterpiece is by WHAT THE MUSICAL WORLD. WANTS. even talented children. On the contrary, the selec¬ Mendelssohn was a landscape no means in favor with the master. Finally he suc¬ Musicians who teach because they must and not tion of the music should be a matter for ripe and painter of the first order, and the ceeds in making his way to the front and in being because they “need the money.” refined judgment and the playing should be in the ‘Hebrides’ overture is his masterpiece. Realizing that MacDowell has suc¬ noticed. “What have you there . h’m . . . Musicians with ideas and a will. hands of a skilled and artistic performer. Wonderful imagination and delicate aha . . . Brahms? Well, h’m ... so far as Musicians who can winnow what is good from ceeded in winning a very firm posi¬ feeling are here presented with con¬ T am concerned; fire away with your Brahms . what is bad in music. tion in the history of music, although summate art. Note the extraordinary h’m.” A 'companion plays the orchestral part on the Musicians who will not mistake egotism for indi¬ TSCHAIKOWSKI’S IDEALS. only fifty years have passed since he beauty of the passage where the oboes viduality Ibach upright. Liszt has sat down and follows the Probably the first thing the young musician prides was born in New York City (Dec. 18th, rise above the other instruments with Musicians who will look on careless practice as performance with apparent interest, the open score- in himself on having, when he starts out on his musical 1861), it is well for American students a plaintive wail like the winds over the dishonest. his hand.. He is too great a genius not to recognize career, is musical “ideals” of the most lofty kind. of musical composition to study some seas. ‘Calm Sea and Prosperous Voy¬ Musicians who realize that mastery over the broad the artisti^ significance of this great work; even though Well, indeed, is this the case, for in this mercenary of the characteristics of his style and' age’ also is beautiful; and J am very effects of music can only be gained by mastery over age ideals are scarce enough, and those that exist work. Heredity evidently did not fond of the first movement of the l-.is bearing and expression seem to denote the con¬ each separate detail. are often sadly battered out of shape. Nevertheless, have a direct effect upon his musical Scotch Symphony. No one can blame trary, lie cannot but be moved by the music, all the Musicians who will make no compromise with the musician without ideals is a sorry creature, development, for when MacDowell’s a. composer for using national melo¬ more that none knows better than he that it is depth inefficient musical workmanship. own grandfather came to America of thought and not fioritura that decides the true ' Musicians whose ambitions are high. though he need not necessarily pour them out into dies when he treats them so artistically worth of a composition. Now and then the player Musicians who are willing to sacrifice their private unsympathetic ears on every possible occasion. from Ireland prior to the revolution as M.endelssohn has done in the Tschaikowski was a man with ideals. At least, few is rewarded with “good” or “well done,” with valuable interests for the general musical advancement. the family was one of those severely puritanical impressed his auditors by his lusty manhood. In a Scherzo of this symphony. His second modern writers have betrayed such passionate long¬ Quaker pioneers, to whom music was little less themes, his slow movements generally, where the hints as to phrasing, fingering, use of the pedal, etc. I Musicians whose confidence in themselves is born conversation with the writer some years ago, he gave ing as may be found in his music, and none have than a crime which all God-fearing church-goers human element comes in, are weaker. As regards shall never forget the moment, however, when at a of self-knowledge and self-respect and self-sacrifice. his opinions upon various subjects with a divination portrayed such bitter despair and longing over shat¬ should sedulously avoid. Nevertheless, MacDowell’s the overture to ‘A Midsummer Night’s Dream,’ it passage which was awkwardly put upon the piano the Musicians who are willing to overlook the musical that_ was all but prophetic. The writer has had the tered ideals as the composer of the “Pathetic” Sym¬ father, who was born in New York, showed a master threw up his head with an air of triumph and shortcomings of others with charity, but who look privilege of meeting and knowing many of the greatest must be taken into account that he wrote it at seven¬ cried, “H’m rather cheap stuff: h’m . on their own deficiencies as something which can phony all of which, as the advertisements say, decided talent for drawing and painting. This teen, and how finished the form is already!” musicians, composers, teachers and virtuosos of the last we have done 1 letter than that!” His evident ill-humor only be pardoned when rectified: must be experienced to be appreciated.” Never¬ became so evident that the elder MacDowell did twenty years. None gave evidences of a more subtle His views of Schumann were not so lenient. It was not dispelled until one of the players came for¬ theless, Tschaikowski did not care to talk about his everything possible to discourage it. Consequently and intelligent comprehension of the higher problems must be taken into consideration that between the ward' with one of his own most brilliant and effective ideals, as the following extract from Rosa New- the son went into business, and his artistic work of musical art. MacDowell identified the greatness of dreamy, self-absorbed Schumann and the forceful; pas- compositions. His countenance cleared again and the WEBER’S MISTAKE. roarchs biography of him'will show: became his avocation. What, then, were Tschaikowski’s musical ideals his contemporaries Strauss and Debussy at once, at sionate Wagner there v.as a world of difference. Just lesson ended as harmoniously as it had begun. Weber was opposed to the performance of his orches¬ The somewhat cruel means employed to suppress m his youth and maturity, and how far did they a time when the world was slowly awaking to the the difference, m fact, which made it possible for Schu¬ Naturally this description of actual occurrences as tral music upon the pianoforte. He contended that in his otvn artistic talent made the way easier for his influence his individual temperament? .He himself mann to hail Wagner as a genius and to cause Wag- . they come to niy memory does not agree with all the the orchestra, the composer depended upon the tone- famous son, Edward MacDowell, when the boy mani¬ realization of their genius. MacDowell’s pianoforte would have repudiated the use of the word ideals. ner to regard Schumann with the rather pitying con- lesson hours; some days were poor, but on others color or quality of the instrument for many of his fested interest in music. His training was extremely playing was virile and distinctive. He told the writer He had the positive Russian temperament that feels descens.on which a strong man has for a weaker one. what was .truly artistic came to the front and forced effects, and the absence of this characteristic made the cosmopolitan. At first his teachers, Juan Buitrago, that his only conception of a complete piano technic intensely, and instinctively avoids gush. Was it not Schumann s peculiar treatment of the pianoforte the inferior into the background. After all, Liszt was effect unattainable upon the piano. Sir George Smart Pablo Desvernine and Teresa Carreno, were all Latin was that kind of a technic which enabled him to work a Russian who remarked that a piece of bread and grates on my ear; there is too much blur; you can- not to be deceived; talent united with ability was sure tells the following anecdote illustrating the opinions of Americans. This was fortunate, since although these out his own ideas as demanded by his own digital c eese was worth all the poems of Poushkin (the to be recognized and had no need of flattery or insin¬ the composer: teachers were well schooled, they were not so likely and mental conditions. He was opposed to drastic great. Russian poet) put together? In a similarly WhaPtrTU^if%PIeBeS UnleSS !t be mit ohl^atem Pedal. cerity to win his approbation, even if its owner never “Weber was invited to a party given by Mrs. Coutts, to be dogmatic or arbitrary as would teachers of the arbitrary means, and claimed that art was being stulti¬ What a relief to hear a sonata of Beethoven’s! In the wife of a well-known b.anker, who paid him twenty- ma.nner Tschaikowski answered those who more severe northern extraction. Thereafter he went fied by over-mechanical methods. succeeded in gaining the distinction of being a ffis zSc/ir«Y?°Ug Vn?re W°Uld C°me of Schumann. “favorite pupil.” This at least was my experience, and five pounds and six shillings (about one hundred and *“wv,ln? about h5s *nner consciousness. to Paris. Stuttgart and Frankfurt, getting a taste of His Zeitsclmft was brilliant, and his pianoforte works I by no means fared the worst.* I never allowed little twenty-five dollars). One of the guests asked him to • • Vj 4 ?re your mus'ca' ideals?’ Serov’s daughter many different musical educational ideas, and remain¬ MacDOWELL’S ORIGINAL HARMONIES. inquired of Tschaikowski as he sat at the piano ing long enough with such celebrated masters as Raff, annoyances or the inconvenience of being obliged to play the overture to Der Prefschutz. He declined, say¬ MacDowgll’s harmonies indicate deep study but do wait) to keep me from choosing for study just what I ing that it was not composed for the pianoforte. The Petem-bur-116 ^er ^at^er s musical evenings in Ehlert and Hcymann, to gain a practical knowledge not sound studied. The poetical end was accom¬ lady immediately brought him a printed copy upon of his craft. most wanted to have his advice upon, whether njy plished not by bowing to theoretical laws, but rather iHsilifSp which was printed ‘Arranged for the pianoforte by the c,„ ^Jy ,deals?’ he answered. ‘Is it absolutely neces- In the meantime MacDowell showed a decided choice'occasioned approval or disapproval. I made by following his own. melodic and harmonic inclina¬ , --generation composer,’ Weber instantly went to the instrument and y 0'have ideals in music? I have never given a talent not only for music but for drawing and poetry no concealment of my veneration for Schumann, Men¬ tions. after the foundation of the art of musical com¬ fkyed. k\ When it was over he came to me asking, fleets-/ *t 4 lem-’ Then, after a few minutes’ re- as well. It is not generally known, but a volume of delssohn, and Brahms, and in spite of my openly position had been thoroughly investigated. He is not but then already his head was tffed^hfs powe^on^the Who is that lady? I answered,‘Lady Guilford.’ •She nection: I never possessed any ideals.’ poems and translations exist from which the poem at wane. He consulted me about his text tT-c expressed opinion that Rubinstein’s works were more only an American composer; he is a tone-poet whose taught me a lesson,’ he said, ‘I will never again arrange tior t,a"0th,er yOUng Ia(ly who Put the same ff«eS’ the beginning of this article is quoted. The book which he was arranging from Tieck’s and Hebber’s original and melodious" and were more essentially overtures for the pianoforte.’ ” song would have added to the artistic greatness of met with considerable appreciation at the time of its any nation. plays, yet he would not take mv advice b Jdebbel s fear some trick.” y advice-he seemed to THE ETUDE „ Aldrich Upton, Phillip Hale, Dr. Hanchett. Hu?h tinn Daniel Gregory Mason, and many many ardson, formerly organist of Southwark Cathedral, and Arthur Elson, D ^ men as jmportantj as aye the author of what is admittedly one of the very best others. Eyefy ° 0 n as Mr. Krehbiel. Their books are books upon organ accompaniment in existence, is n and as wnde y kn jonal and may be found in The Completion of a Great mentioned at all. We can name at least a score f°r Hhrarv in the United States, and they are read musicians who have been included and who occupy eVery ltbra y . iovers. In fact, several of these Musical Work space which might well have been devoted to Dr. Rich by millions o shed by prominent English firms. ardson’s excellent work. This points to a lack o judgment and balance which is, to say the least, irri¬ rTkJd works by Elson, Hanchett and D. G. Mason “JblT.hed by the 'publishers of the Gtce Die- tating. It was also somewhat of a surprise for the The appearariL. : fifth ’ if the . p rp* wnrk on the American section is also present writer to learn that Max Bruch died in i9°7- r-hob. «,wa in° »n,e details the date o. tht of the Grove Dictionary is an < vent of much imp Last spring it was the writer’s privilege to translate tance in the musical world. The combined labors the text of Bruch’s latest choral work, and he had a message from the publisher that Bruch was much time have contributed to make this scholarly, yet indispensable Grove Dictionary the treatment of Amer¬ pleased with the work. Moreover, the Klavier-Lehrer popular collection of reference books more valu¬ ican critics and composers reeks of partisanship and able than ever. The improvements in the revised of August 10 reports that Bruch has just determined ' violates that trait of Britons which Americans most work are noteworthy, the Tschaikowsky article being to retire from his active teaching work at the Royal admire-fair play. The publishers, who doubtless one of the most obvious, although the later contribu¬ High School in Berlin. No doubt the composer ol would not have had these omissions occur for a great tions of Sir Hubert Parry, Granville Bantock and “Fair Ellen” will employ the retort of the late Mark deal can only review them with contempt and disgust. others are equally si nificanl. Twain, who contradicted an obituary notice by tele¬ Deplorable and lamentable as are these omissions, In 1878 Sir George Grove, an English engineer graphing, “Reports of my .death greatly exaggerated. the work still remains indispensable. Perfection in with a love for music, whose biography will be found We also note that among the names of American such a vast enterprise couM not be expected, and in this issue of The Etude, in the Gallery of Musical composers which have been omitted is that of Mr. we advise our readers one and all to secure a Grove Celebrities, issued the first volume of what has since James H. Rogers, surely one of the most gifted gud Dictionary as soon as their means permit. t important book upon music in the best schooled of American musicians. After every possible fault has been counted there The ability of the editor was so In addition to this, Mr. Rogers’ compositions have gd]] remains a gold mine for all earnest students onal Writers upon music had an enormous scale, and are played by hundreds who possess the new “Grove.’ were obliged to acknowledge his remarkable gifts. who will doubtless desire to possess the Grove Dic¬ A work of this kind, however, needs constant revi¬ tionary. Mr. William H. Sherwood, admittedly the most distinguished of American virtuoso pianists and EEWARE OF FRAUDULENT PUBLISHERS. sion, and the dimensions of the work, together with teachers, has not even been considered biognr mcally. From time to time The Etude has called the atten¬ the amount Of detail required, make completeness tion of its readers to the fact that musical swin¬ and absolute accuracy impossible. It is a work which Mr. R. Huntington Woodman, one of the most dig¬ nified and at the same time most scholarly of American dlers are abroad who make all kinds of promises to would-be composers. The advertisement reads in some should be one of the first books the tea-her should composers, has been forgotten, as has H. R. Shelley, install in his niusical library. He will need it hun¬ E, R. Ilroeger and many others who surely de¬ cases like the following: dreds of times, and the value of having such a com¬ serve more representation than composers of obsolete “Make a Million from Song Writing. Send me your prehensive work at hand cannot be over-estimated. anthems who entered the gates of oblivion before these song-poem and I will compose music for it—the kind In fact, the next purchase after the piano should be men were born. Dr. Dunstan’s Dictionary indicates a of music that catches the popular ear and sells songs by the new complete Grove. far better proportion and a keener degree of the essen¬ : thon ands. T will attend to publication, etc. Box F.‘ tial power of weighing the comparative worth of those A. R. E. Township O.” REGRETABLE OMISSIONS. deserving .recognition in musical histo y. The attending to publication means that after the This review must not be thought a biased criticism, author of the words has sent his poem to the adver¬ tiser he will receive a musical setting, accompanied by without nicks and chips, since English writers have of late assailed the new volumes of-Grove for leaving out much important data. a list of publishers to whom the composition should be restoration of the book, -ps of editors Grave as these errors are, we are hardly willing to sent and a hill of $10.00 for the setting provided. years, vith betl results. go to the length Qf Sir J. Frederick Bridge, who has Another form of advertisement appears like the fol¬ Perhaps this was due to a division of responsibility. made the following statement: lowing ; We are very familiar with the injunction against peo¬ “We who refer-to this work can have no confidence “Let me publish ycur song. If you have confidence ple who live in glass houses, but we feel that we arc that any statement is correct.” in your song let me publish it for you. No matter how inexperienced you may be I will fix it up all right and doing our readers an injustice if we fail to call their Sir Frederick has obviously been, influenced by a George P. Upton Sir George Grove Henry T. Finck attention to several.glaring omissions in this great previous discussion with the editor of the diction- get out beautiful copies and attend to the sale. Suc¬ work. In the first place, it was the intention of ary and his criticism has been warped by the heat cess. Marathon, Ind.” Grove to make the book of such a nature that it would of an argument. This means that some music printer needs your appeal to the ^“general reader.” Naturally, the “gen¬ It is, however, in the mention of musical critics money and ii tends to get it if you can possibly be in¬ eral reader” has a desire to know about the foremost that the book is notoriously weak. For instance duced to stand for the cost of publishing your song. musicians, teachers, performers and singers of his that spectacular and intensely interesting writer. The following lines from Mr. H. W. Petrie, who has time. He may also have a desire to know something George Bernard Shaw, who was for many years a had a wide experience as a popular composer, and as of the writers Upon musical subjects. noted London - uric critic, and who has published a publisher, should be read by aspiring young com¬ In some ways the work is thoroughly up-to-date, but works upon musical matters which have a very large posers. Every little while The Etude receives a wail the neglect to record the latest achievements of Gran¬ circle of admirers, is left out entirely. In this respect, from some one who has been defrauded bv corrupt ville Bantock and the omission of the eminent English and in many cithers, the much smaller, but wonder¬ publishers and who writes to urge us to tell others critic, Ernest' Newman, whose writings have filled- fully complete an 1 valuable one-volume English dic¬ for their own protection. columns of English newspapers for many years, can tionary of Dr. Dunstan is superior to the great Grove. “The idea in the public mind that fortunes are made only point to the fact that someone had a very de¬ One cannot help feeling that if space which has from successful compositions is probably the reason fective memory. been devoted by the pageful to obscure parish organ¬ why composers are more prolific nowadays than ever It was evidently the intention of the publishers to ists could have been given to such eminent and suc¬ before. Many of the composers are little more than make this work include full mention of the chief fac¬ cessful musicians as those we have noted, the work musical tyros. As a matter of fact, not more than tors in American musical development. While many would have been nearer the “general reader” whom one piece m one thousand ever proves more than mod¬ notable additions have been made, our American read¬ the founder of this famous undertaking had in mind erately successful. The successful piece is by no ers will be extremely disappointed to find that there means an accident, but is the result of ability and per- are so many annoying omissions that one becomes AMERICAN CRITICS SLIGHTED. sis en p ugging on the part of both the composer and fatigued in investigating the matter. This work has From the-present Grove it would appear that Amer¬ been performed with a lack of judgment which is f doP™Cr 1 d°n,t Want to. discourage anyone, but ica could boast of but one critic, and that one Mr. 1, t0 Warn every ambitious composer against amazing. For instance, it is surprising to find that H. E. Krehbiel, who was much concerned in the no mention whatever is made of the following sing- i t ;,rS-'Vhn ask ,t!lem to stand the expense of American additions to the book. Mr. Krehbiel’s bio¬ £f ng the,r compositions. The •publisher’ insures ers_ who have attracted thousands and thousands of graphical nest is feathered with 300 words. We can¬ Aft th SamSt -°ss by charKi"K * sufficient profit. auditors to their performances in America during the not believe that Mr. Krehbiel is personally respon¬ last ten years: Farrar, Garden, Louise Homer, Gad- wwLAl P,e.C-e ls published he rarely cares a rap sible for these annoying and damaging omissions. Good publishers a, ski and some others equally famous. This would not But surely the editor of the work cannot plead igno¬ be so irritating did we not know that these singers rance of the existence of these important writers who have equally great reputations in some European have good reason to consider their neglect as veiled countries. It also seems somewhat surprising to find insults. Not one word is said of the splendid work that the name of so noted a teacher as Alberto Jonas, of Mr. H. T. Finck, one of the ablest of living musical whose services demand a very large fee in Berlin! critics, whose books have met with such wide suc¬ attains lLTS'C’ PCrt?aps' that the soul mo-st nearly and who trained the marvelous child, Pepita Arriola, cess that translations into many other tongues have “e noeric Cnd for whicb- when inspired by should be omitted, as well as that of Ossip Gabrilo- been made;. Mr. Louis C. Elson, the distinguished witsch, one of the most successful pianists who has Boston critic and musical historian, and author of ;v£8srthe creation °f ever toured America. some of the most valuable musical books in print, It is not our desire to pick needless faults in this is.missing; Mr. James Huneker, one of the most important work. We have found it too useful in our isMsotlmt wh-°Hy-Which is the Charm of uiusic; i brilliant writers up in musical subjects the world has own editorial labors to do that. However, there are invention ofThnCh 'S m0St difficult to produce. Th< known, has been entirely forgotten; Mr. W. E. Hen¬ some things which point either to deliberate neglect or truth is a Labne,m]e,0dy is a "’ork of genius. Th, derson, an extremely popular and interesting writer unforgivable carelessness. We are, for instance, sur¬ accessories J melody needs neither ornaments noi upon musical subjects, was also not considered worthy prised to find that the name of Dr. A. Madeley Rich- be reaRv fi^,PleaSe: Would know whether i of notice. The list may be extended to include Louis C. Elson Haydn y Stdp U of a11 accompaniments.- George Sand James Gibbons Huneker THE ETUDE 727 THE ETUDE Of Beethoven’s style of variations, a reviewer 726 writes: “This composer should remember that not every theme Is fit for variation. Let him study the works HOW TO PRESERVE THESE PORTRAIT-BIOGRAPHIESjresented, or use on bul V.the 1 fly-sheet of 1a piece of music by th^, comp0 ser represc , . „ , Rv-sheet of a piece or -r-r,:, u the I Ith set of picture-biograp of Mozart until he understands what melodies to Cut out the pictures, followingLllnwm. outline on the reverse of thismis page.page, Pasterasre themmem on marginuia.gu, m a scrap-book.scrap-book, “°r onD. , Lfreferenceerence andand separateseparateportraite. porportraits. T1 VWtemps,m Franck,f.ra Wagner, Siegl select for his variations.” _J for class, club, or school work. A similar collection comaild’ ’ onryonly1 .'be obtained by ppurchasing several^expensive books o ^ Fielte Sullivan, UzaUhm^n,Liza Lehmann, ^_ &J? MMa lhalberg I- Regarding the finale of the “Sonate Pathetique;” w series, which commenced in January, and mcluded portraits_ ana—ad j i:£-life-storiesute-stories -a—i-jg Qof.f HofmannHofma Anton* Rubinstein,‘ v°“ f' gai[e_ Smetana, in the new senes, which commenced in January, and included portraits ' j^homas, Paine, Rogers, Damrosch. Beach, Fc we read: • “Dancla, r-..lGad.ki, l.: JohannLi,,,, Strauss, Paganini,Paoanini. Bach.Bach, Paderewski Foote, Bloomfield-Zeisler, Max Reger. Sauer, Mend ^tinn, Burmest I_' n_L__L ir'krtrsm Sniermo. Caruso. ennv Lind. Utter The Survival of the Fittest in Music “The movement is attractive, but the themes are not original. Although at the moment we cannot How the Great Works of the Tonal Art Remain Through the Centuries, While Those of Less Value Are tell from where, we are sure that they are bor¬ Doomed to More or Less Certain Oblivion. rowed.” GEORGE p. UPTON. Such were the verdicts upon some of the earlier HENRY T. FINCK. SIR GEORGE GROVE. Mr. Upton was born in Boston, By LOUIS C. ELSON. works of the great master. One is glad to add, Grove was born in Clapham, London, Mass October 25, 1834. He was brought however, that Beethoven’s greatness was fully rec¬ Mr. Finck was born at Bethel, Mo., [Editor's Nora—Hr. Elson’s article is upon ie of the most obvious but a, e least discussed phases September 22, 1854, and was brought up August 13, 1820, and died May 28, 1900, no in’ a musical atmosphere, and pos¬ musical history. The recently published tr •ntal wort ’ m ,n ognized before.he died; his fame was by no means at Sydenham. He was educated at Stock- sessed a talent for observation. Apart ns the nanus and composers of 2S.015 operas, operettas. in Oregon. In 1872 he went to Harvard st are performed upon the stage in this day. posthumous. with the intention of becoming a physi¬ well, and later at Clapham Grammar from this he had no regular musical edu¬ ich the really worthy works “hold their ow certainly rt During his lifetime, however, Hummel was consid¬ cian, but took up the study of psychol¬ School. In 1836 he was articled to an 4 cation. He graduated from Brown Uni¬ works, some of the mistaken1 judgments and erro¬ ered by many to be his equal, if not his superior, in engineer, and qualified in that profes¬ Tempora mutantur et Musica mutatur in illis! Music ogy instead, and at the same time 1 versity in 1854, and removed to Chicago changes with the times even as much as we change neous criticisms that have strewn the paths of Art the domain of piano composition—a verdict that pos¬ studied music with Professor John sion 1839. Ten years later he became a in 1855 where he entered the newspaper with them. Darwin’s theory of the survival of the during the last two centuries. terity has reversed. Knowles Paine. In 1876 he graduated Secretary to the Society of Arts, and world. ’ He served as city editor of the In the case of Bach, we find not so much of lack i fittest is carried out in Art, even as it is in. Nature. Mozart held Abt Vogler (immortalized by Brown¬ with the highest honors ijl psychology, in this capacity was associated with the c Chicago Journal from 1855 to 1861, and of comprehension as of indifference. Yet the true Works that were once held to be ’marvels of tone ing) to be the veriest quack and charlatan. Yet, and gained the Harris Fellowship, promoters of the exhibition at the Crys¬ ■ was city editor and war correspondent appreciation of- Bach’s greatest works did not come production have been placed upon the shelf. Other Vogler taught both Weber' and Meyerbeer, and was which enabled him to continue his tal Palace. At the same time, he was co¬ for the Chicago Tribune, 1862-3, and mu¬ during his lifetime. There is a peculiar parallel operating with William Smith in a Dic¬ 1 compositions that have been reviled or held in held in high esteem by them. studies in Germany. Here his interest sical editor of the same paper from 1862 between Shakespeare and Bach. Both were recog¬ tionary of the Bible, and in promoting in music was fully maintained, and he C . to 1885. In 1872 he became associate ed¬ slight esteem during the lifetime of their creators nized as great in their own time, but their full the Palestine Exploration Fund. His *' CHOPIN RIDICULED. was fortunate enough to be able to at¬ itor of this paper until 1905. when have become the models and standards of modern grandeur was not understood. Both were relegated work at the Crystal Palace resulted in *1 tend the first Bayreuth festival. He fre¬ he partially retired, though he still re¬ times. It is possible that such changes are greater to semi-oblivion for' a considerable period immedi¬ Chopin was held in anything but high esteem by the formation of the orchestra under Sir quently wrote from Europe to American 1 tains a connection with the paper. He in Music than in the other Arts, for these have ately after their death. Both had a modern revival, some of the old pianists and composers of his time. papers on musical subjects, and this August Manns, for which Grove wrote the has thus served for nearly fifty years with fixed laws, while the rules of Music are constantly after which they came into their true position in Moscheles, pne of the most conscientious of teach¬ led to his being appointed to the editor¬ analytical programs. In 1867 he went to 1 changing. Painting has its fundamental laws rooted ers, had the gravest doubts about the value of Cho¬ Vienna with Sullivan, which resulted in the same paper. Like many self-taught Art. With Shakespeare the revival was begun by ial staff of the Nation and of the Evening in Nature, but the simplest harmonic progression, pin’s poetic innovations, in piano composition. Many the discovery of Schubert’s Rosamunde o' musicians who get beyond the initial Colley Cibber. With ’Bach it was inaugurated by Post. In this capacity he has remained an authentic cadence, for example, cannot be dem¬ in Paris, in the earlier part of Chopin’s career, held ever since, contributing valuable articles music. • In 1873 Grove resigned his po¬ stages, he has brought to bear on his Mendelssohn. onstrated by natural laws. Kalkbrenner to be the superior pianist, if not the and criticisms on musical subjects. Mr. sition as Secretary of the Crystal Pal¬ work an intellect absolutely uninfluenced A century after its first performance, Mendelssohn p. Music, then, is an Art made by man, for man 2nd better composer. Chopin himself may have mod¬ Finck believes that one .if the main func¬ ace, in order to commence his work on by any “schools of thought.” Such a brought o.ut the “Passion Music” (the St. Matthew estly shared this opinion, since he thought of taking tions of a music critic is to champion the famous Dictionary of Music and i man could not fail to have a great influ¬ it changes, even as mankind changes, from epoch version) in Germany, and the world at once hailed the cause of musicians whose work is in Musicians. In 1878 he visited America, ence on a growing community like that to epoch. Palestrina’s “Mass of Pope Marcellus” a masterpiece. It is a misleading statement in many lessons of Kalkbrenner. The latter had the audacity 2 of Chicago during the past fifty years. moved another Pope to say: “It must be such Music musical histories to say that the work was not per¬ to propose an apprenticeship of three years to danger of being neglected. He was one but returned home the following year to Js of the pioneers in the Wagner move¬ bring out the first. volume of the dic¬ 3 His principal works include “Standard that the angels sing in the new Jerusalem!” William formed between the time of its production by its Chopin. Mendelssohn said afterwards: “Chopin is ment, and has lived to see the Wagner- tionary. In 1881 he was called in to help > Operas,” “Standard Oratorios,” “Stand¬ Dufay wanted one of his compositions (a Motette— own composer and the revival by Mendelssohn. It worth twenty Kalkbrenners 1” ’ ian supremacy over more trivial oper¬ found the Royal Academy of Music, of jj ard Cantatas” and similar works on “Ave Regina”) sung at his death-bed, after he had had been produced several times in Leipsic, but Of the superiority which Mendlessohn assumed atic forms. Among his books may be ' . which he was afterwards made director. C “Standard Light Operas,” “Concert received Extreme Unction, in order that the music chiefly as a religious function, and not as a tremen¬ over Schumann we need not speak at great length. mentioned “Romantic Love and Per¬ Grove was knighted in 1883. His work Guide,” “Concert Repertory” and “Mu¬ might soothe his last agonies. Yet if we heard dous art-work. But it was from the Mendelssohnian The two were such opposites that it was perhaps sonal Beauty,” “Lotos Time in Japan,” as annotator, critic, teacher, organizer 0 sical Biographies.” Beside these “Stand¬ either of the above-named works we of the twenti¬ performance in Berlin, on March it, 1892, that it inevitable that they should not fully understand each etc. His more recent musical works in¬ and author on musical subjects can 3 ard” works, Mr. Upton has written on eth century would find them ascetic, abstruse and took root, and it was from that date that we may other. But Schumann over-rated Mendlessohn clude “Grieg and His Music,” “Success never be fully appreciated. He was 0 “Woman in Music,” “Musical Pastels," quite unemotional. On the other hand, if Dufay reckon the renascence of Bach, whose real growth’ while Mendelssohn under-rated Schumann. In in Music, and How It is Won,” and also an authority on literature and on “Life of Theodore Thomas” and “Life or Palestrina were suddenly to come back to earth took place in the nineteenth century. England they still contradict this statement, but the “Massenet and His Operas,” while read¬ Biblical matters. Browning spoke of of Remenyi” (in collaboration). He has and listen even, to such an inspired work as “Tristan MISTAKES OF COMPOSERS. fact remains that Mendelssohn’s close friend, the ers will recall his “Songs and Song j him as “Grove, the Orientalist, the and Isolde” they would think that our composers critic, Chorley, went to the wildest lengths in abus¬ also made some excellent German trans¬ We have already intimated that composers are Writers” and “Chopin and Other Mus- ;; Schubertian, the Literate in ordinary and had become utterly unmusical. Time, however, ing Schumann in. the Athenaeum, while a mere lations of biographical material, etc. the most apt to be limited in their views of other extraordinary.” (The Etude Gallery.) (The Etude Gallery ) sifts the different schools of Music with unerring suggestion from Mendelssohn would have stopped composers or of a school of music. Thus, we find hand, and sees to it that Palestrina’s music is not the flood of denunciation or have rendered it milder. Mattheson believing that Handel was greatly over¬ lost because of Wagner’s. rated, and was actually but a mediocre composer. JAMES GIBBONS HUNEKER. GEORGE SAND. LOUIS c: ELSON. Some of the epoch's in Music are in striking con¬ BRAHMS AND BRUCKNER. trast with each other, and the taste of the world Handel looked down most patronizingly upon Gluck. Mr. Huneker was born in Philadel¬ Mme. Dudevant, better known as Mr. Elson was born in Boston, April If one reads the Von Herzogenberg letters to has made some startling deviations. The epoch of “He knows no more of counterpoint than my cook,” phia, Pa., and was educated at Roth’s George Sand, was born in Paris, July 5, 17; 1848. He studied in America and in Brahms, recently published, it will be found that the old Gregorian chant was decidedly different thing of a musician, and counterpoint was, from Mill, from which lie graduated in 1873. 1804, and died at Nohant, Berri, June 7, Brahms yielded at least a tacit consent to the abuse Europe, among his • teachers being from the epoch' of Flemish counterpoint. Luther, cried he. But Handel’s cook happened to be some- He then proceeded to the study of law 1876. Her maiden name was Amantine of Anton Bruckner. Here are some extracts from August Hamann, August Kreissman who reveled.in the contrapuntal complexities of that epoch, ,no logger to be the ohief and only gauge in Philadelphia, but also became a pupil Cucile Aurora Dupin. Her early days J (the German LtVder-singer) and Carl of musical competency. Handel’s “Messiah” and Frau von Herzogenberg’s letters to Brahms, alluding of Michael Cross, with whom he studied 0 were spent in running wild around the Josquin Despres, might not have been in sym¬ to Bruckner: J Gloggner-Castelli, of Leipsic. Mr. El- pathy with the monodic effects of the first operas, Gluck’s “Orpheus” were masterpieces in different the piano. In 1878 Mr. Huneker went a Chateau of Nohant, mostly under the schools, and posterity accepted both “Rememher us to Wullner. Can’t you cure him of 2 son’s musical efforts have mainly been that came somewhat later. The wealthy Florentine to Paris, where he studied the piano , care of her grandmother, a great ad¬ j Spohr looked down upon Beethoven, and thought Bruckner, who has become as much of a.n epidemic with Theo. Ritter, and theory .with Leo¬ devoted to teaching, lecturing, and to amateurs who loved- these operas would scarcely mirer of Rousseau and. Voltaire, who his music very affected, but Spohr has faded, and as diphtheria?” pold Doutreleau. Two years later he re¬ .a writing on musical subjects. He became have grown enthusiastic over Bach’s B-Minor Mass Z was constantly disputing with her own Beethoven has not. The exaggerated estimate of “I should just like to know who started the Bruck¬ turned to America, and became asso¬ s head of the Musical Theory Department of the succeeding century. From this Mass to the daughter about the child’s education. 1 Spohr was fairly voiced by his wife in the epitaph— ner crusade, how it came about, and whether there ciated with Raphael Joseffy at the Na¬ .E of the New England Conservatory in style of Haydn is another wide leap. From Haydn The years 1817 to 1820 were spent at .a “He has gone to the only place where his works can is a sort of freemasonry among the Wagnerians.' It tional Conservatory of Music, in New the English Augustine School in Paris, 1882, and has retained that position ever to Wagner, from Mendelssohn to Richard Strauss, c« be excelled,” which epitaph pleased another widow is certainly like Taroc, that form of whist in which, York. He continued this valuable educa¬ where George Sand received the major s since. He has lectured at Tulane Uni¬ are long sweeps of the pendulum. so much that she copied it for the tomb of her hus¬ when ‘misery’ is declared, the lowest card takes the tional work for ten years. From 1891 .S part of her education. In 1822 her par¬ versity, University of Pennsylvania, *1 “IS THERE NOTHING NEW IN MUSIC?” band, who, unfortunately, was a pyrotechnist, a ‘trick.’ ” to 1895 Mr. Huneker acted as music and ents obliged her to marry M. Dudevant, Vassar, Harvard, Cornell, etc. He was maker of fireworks! Weber said of Beethoven, after dramatic critic to the New York Re¬ the son of an officer and baron of- the twice called to give a series of lectures Yet this lesson may be gained from studying the corder, after which he became associated . (eighteen in all) at the Lowell Institute, remarkable changes in our Art—one school of Music his fourth symphony: “He is now quite ready for I empire, but this marriage was very un¬ s the madhouse.” in a similar capacity with the Morning tti happy, and George Sand left her hus¬ in Boston, and has, of course, addressed never obliterates another. The good in every school Advertiser until 1897. He has also acted 0 band in 1831. She removed to Paris, J many similar educational institutions and survives in spite of the sharp changes of general CRITICAL ATTACKS UPON BEETHOVEN. ... Liicac cuuiuuuus to go qu art clubs. He has contributed very unrebuked, and once at least tacitly confirmed the as musical and dramatic editor of the and commenced to work for a living, at 0 popular taste. Yet there are many instances of Since we are speaking of the attacks upon Bee¬ largely to current musical journals and Brahms also heartily disliked the finale of Tsch; New York Sun, It is, however, as an first by painting fancy articles, such as prominent musicians imagining that all music is thoven, it may not be amiss to reprint one or two author of books on musical subjects and I encyclopedias of the best kind, and since kowsky’s fifth' symphony, and much other of tl cigar cases, but eventually took to writ¬ cast in the mold of their own time. It was about criticisms, which we have translated literally from as a contributor to musical magazines that ing books, in company with a man named £ 1880 has been musical critic to the Bos¬ 1722 that Rameau wrote lamenting that all possible composer’s music, while Tschaikowsky was by contemporary German musical journals." Regarding means fascinated with the music of Brahms. T Mr; Huneker is best known. His mor¬ a Sandeau. She published a novel of her ton Advertiser. His larger literary work changes had been experimented with in Music, and the Sonatas, Op. 10, we read: dant wit and keen analytical powers have include “Curiosities of Music,” “The world has, however, accepted both. n own, entitled “Indiana,” under tUe pseu¬ nothing new was left to be evolved. “Music is mori¬ “Mr. Beethoven goes on his own peculiar path, made him a very potent force for good in 3 3 Had the phlegmatic Brahms but understood t donym “George Sand,” and this at¬ rlSntr°ry. °f German Song,” “The Theory bund!” he cried, and he predicted its early death. and a tiresome and rugged path it is. Learning, the musical world of to-day. Among his of Music, “The Realm of Music,” “Na¬ fiery Hugo Wolf, it might have spared that coi tracted wide attention. She quickly Yet at that time there had been not one of those learning and learning, and' not a bit of poetry, not a best-known works may be mentioned tional Music of America and Its Sources,” poser many buter trials. A genius was here scourg J became the centre of a little coterie of 1 that we term the musical giants known in France. bit of song. And examine the learning “Mezzotints in Modern Music,” “Chopin C mto insanity by lack of help in his thorny path artists and musicians, chief among whom Great Composers.” Shakespeare in Mu¬ Bach and Handel were living, to be sure, but Rameau displayed we find tp !>e Ja crude and undigested the Man, and His Music,” “Melomani- were Alfred de Musset, the poet, and sic, and the delightful “European Remi¬ had no inkling of the power of their “new school.” But these misunderstandings form a rather drea 0 learning, which does not, clearly express its own acs,” “Overtones,” “Iconoclasts,” “A Chopin. She wrote many novels, but § niscences.” His latest book is “Mis- Beethoven, Mozart, Haydn, Weber, Schubert, SAm¬ recital. One might add a list of faded celebriti 3 intention.” Book of Dramatists,” “Visionaries” and the only one read very much nowadays who were believed to be. musical giants in th« ^or,eS In»uIusic.and Music Teaching.” His man n, Mendelssohn, Wagner, Strauss, Brahms, and Another writes ,qf tlje,same Sonatas: “Promenades of an Impressionist.” Mr. 0 is “Consuelo,” in which Chopin figures. son Arthur is a well-known musical all the rest of our great ones were yet to come. day. Moscueles was one of them. “Now, none “After playing the work, we feel as if we had been Huneker has also contributed to most She exercised a very great influence upon critic and writer. Together they have Music had not fairly commenced, even, when this invited by a friend to take a pleasure walk (Spazier- £°°!'*?, do I’1™, reverence.” Gade was another. I of the current journals which deal with all who came in contact with her mag¬ Played a very significant part in giving writer thought it was ended. gradually subsided into the position of moon to Me musical and artistic subjects. His valu¬ gang), and having once got us in his clutches, he netic personality, and on none more than It may further impress the lesson of such mis¬ delssohns sun so that the radicals called him “M able services to The Etude have been nm"m,nttd ;e,C°Snitio" ^ women in marches us up hill and down dale, until we get back on the Polish genius. taken views to pass rapidly in review some of the much appreciated. (The Etude Callery.) humnV .r* *r.S01’ Ilas a keen sense of home, without having had the least bit of pleasure, (The Etu3e Gallery.) humor and a kindly heart. changes which, time has wrought- with especial “tn- T,me has *** “0... and are only tired out and quite exhausted ” One could supplement the list with choice gems 729 THE ETUDE THE ETUDE 728 fttl or another, then comes Thanksgiving and Christ- simply defined, one thing at a time. I have seen “JUST ORDINARY MISS BROWN. mw preparation, and three of the best months « fatally false criticism, as misleading as the excerpts small children deeply interested in putting their from Beethoven's detractors, quoted above. Chor- hands in just the right position, and wholly ab¬ The Story of an “Old-fashioned’* Teacher and How thI dKUwd'that in some instances Miss Brown ley, who loathed everything that Schumann wrote; had advised continuing with another teacher "1 sorbed in making quick, correct finger movements. Hanslick, who found a thousand faults with Wagner; She Got Real Results While Others Faded. believe I succeed best with the younger ch.ldren, A definite fact always appeals to children. They like Bernard Shaw, who once discovered that “Pader¬ and after the fourth grade I prefer to advance ray to know what they are about. ewski almost displayed temperament” in one of the BY EVA HIGGINS MARSH. pupils to Mrs. -, with whom I have stud,ed so Two special exercises for finger action may be London concerts given before he became famous as many years.” This was one way of reasoning log. given at the first lesson; one for learning the “up” the most temperamental of interpreters; Burney, who I saw her coming up the road, and some peculiar long ago wrote of Philipp Em. Bach as ‘undoubtedly ically, I was sure. , motion of each finger in turn, with the other fingers intuition which women possess told me a much greater than his father.” “I often think,” she continued, I should have been WHAT TO DO AT THE FIRST LESSON resting quietly on the table. The second, beginning was going to turn in at our gate- A few minutes a school teacher, where pupils pass from one grade with the finger in stroke position, shows how a cor¬ later she rang the bell, and I answered the door THE NEED FOR BREADTH to another as a matter of course. Sometimes a pupil The Young Teachers Preparation rect “down” stroke is made. myself, only to discover the little music teacher leaves me with excuses a blind man could see If we can include in the first lesson something to What will the survival be of the new French, Ger¬ had seen visiting the homes of my friends so regu¬ through. I know they are false. Why can t I be By HARRIETTE BROWER awaken a love for music, so much the better. Some man and Italian schools of Strauss, Reger, Debussy, larly during the past year. . , told the real reason? I am reasonable, I am sure. short melody can be played by the teacher, something D’Indy, Bossi, etc.? Will Gounod's "Redemption” Knowing how desirable and how welcome she had Sometimes I get so disturbed 1 can t sleep nights, be in the ranks of standard oratorios in the next How many young piano teachers have solved this and quantity, but the same true principles will un¬ made herself elsewhere, I greeted her with a cordial. wondering what I may have or may pot have done. beautiful and touching, which will make an appeal to generation? If we study carefully the lesson of the problem, for themselves? No doubt you remember derlie it in both cases. The lesson should make ,.i_ -1 • r-Alice Rrsiwri Cti wllOIll 1 ilUV e Her evident sincerity attracted me, and I took the musical sense. The little Schumann Album for past, we find that almost every school of musical what happened when you took your first music les¬ the pupil think, and should include something to heard so much? . my daughters to her first musicale that season. the Young, or melodies from Wagner, are useful for composition grew, culminated, and was succeeded She smiled at first as though trying to determine son years ago. I vividly recall the eventful morning, bring out the rhythmical sense, something for the this purpose. by an era when mere skill in following its rules The first thing to attract my attention was a big . when my piano education began. As the lesson was gaining of physical control, for the acquisition of whether 1 was sincere in my flattery or mere!} table filled with music folios, duets, easy operatic If the teacher has succeeded in presenting all was mistaken for genius. It is possible that we are an early one, I could not go out to play, but sat, freshly technical skill and something to encourage a love conventional, and then she said with the sweetest arrangements, folk songs, classics for the young, the points indicated above, at the first lesson, and now in the midst of an epoch of this deceptive clev¬ starched and curled, in the house awaiting the ad¬ for music. possible voice: etc., and it seemed the chief attraction. Each pupil has done so with conviction and understanding, he erness pushed to extremes. It is possible that we are' vent of the teacher. She came, bringing with her a How, one may ask, is it possible to present so many "No—just ordinary Miss Brown.”. seemed to be making a choice, and I learned later may feel that the best that could be done for the upon the eve of the birth of a new school. The But withal, there was something which was not large, heavy “Instruction Book,” by one Henri Ber- subjects at once to a beginner? It is only possible pupil has been done, and it only remains to give the amount of striving in every conceivable new direc¬ that they might borrow these books for two weeks, ordinary about her—something which impressed one tini, which was to be my musical meat and drink for By using the simplest means. next lesson and all the succeeding ones with the tion seems like a premonition of the passing of the and exchange. It was really a circulating library of that she possessed real worth. many weary months. Some simple exercises, illustrating the difference music. same exactness and care, with the same loving pa¬ present veins of composition. She evidently was not young, which was common¬ I was taken at once to the piano and my little weak But they will not be obliterated. We may rest “But who buys it?” I asked. between stiff and supple conditions should be taught, tience, the same unflagging interest. place enough in itself, and yet the expression of her fingers placed upon the five keys, and I was told to assured that something of the work of the first “We have club dued of 'five cents a meeting which and freedom of movement be insisted on. Some But if it were possible to look over the whole field, face, amiable, hopeful, bright, seemed to belie the play whole notes with each finger in turn. Several decade of the twentieth century will remain. go to this fund, and when any missed lessons are persons seem to be naturally stiff and angular, but I am afraid we would find only a small proportion lines which marked it with Time’s delicate tracery. points were touched upon in that first lesson, the key¬ We have learned the lesson that the advanced paid for I donate that. The music, of course, re¬ this defect will yield to careful training. Ease of of the young teachers who are really prepared and The eyes, with their evident sincerity, seemed to board, the staff, and a little idea about time, so that musician should strive to understand all the different mains in my possession. Sometimes pupils give movement helps ease of expression, both essential equipped to give a first lesson such as has been give the keynote to her character, and as she came I could count four to the whole notes. But as for schools of music. The disciple of Brahms must albums to the library, so it grows steadily and is in qualities for a pianist. This principle can be begun sketched. I always feel such sincere sympathy for the to my door that autumn day the brown, suit and principles, I heard about none of them in my first les¬ also comprehend Wagner. The lover of Strauss must constant use. at the first lesson. Deep breathing, also, may be young teacher who is seemingly obliged to begin her the hat, with its yellow daisies, seemed to fit into son. There was no preparation of the hand, no phys¬ not turn away from Haydn; the Debussy dreamer The program, instead of the usual amateur one, touched upon in the first lesson, for the habit of work without sufficient preparation, and I long to help. the fall message she brought me. ical exercises, no single, simple finger motion ex¬ must also grasp the musical facts of Bach. We was given by advanced pupils of Mrs. -, the “Almost old-fashioned in this day and. age/’ her plained, no ear training nor tone study. In fact, such' breathing freely and easily cannot be cultivated too musicians need more of the breadth that is shown in advanced teacher, and a prominent vocalist, who early. fellow-teachers said, and I discovered some of these “outside” subjects were never considered. literature. We have never yet found a true reader sang Schubert’s songs to these children. They peculiarities as I talked with her. She had been I was thought rather precocious, so I soon had a EAR TRAINING. who has said to us: “You are fond of Shakespeare. seemed to~ know about them and enjoy them. Later sent to piy home by another pupil, and was planning piece called the “Sack Waltz.” I sympathize with the Too bad! For you cannot enjoy Tennyson. Do not the plans for the year were outlined and games Ear training can, have at least five minutes of the First Be able to play the instrument youu teacn._ what she laughingly called her “fall campaign.” long-suffering children who have struggled through read Milton, for you ought to admire Walt Whit¬ planned for by the Social Committee, which com¬ first lesson hour. The tones of the middle octave can Many people set themselves up to teach the piano— “I have no studio,” she said in reply to my in¬ that composition! Pieces multiplied and I had, per¬ man!” Let the musician appreciate the fact that pleted the afternoon. be played slowly, listened to and sung, with the and there are some well-known names in the list, quiry, “except that I occasionally give a lesson at haps, more than the average child. After eight or ten all the way from Palestrina to Humperdinck good piano and thereafter alone. Whole steps and half too—who do not play at all. Well, some of them home. You may smile at my reasons, but I miss It seems some new special feature marked each years of such instruction (!), I was in the same condi¬ composers supplement rather than oppose each other. steps can be explained—within the middle octave. are fakes. Some, by great force and intellectual fewer lessons that way. Regularity of lessons and year. This time the'circulating library, of which I tion as many young players are. I had not been taught Single tone study, taking the notes from C— to G—, ability, by having something worth while to offer income seem important enough to me to put myself have spoken, and the organization of a chorus principles underlying music, technic, tone production, is also very useful. The keyboard can be taught at instead of .the playing, have made us condone this to some inconvenience to gain. them. Excuses seem seemed the ones of most interest. What would they interpretation. I had no intelligent idea of harmony A VITAL FACT IN PIANO STUDY. the first lesson, in a very few words. The treble lack. But the artistic value of that teacher would be so frequent and so inadequate when pupils come to sing? First, learn to read music, then sing ac¬ or musical forms. curately and true to pitch, scales, intervals; rounds, staff notation is not difficult. A little child may increased many fold if he could actually demonstrate f BY ALICE L. CROCKER. "Unless they are expected to pay for them." I folk-songs, motion and action songs; the songs by AN AWAKENING. learn the. letters belonging to the lines by using the his ideas upon the piano. A teacher who can play Mrs. Gaynor and later part songs. Not only hands, About this time, I woke up to the fact that my fingers of one hand as an imaginary staff to practice well takes a much higher place in the profession, Time, digital energy and ambition have never in “I meet so few patrons that look at missed lessons but heads, minds as well as eyes—music in a broad technical equipment was' very defective. My hands on. The spaces between the extended fingers will and can earn double the income because of it. Teach¬ themselves made a pianist. These three essentials in a business-like way, and I can’t stand bickering sense, as well as piano playing, seemed the idea. were weak, and I must learn how to make them represent the spaces between the lines. ers should never stop studying, nor cease to work are useless without a fourth factor, and that factor over the charge for them. Some do, indeed, insist The election of officers and committee chairmen strong, the touch was uneven and I must find the Now for the technical side of the lesson; how on their technic and repertoire. It rests with you is “grasp.” How much one practices, how hard one on paying for them, even when I tell them it isn't interested me, with its careful observance of parlia¬ means to make it clear and brilliant. So I took shall we approach that? Can we give technic to a alone to do' this, for no one can do it for you, and practices and how deeply one desires to succeed the rules. I have no telephone, either, another way mentary usage. The usual four officers and a li¬ mj-self in hand, studied everything I could get hold child, for instance? Will, it be possible to interest you know, “where there’s a will there’s a way.” matter little unless the student cultivates the habit of solving the missed-lesson nuisance. A card two brarian were chosen also chairman of Executive, of, made many experiments and many discoveries. a seven-year-old in hand shaping, and in position of Second. A teacher of music should have a well- of seeing through things and comprehending the days ahead of time will reach me and give me oppor¬ A little later one of my life-long dreams was cultivated ear for tone. How can you correct the Program, and Social Committees, for it seems oc¬ fingers? Music teachers are supposed to teach music. essential beauties of a piece at once. tunity to dispose of the time some other way. casionally there was a frolic without a program. realized, and I found myself in Germany with two faults in your pupils unless you have a thoroughly What will be thought of one who does not teach This sense is partly intuitive. Corrugated brows, “Then, too, my • pupils are nearly all children. “Do your little ones practice any better for all whole years ahead of me in which to absorb all the trained ear? You ought to be able to stand at the nervous impatience and miles of scales will often music at the first lesson? Does not the gardener Wee ones are my hobby, and I know right well I these outside demands on your time and strength?'1 music and instruction I was capable of. My investi¬ other end of the room, and correct false notes and fail to reveal what a few moments of quiet reflec¬ would not allow' my child to go to a downtown I asked. gations into the heart of things went on, and indeed first prepare the soil before he plants the seed? The time in. your pupil’s playing. Then, too, how are tion will bring before the student. Before you studio alone, and it is not always possible to ac¬ they have never stopped. The progressive teacher pupil studying painting does not attempt a picture at you to give them, the necessary ear training, unless start upon your daily practice, stop a few minutes If they did not, we would not have them,” an- company them. Often I get closer to pupils, and should never rest satisfied over past attainments, the first lesson. No; he only learns to make the you are well up in it yourself? If you have not given and think. Try to penetrate the veil of technical f,Serf.d.th® Person who called herself “ordinary.'’ certainly to .the parents. I know the piano on but constantly press onward and upward. simplest lines and curves. special attention to this subject, now is the time to mystery which has concealed the proper interpreta¬ which they practice and its condition Often I find ii7tClpatl°n ls Partly conditioned on good work. We have to this end report cards, signed and re¬ I have no desire to write at length of my own ex¬ begin. You can set apart ten or fifteen minutes daily tion of a piece from you. Think quietly and in¬ it in a living-room, and the practicing to an accom¬ turned to me each .month. They ‘pass' from grade periences just here, and only give this brief sum¬ FOUNDATION PRINCIPLES. to the work, and will be surprised at the results. tently, but do not get "all stewed up” over it. Fix panying chatter and noise really disheartening.” to grade and appropriate exercises mark the com- mary of my early years of music study, as it may the passage clearly in jour mind and then play it. “How much teaching do you do,” I asked. My dear fellow-teacher, it is possible to teach those Third, You should be thoroughly conversant with be a type of the experience of many other young Do not do as I have seen many students do—rush “Each afternoon after three and most of Saturday. el0a° eac' 1 had kindergarten, then first, sec- foundation principles to a child, and if they are rightly the elements of musical notation, signatures, notes, women, who study the piano from childhood. into the actual practice pell-mell and skip hundreds My forenoons are my own, and that means practice, ° i th£d .?nd fourth, with A and B divisions in presented, the child will not find them dry. The rests and their exact values; tempo signs and' marks The first lesson is the teacher’s crucial test. With of times over the verj^ things which you should reading, relaxation.” each. Each month the Executive Committee ask great Michael Angelo’ said, “A perfect start is our of expression; rhythm, the symbols of ornament, and what spirit does she approach the work, and what master and which might have been mastered if you “But isn’t it much harder for you, going to so come 1St °F v'°hn'st or advanced pianist to greatest assurance of a perfect finish.” If the foun¬ the many directions for interpretation to be found in had only permitted yourself to think it out in a has she to offer? music. Young teachers often have very hazy ideas of many homes?” possible ”US: WC P a" l° aUend 3,1 local concerls dation of the palace be insecure, what matters it if common-sense manner. We will suppose for the moment that the teacher such things, and their pupils have hazier ones. Care¬ “Do I look well?”—the answer came unexpectedly the walls are covered with gilding and frescoes? At The right interpretation may come upon you like really conduct a small music school,” I is thoroughly competent, is wise and experienced, ful study will obviate this defect. “If so, I lay it to two things: First, regular out-. h any moment the structure may totter and fall. If a flash and save useless hours of strumming on the door exercise, which I get by walking, and, second, to that her personality is winning and lovable and she Fourth. Some knowledge of harmony is an abso- She laughed. “Yo you, as a teacher, are absolutely sure that certain keyboard. Every intelligent pianist I have ever my principle of limiting the amount of teaching I do i know, I said I was meant for is enthusiastic and devotqd to her work. lute necessity for the up-to-date piano teacher a. school teacher.” principles are true, and will bring about the desired known has resorted to this means. To sit down each day. I walk when possible from one lesson Teachers have said to me that harmony was not an But it seems she v DISCOVERING THE PUPIL’S GIFTS. results, you have no rightto offer the pupil anything at the keyboard and play incessantly without think¬ to another, and it clears my head and quiets mv t- Her announcements this essential and never helped them in piano teaching ing is just about as sensible a plan for the music less than the best. If you know that hand training nerves wonderfully.” heartWseInkra h-f ^ Sent by mail‘ 1 confess my She will look upon the new pupil as a fresh oppor¬ I formed my own ideas of their aims and ability student as it would be to place a piece of crayon tunity to do, and to give the best that is in her for should come before playing notes and pieces on the Miss Brown’s “fall campaign” opened early, not PTaduatinn f blt’ a"d yet 1 rejoiced, to see her own l°?u tlachfr makes the P"Pils early acquainted in the hands of an art student and tell him to make with printed announcements and very few telephone another’s good. The pupil’s good qualities as well piano, hand training is what you must teach at the with the chords of each key, the principal and sec¬ as many black marks as he possibly could in one calls, but was conducted by personal visits. These s&r. scr °( - as his defects will be noted. The aim will be not first lesson. “Let every man be persuaded in his ondary ones. Each piece given is analyzed for its or two hours. ■ ■ were made mornings for tfifc most part and took no to develop alone some special gift, but to equalize owft mind.” genera chord and key structure. The teacher must Seek, first of all things, the knack, the “grasp,” more of a busy mother’s timhthan was necessary to MRS. EMMA BROWN his powers and make him an all around, intelligent know these things, to be master of the situation or the right mental picture, and then practice to fix settle the matter in hand—that of renewing lessons. * announces the marriage of her daughter musician. If instruction on true principles is given some day the pupil may be awake enough to ask’ in this picture in your mind. This always brings Briefly, her teaching season opened the week after at first, there will be nothing to undo later. The results. CONSTANCE RUTH seaieu at a taoie, 'because at a tat convenient questions, which the teacher may find it the commencement of school: Hours could be re¬ right way is really much simpler than the wrong, for n best analyze the parts of the hand, and lea difficult to answer. There are a number nf “ , served now, Saturday' morning hours being in great the pupil. For the teacher it involves complete finger action. books that will help the young teacher in elementary demand. ... MR' LE R°Y H. GILBERT, grasp of the subject, much experience, and infinite The hand and forearm are quite relaxed, and e harmony study. Among them may be mentioned the No art is more closely connected with the inner “I have discovered.” she said, “that much time patience and love. The exact course that should on Wednesday, September the sixth, one thousand tended on the table, all the joints and parts of t Shepard Harmony books, ‘The Structure of Music,” life of man than music, whose magic power steps from the year’s work is lost at the beginning of the be adopted with the pupil at the first lesson depends precisely at the point where the positive expres¬ nine hundred and ten. wonderful little machine are explained, and the d season; then pupils wonder why so little is accom¬ upon the needs of the pupil, and upon his age. A cLhe G' C' G°W’ and Harmony<” by Dr. H. A. sion of language fails.—Ritter. plished each year. Delays are made for one rea- Minneapolis, Minn. ference between pressure and relaxation is show little child taking his first lesson and the adult Fifth._ A knowledge of musical literature This t home after October. 15, Minneapolis, Minn. beginner will receive instruction o'f different quality rhen hand position is taught, and, lastly, finger actio in a tew very simple exercises. All is clearly ai subject is endless and should be a fascinating one to the young musician. To revel among all the art THE ETUDE 731 THE ETUDE of harmonics is very essential. It may easily be 730 , nf Greek should show by the slight- illustrated by the following experiment. A piano of „ a was offended because his best stu. fine make and in the best possible tune should be CHANGING MUSIC TEACHERS. works that have been written for the last two hun¬ est sign tjah attcnd another college next year, used for this test. dred years! The quaint music of the Scarlattis, " fessor would soon find himself the laughing Have some friends or some pupil hold down the the Inventions and Preludes and Fugues of Bach; BY EUGENE E. AYKES. that profess worid. He would prove his un- following notes without sounding them and without the sonatas of Mozart, Haydn and Beethoven; the stock of ^ teacher’s function. He would the use- of the pedal- fitness for the tru ^ ^ ^ teachjng he ,, thjnk. works of Mendelssohn and Schubert, Chopin, Brahms A YOUNG pianist visiting Paris last year was asked and Wagner and Liszt, and the more modern-com¬ by a musical critic to give the name of his teacher thUSnSaof the interests of his pupil, but of his own posers. MacDowell, Debussy and many lesser lights. and mentioned the fact that he had studied with ion Reference to .n, re,inble. biographic, A LITTLE LESSON ON THE PEDALS Should not a teacher worthy the name be tolerably “half a dozen.” The critic stood aghast and ex¬ dictionary will show that a great majority of our well equipped on this side? Of course one can and claimed, "Two teachers are one too many.” Another ? scholars have had numerous teachers, By JAMES FRANCIS COOKE does grow constantly in this direction, when condi¬ American was asked with an air of surprise, and in a especially in those branches of study in which they tions are favorable; but even if they are not, and one tone of suspicion, why he had studied only six weeks have distinguished themselves. It may be confidently , This article has to do icith a description of the pedals themselves, l t pedaling. In order to know how to lives at a distance from a musical center, one can be¬ with his last teacher, and was forced to declare with Heal result this mechanism is asserted that few really great pianists of our day can . nedul one must first understand something of the mechanism of the pedals a... following article bp Mr. J. 11. come familiar with some of the best piano music, desinned to accomplish. An understanding of this article will enable the reader Now, while the above notes are being held down, shame that he could not help himself, inasmuch as say that they have had only one or two teachers. Ropers more thorough!)!.—Editok’s Note.] through the cheap editions of standard works. 1 here the teacher Only stayed six weeks in his town. It give the following note a resounding stroke and Even in cases where tuition fees were paid to only then immediately remove your finger from the key. is absolutely no excuse for even the country teacher is quite the common thing to warn the music pupil one or two if such cases exist, others have also oeen The piano inherite! the pedals from its prede¬ This pedal operates a set of wads, felts or dampers. to be ignorant of some of the works of each of the against changing teachers, so common indeed that it their teachers. For every time an earnest student of cessor, the harpsicord, although the pedals of the Each damper is on a separate wad. Look inside of- Ex. 3. composers named. Self-culture will work wonders is no sign of originality to repeat it. If one should the piano hears an artist play he becomes m a very harpsicord differed greatly from those of the piano. your piano and you will note that as long as you Broaden yourselves, and you will yourself reap the make it his serious business to prove himself a bro¬ real sense the pupil of that artist. Whenever a In fact, prior to the use of pedals on the harpsicord, press down any given key the damper, which under mide,” to show how utterly enslaved he is to the piano student hears an artist and fails to learn some¬ ordinary conditions is pressed on the wire, is raised. nvledge of musical form is a neces- stops, similar in appearance to those on the organ, Sixth. Some k trite and the commonplace, he could find nothing thing of importance from him it is a clear indication This permits the wire to vibrate as long as you __ _ teacher’s equipment. The sonata were used to operate the levers. better fitted for his purpose than an opportunity to that he is sadly in need of a change of teachers. For hold your finge. down on the key. The moment The first manufacturer to use pedals similar to If the instrument is a good one and in good con¬ form ^and the different movements of the work as give to a music pupil some such advice as this. it is precisely the slavish imitator of some one you raise your finger the damper rushes back to those used on modern intruments was John Broad- dition you will have no difficulty in noting that some whole—the scherzo, minuet and rondo; thematic ‘•Don’t go flitting around from teacher to teacher.” teacher that is usually too stupid to see anything the. wire and the vibrations cease. These dampers wood, the great English pianoforte manufacturer, of the notes continue to vibrate by sympathetic and lyric music, and the old classic dance forms, are But anyone who does his own thinking is likely to good in an artist of a different type. But the wide¬ are also all so connected that when the right pedal fascinating studies. who-took out his patent in 1783. The first use of the vibration, indicating that they have been set into ask himself the question as to whether or not such awake student will manage in some way to find a of the piano is pressed down the entire set of vibration by the same identically pitched harmonic There are a number of books that will be of as¬ advice is necessarily sound. And many music pupils multitude of teachers who are worthy of his respect. pedals thus dates from about the time of the found¬ dampers is raised from the wires by one motion of sistance to the teacher. A few are: “How to Under¬ or overtone existing in the low note which you have evidently do put that question to themselves and Thus it may be asserted that to deny a music stu¬ ing of the American Republic. The means of pro¬ the foot. The moment the pedal is released the stand Music” by W. S. B. Mathews, two volumes; ducing fitano or soft tones has changed considerably struck. Repeat this experiment, having your assist¬ decide against their platitudinous advisers. A few dent the privilege of studying with numerous teach¬ dampers return to the wires, and all sounds are ant hold down an entirely different group of notes. “What is"Good Music,” Henderson; “How Music De¬ years later, however, they forget how they were ers would seem to be in itself unreasonable, out of with different makers, but the forte, or, more prop¬ ceased until other piano keys are struck. This is all veloped,” Henderson; “Psychology in Relation to Mu- It Would thus be noted that when you strike low C forced to use reason when their own careers were harmony with modern pedagogics, which regards the erly the damper, pedal has changed but little in its that anyone can know about the mechanical effect sic/’ Dr. Bartholomew. and.Hadow’s “Studies in Mod¬ the sympathetic vibrations do not respond. involved, and go oh the rest of their lives repeating training of the individual judgment of the pupil as mechanism and in the effect produced. of the damper pedal. Liszt laughed loudly at the ern Music/’ two volumes. the warning that they themselves ignored. But is it the teacher’s pre-eminent task, and opposed to the piano students who insisted in having a manufact¬ Seventh. An acquaintance with the lives of the great THE MISUSE OF THE DAMPER PEDAL. methods encouraged by modern colleges and univer¬ THE PURPOSE OF THE SOFT PEDAL. urer’s knowledge of the further intricacies of the environment and the conditions fair, where the interests of others are at stake, to It must be quite obvious to the reader by this time composers. sities. where the ideas of selection and of electives iiistrunii 't. wrote, does much to broaden the say the usual thing and to give the usual advice In the original invention the soft pedal eff°cts that the very tonal heart of each string is intensified have been pushed perhaps to an extreme. Let the The principal object, then, of the damper pedal is musically, and many times helps simply because it requires no intellectual effort to were produced by “damping,' or reducing the loud¬ by the sympathetic vibrations of the other strings— most talented young man study with the greatest to permit the sound of the wires to be sustained terest and inspire the pupil. It is musical history do so? ness (intensity) of the vibration cf the strings, by that the manipulation of this pedal requires the piano teacher in the world, refusing to study with while the fingers may leave the keyboard to play n the best sense, the interesting and vital side. Now, at the outset, one must admit that there is a device which pressed a strip of soft textural ma greatest possible care and thought. There can be any other, and refusing to hear any other, and it is If, as the head master of Eton College states, an element of truth in the .suggestion that young terial against the piano wires. This strip of cloth another passage. Thus che damper pedal is really no wonder that Rubinstein said, “The art of the doubtful whether he could ever become even a like another hand, because it enables the player to 'Music is to be the grand subject of education in people are frequently too variable, and that they was called the sordin, or mute. pedal is the art of the piano.” It must also he mediocre artist. At the best, he could only imitate perform passages which, would be impossible with the twentieth century,” it behooves the teachers of need to develop all possible steadiness, persistence, In 1794 Sebastian Erard, the famous French manu¬ plainly seen that for almost every change of the his master, and mere imitation is always cheap. The two hands. this art to be up and doing—to prepare themselves, patience and power of concentration. If it were not facturer, invented a device which brought the ham¬ harmony the damper pedal must be released and re¬ wise student can and will and must learn from a In addition to sustaining the tones by permitting with infinite care, to be always studying, always for this element of truth and reasonableness the sen¬ mers of the piano nearer to the wires prior to the applied. It is only very rarely that it is permissible multitude of teachers. It is so in Latin and physics the vibrations to continue at pleasure, the damper learning. It is a beautiful thing to teach this young¬ timent, of course, would tiot persist. Every long- moment when they were to strike. This lessened the to keep the pedal down during the period in which and history. There is no reason why it should not pedal assists in creating another effect. When the est and grandest of the arts. Our place as teachers lived prejudice or superstition has some degree of sound by lessening the distance of the stroke of the two harmonies are played. Then it is usually only be so in music. However, the student should remain dampers are removed from all the strings a singular should be at .the front. There is always room at rational justification. Precisely in proportion to the when the. harrhonies are closely related. with one teacher long enough to give the teacher an hammer from the wire. phenomenon occurs. When one group of notes is the fore for those who are worthy. apparent reasonableness of an error is its danger. The novice sees the ff. sign, or the sfz. sign; and opportunity to complete the work he outlines for the Later Erard placed a strip of cloth, as described struck the tones are amplified and increased- in Too frequently pupils change teachers simply be¬ down goes the damper pedal, which is not released in Broadwood’s invention, between the hammers and volume by the sympathetic vibrations of the other cause they are tired of serious work and hope to until the right amount of harmonic rumpus has been find a teacher who can show them an easy way to the wires. This pedal was then called the celeste strings, which are now free to vibrate at pleasure. THE SOUND-REPRODUCING MACHINE IN created. Le.t us suppose that such a novice were to success. Of course they are chasing a “will o’ the pedal in France, and the flauto pedal in Germany. It is this amplification which has given the pedal MUSIC STUDY. hold the pedal down during the performance of two wisp,” and it.is our duty to say so. There is no easy WHAT’S IN A NAME? The third means of producing soft effects by the misleading name of “loud pedal.”- True, the measures, such as the following from Schumann’s way to real achievement, especially in music. The means of a pedal was invented Ly a German, Johann The strenuous efforts that are now being made to sound is increased, and there can be no doubt that “Toccata,” Opus 7: teacher who pretends to .know of any such way teach the general public that native composers may Andreas Stein, in 1789. This was accomplished by great players employ this pedal judiciously for this should always be branded as a charlatan, and the equal the foreign product in their musical works is at means of a lever which shifted all the hammers in purpose when demanded by the music. When used sound-reproducing mu- unwary should be warned against him. But while • last beginning to take effect. It is doubtful, however, a body, as well as the keyboard, a short distance by tile novice to secure loud effects it is almost in¬ ..tie, II. E. Krehbiel, who it is folly to have a faithful and conscientious teacher whether the tendency to reverence the foreigner will to one side. The purpose of this may be easily variably abused in an ear-raeking manner. l-page articles upon the subject in order to study with a charlatan, it is equally fool¬ ever be entirely eradicated from the human breast. understood if the reader will look inside of his piano The reason why the misuse of this pedal produces . . ..—ch tile following short extract ish to continue studying with a charlatan in order —The Editor.] Snobbery is as old as the hills, and is by no means mere¬ and note that in the middle section of the wires such excruciating effects is due to the fact that the to avoid changing teachers. Let us be sensible ly an Anglo-Saxon failing, and by no means found only each note is represented by three wires tuned in increase in tone, brought about by the sympathetic "Who has not been asked to fix the position of enough to recognize the fact that while it is some¬ among musicians. In Paris to-day things English and unison instead of by one wire. By shifting the vibration mentioned, is not irregular, but regular Mine, Adelina Patti among the singers of the world, times very unwise to change teachers, it is also American are admired and sought after more than the hammers a little to one side, one or two wires may and harmonious. Each of the lower wires of the and to say how she compares with Jenny Lind. Mali- sometimes quite the reasonable thing to do. home product, and the modern Frenchman professes to be struck, according to the desire of the performer, piano generates a series of upper tones, known as bran, Sontag, and the rest of the melodious throng There may be many good, reasons for leaving the be as keen on “le sport” as any Englishman. The same and the quantity of sound correspondingly reduced. harmonics or partials. These tones are reinforced way back to La Bastardella? * * * A singer’s best teacher in the world and seeking the tuition of thing is noticeable in Berlin and irr Naples—the Italians In addition to this, a very beautiful murmuring, or by the sympathetic vibrations of the free strings. technical achievements can be measured in phono¬ another. There may be something in his tempera¬ especially being admirers of “imported” goods. “acolian” effect, is added by the-fact that the strings The series of harmonics generated by striking The effect at the end of such a measure would be graphic reproduction of her singing just as her ment, or in his method, that qualifies him in an especial The Anglo-Saxon race, however, being mainly com¬ which are not struck, but which vibrate in sympathy one wire, such as low C, would produce the over¬ as if all the following notes were sounded in a group physical appearance can be judged by a photograph. way for success with one and for utter failure with mercial in its general life, seems to be peculiarly sus¬ with the strings which are struck, give a kind of together: It is, therefore, feasible to establish a museum, if another. Or it may be quite desirable for a student tones or harmonics indicated in the following: ceptible to the art-products of long-haired foreigners tone quality to the tone mass, which can only be you will, of examples which will enable the future to get various points of view by going to various with unpronounceable names. Even to-day there are described as “delicious.” Ex. I. student, historian or critic to judge of the art of the good teachers. His going from one to another is no many people whose respect for a new piece is vastlv Beethoven was very fond of the effects of the last great ones now alive. How marvelous the vista reflection upon anyone, but only a dignified assertion increased when the name of the cover ends in ‘‘ski," described pedal. He preferred them greatly to the which this idea opens! At last the thing in music of his right and duty to‘ consider his own career -Seventh Harmonic. ovitch, ’ or some soft Southern name that calls up celeste effect contrived by Erard. The name used —1*- Sixth Harmonic. Play all these notes as though which has been hopelessly evanescent is subject to rather than the personal vanity of his teachers. visions of the sunny borders of the Mediterranean Sea. for the pedal with the shifting keyboard was una preservation. The song need not die with the singer This right is unchallenged in all the world’s great¬ - Fourth Harmonic. they were one chord. This peculiar form of snobbery was very marked in corda (one string), and this sign is used to this day v—®— nor the tone of Joachim’s violin in Joachim's hands est educational institutions outside of music. College England at one time, and Sir Frederick Bridge has as an indication of the moment when the soft pedal perish with the body of the violinist. Hereafter and university students have no hesitation about recently called attention to an amusing effort made by — the student will have something beside the printed passing from one institution to another, and their is to be pressed down. When the soft pedal is to be - - Third Harmonic. an English composer two centuries ago to raise a laugh page to help him form an idea of the art, tastes and profes*sors would be regarded as childish and unworthy released, or permitted to come up, the term tre Second Harmonic. at the expense of the susceptible public. A new song The manner in which the average amateur uses tendencies of a past era.” of their dignified positions if they should presume to corda (three strings) was used. These terms are First Harmonic. appeared purporting to be by an Italian. It was an the loud pedal, so that the effect resembles an epi¬ Mr. Krehbiel had the true prophetic vision, for take offense and to treat the matter as personal. On the opes still generally employed, though other terms w - : instantaneous success, and soon became a great popular demic of la grippe in a menagerie, is as annoying as the sound-producing machines of to-day bear about the contrary, the great majority of university pro¬ are sometimes found in some pieces. Beethoven, for iavorite. It was sung in all the London drawing-rooms, ------Fundamental. it is ludicrous.. the same relation to the phonograph of 1893 that fessors send some of their students to other profes¬ instance, used in some of his comnositions nach und the aeroplane does to a stage coach. More and TT u y tlle habiU,cs ofl the Pump-Room at Bath, nach Meltrere Saiten (little, by little more strings) sors -every ■■ yeah as'the students elect to go, and It must be remembered that every tone struck is THE MIDDLE PEDAL AND THE “SOSTENUTO” PEDAL. more of these instruments are being employed with and by the less aristocratic shopkeepers in less exalted for the return to three strings. He also used tutte always with letters of warmest commendation, if really a composite tone, Or an assemblage of a good results by voice teachers who see the advan¬ places. Musical amateurs were especially fond of the le corde (all the strings) and tutte il cembalo (all The middle pedal on the piano has had so many such letters can be conscientiously given. It is series of tones in regular order, similar to the tage of having a “library” of the voices of the great¬ regarded in college circles as a good thing for a melody, and declared that music set to such elegant the piano). different applications that it is necessary to study above, but differing of course, with the original est singers at hand for immediate reference and young man to make some decisions for himself. It verses was not to be obtained in England except through the matter quite closely to ptrt the reader in a posi¬ fundamental tone struck. It is next to impossible illustration. A college or school without a library is sometimes better to make an inferior choice than Italian sources. Imagine the chagrin of these highly THE PURPOSE OF THE DAMPER PEDAL. tion to know its proper-purpose. critical gentlemen on discovering that the composition for even the trained ear to detect these upper tones of reference hooks would be very seriously handi¬ to make none. The power of thinking for one’s The damper pedal, wrongly called the “loud” The first name of the middle pedal to become capped and the time will sorely come when records self, of exercising one’s own judgment is worth more was indeed the work of an Englishman—of Henry or harmonics while listening to the tone, because widely used was the sostenut'o pedal. In French Lawes—-and that the words, so far from being “elegant pedal (although the original name was forte pedal), the lowest, or fundamental, tone is so strong that of great masterpieces will he considered equally than having any teacher. In fact, every young man is the pedal most used and most needed to give it was. called the "pedale de prolongement," and in important. has a right even tn make some blunders of bis own. verses were a judicious selection from the index of it predominates. However, in the. correct use of German the "kunstpedal” (art pedal). an J talian book 1 variety and interest to pianoforte interpretations. the damper pedal an understanding* of the principle The sostenuto pedal was invented by a blind THE ETIJD E 733 732 Again the player will find that this pedal TH E ETUDE lions meaning that the soft pedal, or left pedal, „ oDerates the tin-panny mandolin, Frenchman named Montel, and was first shown by In a line with the public recital, is the association of should be pressed down. guitar", banjo, xylophone, etc attachment. In¬ him in London in 1862. The object of this pedal deed pianos have been made for backwoods the teacher with outside musical activities. I know one is to enable the player to keep selected notes sound¬ consumption with four, five, six and even seven teacher out West who has largely built up his classes ing while the hands are engaged in playing other THE PEDALS ON YOUR PIANO. because he has always been ready to take part in or¬ notes. It differs from the damper pedal, in that it It is highly necessary for the reader to know PeThe'author has seen cheap upright pianos on ganizing a chorus or orchestra, or in carrying on the holds up the wires of single individual notes which the purpose of the pedals upon the piano he pos¬ which the middle pedal was s.mply a fake and activities of a musical club or course of concerts. I are permitted to vibrate by themselves as if held sesses. By reading the foregoing carefully and com know another teacher in the same town who has held reallv doing nothing but operating another lever down by individual fingers, whereas the damper paring it with the following he will have little diffi¬ aloof from all of these things, claiming that his time is of the soft peda" These, of course, are put upon pedal lifts the dampers in a body and releases all culty in determining this important matter. valuable and that he cannot waste it in helping along the instruments for the sole purpose of deceiv¬ of the wires, thus permitting the sounds to be re¬ all of these auxiliary musical ventures. His classes ing the public. There is no special sign used inforced as previously described in this article. have shrunk just as the other teacher's classes have THE PEDAL ON THE RIGHT. for the middle pedal except the words sostenuto SHALL I ADVERTISE? The correct use of the sostenuto pedal demands grown. His time may be valuable to himself but it does Known as the forte, or damper pedal. The advanced musical training, the quickest kind of not seem to be valuable to any one else. mechanism and effects of this pedal are essen¬ By ARTHUR JUDSON headwork and the deftest kind of footwork. Its Theedab'ility to use the pedals artistically can only These lines of work, recitals, outside musical duties, principal use is to individualize and distinguish a tially the same in principle in the square, t le be acquired after much practice and experience. At social power, are the best forms of advertising I know The musician of to-day (by musician I mean the showing the teacher’s work is the pupils’ recital, for it melody from its accompaniment. The desired note upright and in the grand piano. best the use of the pedals is a life study, and much of. L have been associated with advertising in all its active teacher, the real leaven in our American musical is an actual demonstration of what the teacher can do. of the melody is struck, the sostenuto pedal pressed The signs used for this pedal are Ped. followed of the excellence of pianoforte playing must depend forms for many years, but I have yet to discover any progress) is asking himself two questions which, if In the pupils’ recital the teacher has a unique means of down, and the result is that the melodic note con¬ by a star, to denote the time when the pedal is ° the proper appreciation of their importance. form of advertising that pays better, or as well, as what proposed to him a decade ago, would have been dis¬ showing his “goods.” The dry-goods merchant must tinues to sound, although the accompanying notes ' to be taken up. The following sign is also used The reader is earnestly advised to procure Hans I call the personal form. The teacher who depends in missed with scorn. The questions, “Shall I advertise?” collect his pay for his goods before they have been are not sustained as they would have been if the at times instead of the star: Brhmidt’s “The Pedals of the Pianoforte, and under¬ the main on these things to cause his classes to grow and, if so, “How shall I advertise?” would, twenty used, other merchants prove the merits of their com¬ damper pedal had been used. In modern editions we find the following sign. take a course of self-study with the assistance of will never lack for pupils. - which is vastly more definite than the old years back, have been answered decidedly in the nega¬ modities after they have been paid for. but the music The opportunities for the use of this pedal are this excellent book. method, since it shows exactly where the pedal tive. “Adertising,” would have axiomatically declaimed teacher demonstrates to the prospective pupil the exact limited for students in the earlier grades, but they results which he obtains, as well as showing the par¬ LOCAL ADVERTISING. are also almost unlimited for the virtuoso. There is to be depressed and released. the teacher, “is undignified. We are artists, not busi¬ ness men; let us keep our art apart, sacred.” ents of the pupils the monthly progress. The students’ But, in addition to personal advertising, the teacher are very few pieces in which the sostenuto pedal recital, then, should be assiduously cultivated. Most needs advertising of another kind for, in his personal could be used for more than a few fneasures. In the In a way, our teacher would have been right. Adver¬ teachers realize this and yet fail because their recitals activities, he cannot hope to come in contact with every¬ two measures from the Rubinstein Barcarolle, which tising is undignified, for it is, in its last analysis, but are not properly planned and carried out. Many make body, unless he be working in a very small town. For follows, it may be seen that the sostenuto pedal may DAILY SPURS TO PRACTICE. the spreading broadcast of one’s own merits. But, in their programs too long and monotonous, present illy- the teacher in the town of average size, say from be used with, effect. Here an entirely different A comfortable seat is a necessity in good practice twenty years, the world has moved considerably, and prepared pupils, fail to get the right kind of an audi¬ 10,000 to 50,000, I would advise what I call local ad¬ effect may be produced by the use of the sostenuto work. Be careful that it is the right height. There whether the tendency has been to make the art more Lastly, we have the method devised by Hans ence, all because they do not place themselves in the vertising. This consists of cards, or small circulars, and pedal from that produced by the use of the damper is no real reason why a piano stool should not have dignified, or not is not the question. The real question Schmitt in 1875, and indicated in his excellent place of the prospective pupil or his parents. the local newspapers. Every musician should have a pedal. Rubinstein advocated the use of this pedal, work, “The Pedals of the Pianoforte,’’ whereby a back to it, and there are several good reasons why is, “Am I making the most of my investment?” To be attractive, a'pupils’ recital should present only business card giving his name and address and his office as does Paderewski and many others. : of the pedal is indicated by notation it should. You are going to tire your brains in your We recognize as a patent fact that the merchant has well-prepared pupils in a short and well-balanced hours, and may have a circular with a picture, a short practice, don’t tire your body too. an investment of a certain sum of money in his busi¬ program with plenty of contrast, and the. audience biographical sketch and some letters of endorsement. I ness, we speak of a college education as “an invest¬ should be carefully selected. The program should not If the pedals squeak when pressed down, have them ment,” we measure everything in terms of expenditure be over in hour long and should not contain over approve of the card, but' do not believe strongly in the attended to. There should be no noise heard from and return. Why, then, should we consider our musical twelve numbers. These should be so arranged that circular. The function of all advertising of this kind is to bring the prospective pupil in touch with the the pedals in piano-playing. talents, if they have been trained so that we may exer¬ the program increases in musical interest as it advances, cise them for the purpose of making a living, as other though it is better to present the younger pupils in a teacher so that the matter of terms, of ability, etc., Follow the dynamics as well as the notes. If a pas¬ than investments from which the best possible return is separate recital. If all the. pupils sing or all are pianists, may be settled. The circular which satisfies all of the sage is marked f don’t play ff. Be careful of diminu¬ to be gotten. If we are satisfied with less than the best an assisting artist should be engaged to break the prospective pupil’s curiosity fails of its purpose, because endo and crescendo passages. Begin right so that the then we are not making the most of our investment. monotony. The average teacher is so busy teaching it does not induce a personal visit. .volume of tone can be increased or decreased as in¬ Music, then, as a profession, is a business. It may be that he is not at his best as a soloist and he should not If a circular is used it should be confined to a bare dicated. an art, its ideals may be high, but it is in the end a sing or play at his pupils’ recitals. Even if he is com¬ statement of the facts mentioned above. The circular business to be managed according to business laws. A petent as a soloist he should reserve himself for social which praises the teacher unduly, which states that he Only use well-edited music. Remember, however, business succeeds, or does not succeed, according duties if he is to get results from the recital. If he can teach anything, which can only be described by the that even editors are not infallible. Small but impor¬ to its conformity with fundamental business principles. must appear during the year as an artist, as well as word “gushing,” is the kind that ruins business. Let tant details often elude the most vigilant eyes. Be Roughly speaking, these principles may be said to be the a teacher, let him give his own recital at a time when the teacher confine himself to the teaching of as few guided by your commonsense. possession of something salable, the presenting of the his other duties do not conflict. subjects as possible, present in his circulars endorse¬ ments of undoubted standing, and a statement of his salable commodity in the right market, and the exploit¬ SECURING AN AUDIENCE. bass while other notes in the treble are being THE PEDAL ON THE LEFT. Don’t stumble over your playing. If you have con¬ ing of the commodity. If, in addition, the price be ad¬ official musical positions (if any), and he will get the played. Known as the piano or soft pedal. tracted this habit, you have . probably been trying to justed according to the wealth of the community, the The audiences for these recitals, both teachers’ and best results, though, as I have above stated, I regard a On upright pianos the effect is usually pro¬ play music beyond your grade. Keep to where you be¬ sale is absolutely certain. pupils’, should be carefully selected. Admission should circular as an unnecessary waste of money. SOME FREAK PEDALS. duced by shortening the stroke of the hammers long until you are quite ready to go on a stage further. be by card only, since that which is free is seldom ap¬ Above all, advertise in the local newspaper. This Lastly, we come to the freak pedals, which will by bringing them nearer to the wires. SELLING “TEACHING TIME." preciated, and these cards should be distributed where may be done by means of a standing card or reading produce an imitation of most anything from a tin- On the old square pianos this pedal thrust You cannot progress quickly without going slowly. For the sake of the readers of this paper, let us con¬ there are prospective pupils. While the recitals may be notices. The standing card should be a mere statement pan to a bass-drum. The use of these pedals is a piece of thin felt in between the hammers and At the same time, it is well, every now and then, to fine the discussion to the sale of “teaching time.” The primarily intended to allow the pupils to show what of tie teacher’s name and address,' what he teaches and limited to bizarre effects. They are not demanded fill the wires, and thus softened the tone and at the see how quickly you can play without sacrificing clear¬ music teacher is running a business and, unless he con¬ they have learned they are just as important to the his office hours. Never state the price. All things being ness and evenness. by the music of standard composers, and the man¬ v". same time altered it by muffling. forms to business rules, he will fail just as his friend teacher from the business standpoint. Having the equal, the teacher who states the lowest price in his dolin, guitar and banjo effects are often extremely On the grand piano this effect is usually pro¬ the dry-goods merchant fails because he does not meet wrong kind of an audience is just as profitless as adver¬ newspaper advertisement will get the pupils. On the Keep a clear head. The unthinking student who other hand, if the teacher can get into personal touch unmusical and even ludicrous. The only time that duced by the shifting of the hammers, after the the existing conditions. As to the salability of the tising 111 a newspaper without circulation. rattles gaily over the old mistakes can never progress. witn the prospective pupil he has the opportunity of the author has ever heard an application of the tinny, manner invented by Stein and previously de¬ teacher’s time, his fitness to teach, his location, or mar¬ Public recitals should not be given more often than Time, opportunity to practice, good teaching, and de¬ convincing him that his price is equitable and no larger tinkling effect (similar to the mandolin effects de¬ scribed. The signs usually employed for this ket, we cannot offer advice; these things must be set¬ once a month, or better, every two months. Very few sire to excel, are all worthless unless through your prac¬ than the quality of his teaching warrants. If you live scribed) used at a first-class concert was upon .the pedal are una corda (one string), for the depres- tled individually. But assuming the teacher’s ability teachers have such large classes or such talented pupils tice your mind is concentrated on what you are doing. m a town where the field is large enough, specialize occasion when Gustav Mahler gave a Bach concerted sion of this" pedal, and tre corda (three strings), and the proper market, how can he produce the desired that they can present twelve well-prepared pupils each Announce in your card that you are a specialist in piece, accompanied by the New York Philharmonic for the release of the soft pedal. In addition results? month. The pupils on the program should be chosen Travel by slow stages. Napoleon and his men voice building, in tone, in repertoire, or that you are a Orchestra. The piano for the occasion had been to the other terms described in. the body of this To many, the term advertising means but one thing, because of their ability to play in public; the audience, marched to Moscow one step at a time. coach. While this limits the field, it sometimes brings altered so that it would resemble the sound of the article, the Germans use mit verschicbung (push¬ the use of printer’s ink. They imagine that a liberal ex¬ out of sympathy, may applaud the pupil who breaks huger prices and a better class of pupils. clavichord. The result in this case was truly ing aside) for the depression of the soft pedal, penditure in papers, cards, circulars, etc., is bound to down and has to leave the stage in confusion, but that exquisite. and ohne verschicbung (without the shifting de¬ Music which through prolonged usage has proven produce results no matter what the conditions under¬ does not help the teacher to get new pupils. In order . “Mr "r?(ic?n,0tice shouId read somewhat as follows: Mr. John Smith announces that he will resume teach- vice) for the release of tire soft pedal. This its possession of those qualities which entitle it to lying the advertising, and a failure, after much money CON SORDINO. to prepare pupils for public appearances, it is well to . shifting device is by far the most artistic and be taken as a standard of excellence, and which has spent in this way, makes them enemies of advertising have semi-pubhc recitals twice a month in the studios OcJ;Tt ’"p StUd!CS’ No- 120 Jones street, on A misunderstanding, resulting in much bewilder¬ most delight-giving of all the soft pedal devices. October 1. Prospective pupils may apply any after¬ come to be acknowledged, first by corrjpetent judges, in all its forms. The fundamental question is not “Shall at which all pupils may appear. These recitals give the ment, even among advanced pupils, surrounds the It adds much of the charm to the grand piano. noon during the last week in September and by ap¬ and subsequently by the public generally, as repre¬ I advertise?” but “How shall I advertise?” The pupils a chance to play before a few people and to dis¬ term con sordino. This direction is found in many senting the highest expression of musical taste, and various ways of advertising may be catalogued as fol¬ pointment after October 1.” This should appear in the THE PEDAL IN THE MIDDLE. cover the weak places in their various numbers. Such pieces, but the correct interpretation is sometimes in' hence authoritative as a model. Such music com¬ lows: i. Through the work done. 2. Through local inserted ThnTth COnfnln«. locaI news and should be considerable doubt. We have learned that John On grand pianos this is either the bass recitals also serve to placate the parents of pupils who inserted about three times in each issue of the paper bines in true proportions the qualities of both head mediums. 3. Through the use of National mediums. are not yet ready to play in public. Broadwood invented what he called a “sordin.” This damper pedal Or the sostenuto pedal described and heart, or, in other words, it is characterized by An advertising man of prominence once said to me: was a means of making the piano sound softer above. As it came into existence since the de¬ the union of the emotional and the intellectual in “In deciding whether a certain commodity will sell, or £ “,i through the use of a strip of cloth pressed" against cline of the square piano, it is rarely, if ever, proper equipoise, and through the possession of not, if advertised, I always consider the quality, the the wires. His use of the term “sordin” (the Italian found upon square pianos. lose qualities in their right adjustment, combina- market and the price. If these conditions are right an READING NOTICES. word for mute being sordino) was legitimate. Bee¬ On the upright piano this pedal may be any tion and relationship it is delightful and instructive, advertising campaign is worth while; if they are not and attractively arranged so that the atmosphere is on Whiie this advertising is valuable in itself, it is still thoven, however, thought of the sordino as a damper, 1 One of several things. On most upright pianos always fresh and incapable of growing old. The there is absolutely no hope.” Let the music teacher of success and prosperity. No teacher ever succeede more valuable in the criticisms of recitals which it and when he wanted the damper pedal raised he it is simply a practice pedal, the soft effect being reason why classical music does not always please carefully consider these things before he establishes because he neglected to have the surroundings attrac a es possible. The average newspaper editor makes used the words settza sordino (without the dampers'), produced by the hammers striking on a thin at first hearing is .because all have not the faculties himself. In giving lessons the quality of the teaching tive, hut many a teacher has augmented his classes bp and when he desired to have the damper pedal of perception and reception to an equal degree, must reach a certain standard or the pupils leave. Sim¬ 1 mTputl °f, adver&—-d he c”n„ot piece of felt instead of between the hammers and cause he gave the appearance of prosperity to his publi ,1™, 3 P“fely business standpoint, afford to give pressed down he used the words con sordino. the rings, as in the case of the original soft and tv, wh° llave fine and penetrafng discernment, ilarly. unless there is a field Jor the kind of work one functions. Before and after the recital, the teache Although this was all right from Beethoven’s point pedal. In some other instance the middle pedal at 3 ury,.p making nice distinctions, perceive is doing failure is just as certain. And, as to price, should make it his business to meet as many of th of view, it is, nevertheless, confusing for the student, of the upright pianos is similar to the bass closp • 9t'lers k requires time, study, and it is self-evident that New York prices cannot be auditors as possible. Business is done bv personal con since the term con sordino is also used in some edi- damper pedal of the grand piano. ' 3nCeShiP hl °rder l° aPPreciate duly.- charged in the small town of the Middle West or South. tact and many a pupil has been gotten by a few word By far the best means of advertising is by the results of greeting or a suggestion aptly made at a recital. Thi Side is used a„dCfn 566 ** 3 Sane' ^sibk accomplished, by work well done, and by the develop¬ social attitude of the teacher at a recital is fully a is so often inserted TLhe newsPaPer bosh that ment of personal influence. The most potent means of important as the work of his pupils 725 TH E ETUDE the etude 734 reflex movement .at the moment of it is a mat‘ernl°ufst be remembered that reflex move- THE ETUDE EDUCATIONAL CARTOONS FINGER TECHNIC. o him the best points about your pupils’ play- execution, in their nature, and must neces- ' e your own criticisms; it always pro¬ men,ts /fnreceeded by conscious primary movements in the end. BY OSKAR RAIF. Sam the many experiments that i instituted with the If you live in a small city surrounded by numerous Of the m _Y ”h propositions previously stated 1 small towns, advertise in the local papers of those design of Pr^‘nf0,lowi„g in the winter of 1888 I had towns. I have noticed that the merchants in such T11 ,me" of"my pupils practice with the right hand alone eighteen of my PUP^ P he tcmpo for five-finger cities announce that they will pay the small fare from for two months. *** ^ was fixed by the metro. the towns to the city if purchasers buy a certain amount at their store. It is profitable to the teacher to instiueticn.—Editor's Note.] exercises . ^ group of sixteenth notes J = announce that he will make his teaching rate equitable Close observation has proved the supposition that the ^for the right h*nd and , =u6 for the left hand. so that the out-of-town pupil will pay for the lessons pianist has a greater degree of flextb.hty m. the smgle Then the finger exercises, scale and arpeggio studies just what the city pupil pays, minus the trolley fare. fingers of his hand than the ordinary mass of mankin I were practiced with the right hand alone, and in a The tendency of the present times is to centralize, and to be erroneous. Numerous experiments with persons . averase rapidity had increased to 0 —126; this device is but a way of meeting present conditions. of all classes and vocations have shown methat on We ^tfer week to 132. etc., until at the end of two I do not approve of reducing lesson prices in general, average from five to six strokes a second are possible 111 > wi risen to 186. Then when 1 had the but the music teacher is. after all, running a business with the second and third fingers, and fFOm four to hve played by .he Wft wM •» and must employ current business practices only with the other fingers In general ecucated per ™™ths previously had been able to play only at 116, The above methods of advertising will bring direct sons have a greater degree of finger flexibi lty than the results. Advertising may be divided into two classes— uneducated, but those who play the piano have no ad¬ it immediately him « ra.e of ,» M pupils certain difficulties arose at first but these were direct and indirect. The advertising, in a local way, vantage in this respect over others who do not possess at once removed by playing the scales from above which brings the pupil to your door and is directly this accomplishment. Among the latter several w downward, since in this way the order of the fingers traceable is, of course, the best, but it is not the only found who could easily make seven separate move¬ Advertising in the national • ments of a single finger in a second, while a nutaber was the same as in the right hand played upward and s is indirect its results, but is not to be of good piano players did not succeed in making more the rhythmic accents fell on the same fingers. ise the latter for beginning than five. This is surprising only because we greatly So far as the single fingers were concerned, none of teachers or teachers in very small towns, but the overestimate the flexibility of the single ringers m the pupils showed any increased facility of action. This led me to test the single fingers of all my pupils in this teacher in the city should carefully consider what is piano playing. , called publicity advertising. In all runs, such as scales, arpeggios, etc., the de¬ respect. These experiments, which in some cases ex¬ mands made uprfn any one finger are far behind its nor¬ tended over a period of several years, proved that in INDIRECT ADVERTISING. mal capacity of movement. This is approached only by spite of a more or less noticeably increased rapidity Each town has its “foremost” teacher. There may be the trill; a trill of from eight to twelve tones in a second in runs of all kinds, varying according to natural ca¬ in a city , three or four teachers with about the same corresponds to a movement of from four to six strokes pacity, the power of movement in the separate fingers equipment and with about the same ability to teach, in a second by the single finger. A trill at the rate ot remained wholly unchanged. The muscular alterations but one of these teachers will always have the choice more than twelve tones a second ceases to be musical brought about by persevering practice manifest them¬ pupils, both in talent and fees paid. The reason is that to the ear, which shows that the limit of muscular move¬ selves only by an increase in strength and endurance, this one teacher has the “prestige.” He may get it in ment coincides with that of the hearing capacity. Also any one of a dozen ways, but the point is that he has it. runs at a greater velocity than this cannot be distin¬ This prestige may be gotten by national magazine ad¬ guished clearly. A -hand, the single fingers of which Every piano player can readily convince himself that vertising. The local teacher who has money and hustle have the power of moving at the rate of four times a it takes less time to get a piece “into his fingers” after enough to place his advertisement in a national maga¬ second has the facility of more movement (4X5—20) having heard it a number of times than to learn one zine is, at once, rightly or not, regarded as a larger than we can distinguish in the same space of time. that is entirely unfamiliar. Attentive observation will figure in the world of music than the teacher who does Thus it will be seen that the attempt to increase the discover many such hints that may be readily ex¬ not. Such advertising may not bring business that is normal degree of flexibility would be of no practical plained by what has just been said. In the musical directly traceable to the magazine used, and it cer¬ HOW COULD THE TEACHER KNOW! HOW THE VASELENEOWITSCH CONCERTO STRUCK HOME-TOWN. value. education of our piano pupils we lay too much stress on Willie has been studying Just three months. Teacher is working her hardest to get Gladys has just returned from Leipsic and Is giving an exhibition of what she has tainly does not make the advertiser a better teacher or The following examples will serve to show how slight flexibility of fingers and take too little into account the Willie to take the least gleam of Interest in some really good-music. Just at the moment to show for the mortgage that Dad put on the farm to send her abroad. She laughs at add to his knowledge of his subject, but, in the end, Beethoven, calls Haydn “old-fashioned'’ and Chopin “effeminate.’- Liszt is “superflcial a part the single finger often plays even in the most combined activity of finger, eye and ear. Not rapidity when she sees promising signs of budding appreciation Willie’s mamma appears upon the brilliance” and Mozart “child’s play.” The only pieces she knows are things which it does tend to give him prestige and thus enables him rapid passages. The two-octave scale of C played from of execution, but rapidity of thought should be our scene. Although she admits that she knows nothing abont music she does not hesitate to appealed to a coterie of super-educated specialists abroad. She has come back with a to pick his pupils and raise his fees. In this way it is Insist upon the use of a trashy piece which will pnt Willie back months in his progress determination to secure engagements and incidentally a few pupils, bv means of a reper¬ middle C to the C above the staff in the time of one aim.— (Translated by F. S. L.) What shall the teacher do? toire composed of artistically arranged discords. Something is going to happen to Gladys. the most direct kind of advertising: In advertising in a second makes the impression on the hearer of velocity national musical magazine choose the paper that has carried to its extreme limit. But when we consider it il circulation; if the magazine is not read more closely and analyze the movement of each sepa¬ HOW MUCH SHALL I PRACTICE? all know the splendid dictum of Hans von Biilow, that guarantee from his publisher and so he simply lived, rate finger the result is as follows: STYLE IN MUSIC. if he failed to practice one day he noticed the bad breathed, ate, drank, and almost slept musical composi¬ a paper devoted solely to organists, BY J. S. VAN CLEVE. effect; if two days, the stiffness became apparent to tion. Yes, but these were composers, you say. Well, violinists, or pianists, for class papers do not reach the Thumb . 4 movements his friends; if three days, the public took notice. composition is more exhausting than technical practice. BY HERBERT ANTCLIFFE. general musical public, the class of people you are try¬ Second finger . 4 This eternal question, which, like the ghost' of Ban- ing to reach. The best musical journal is the one which Third finger . 4 quo, will not down, has been shot across the field of GODOWSKY’S PRACTICE. “STUDY WITH THE HEAD.” embraces all musical subjects. Choose your medium second ) Fourth finger . 2 Style is the outward character by which we judge 1. 7 mental vision lately by some rather startling and, On one occasion in Chicago I was at the house of carefully, keep at it indefinitely, and do not expect im¬ Singers cannot use their voices such enormous Fifth finger . 1 movement a man or a work to be distinctive or common. In I may add, revolutionary remarks attributed to the Mr. Leopold Godowsky the very afternoon when he mediate returns. lengths of time, but with them, as with other art- In all .15 movements art we speak of an individual style, a modern style, great violinist, Fritz Kreisler, by a leading journal. He had been writing his paraphrase of the “If I Were A The gist of good advertising is this: Do good work workers, there is more than one line of labor nec¬ a classical style, an ecclesiastical style or an operatic said, so the journal in question declares, that he at a fair price, meet as many prospective pupils as The passage in sixteenth notes occurring in the last Bird” of Henselt. He tried it over for me, and sud¬ essary. I once asked Italo Campanini, when at the style. By these styles we are able to judge something you can through personal musical work, cover the local movement of Mendelssohn’s concerto, in G minor, is practiced diligently when a boy, but had no lessons denly exclaimed, “If I do much more writing, 1 -shall zenith of his glory, if he practiced much, and he said, of the character of art which has inspired the work, field thoroughly in advertising that will induce people played by greatest virtuosi at the rate of J. =60; that after he was twelve years of age. Further, he says lose my technic.” '“Studio colla testa” (“I study with the head”). Yet to call personally, and constantly build up your prestige is, twelve tones in a second, a velocity that seems, fairly and, it may be, also something of its quality. that he was with Sarasate and Ysaye on the very day As for the mammoth amounts of practice done by one evening, just before a concert'in the Odeon at Cin¬ by making yourself more than a local figure. bewildering, An individual style rarely covers prosaic substance; when they were to make a concert - appearance, and our great pianists, I had it from the lips of Biilow him¬ cinnati, I found him singing scales in chromatic grada¬ if it does so we call it an extravagant style or merely they neither of them touched the violin. This might self, that when Liszt was a young man he was so daz¬ tions of the extremest difficulty, back in the green an eccentricity. In music we use the term technically pass without comment were it not that such statements zled by the playing of Paganini that he determined to in referring to the two chief methods of composition; DO YOU KNOW? from so eminent an artist are calculated to encourage rival that wizard upon the piano, and therefore retired I knew a singing teacher in Chicago who thought he i e., we speak of the polyphonic or contrapuntal style that laziness which is as omnipresent in human blood from public playing and practiced ten hours a day had made a great discovery when he said “he taught and the homophonic or harmonic style. There are as is salt in the waters of the sea. Do you know that Handel had a musical, cook for a year. Liszt also used to carry a dumb keyboard his pupils to study, but not to practice.” Yet I heard various technical styles in the interpretation of music, named Waltz? After serving a time in the kitchen of In my long experience as a critic and as a teacher with him, that he might improve the shining hours like them going over and over by the hour the music which whether it be in singing, in playing some instrument cf the divine.art of music, I have noted many lament¬ the famous composer he went upon the stage and the proverbial busy bee, even when traveling from city they were endeavoring to learn. The distinction was, or jn conducting the singing or playing of others. able unhorsings of the ambitious- would-be artist, achieved fame as a singer. Handel frequently re¬ to city. I know that Mr. Joseffy had a muffled piano after all, a mere hair-splitting quibble. They were not ferred to him with pride. In this tempo the lower fingering calls for three move¬ But technical style is dead unless it be supported owing to the fatuous trust in this illusory god of in his room at the hotel, for I found it there when to put in time merely exercising the vocal machinery Do you know that Benjamin Franklin served as a ments in a second from each finger; the upper fingering by a style arising from good feeling and broad culture. “artistic inspiration,” who, like the god Loge whom calling upon him. Finally, it is well authenticated that without using the mind at the same time. That is a journeyman in the shop of a musical publisher in uses the third finger once in place of the fifth. Just as the old saying is that "Manners makyth man,” Wotan invokes, may well be addressed as “Iyer.” No when von Billow was to make his initial appearance mere truism, to be sure. Of course, all effective prac¬ London? One who has heard Tausig play the last movement of we might say that style makes music. The preacher flame is so treacherous; though Loge helped Wotan in Weber’s “Concertstuck,” Rubinstein the finale of Cho- in America at Boston with the B flat minor piano tice is with the-entire being—body, mind, heart and soul. Do you know that the late Queen Victoria of Eng¬ who utters the noblest thoughts in an undistinguished nefarious schemes to get Wahalla built, he also, with his concerto of Tschaikowsky, in 1875, he shut himself up, •pin’s sonata in B-flat minor, von Billow execute the Anything less than this is quite as likely to create and land is said to have been especially fond of the tune and commonplace manner does not carry the convic¬ crinkling tongue licked up the palace of the gods. As scales in Chopin’s impromptu in F sharp major, will re¬ and worked for a week sixteen hours a day, till the fix bad habits as good. Do not depend upon raw “The Wearing of the Green,” which has always been tion that one does whose style is more impressive. I have done very little in actually playing the violin, people around him were half frantic. associated with Irish revolutionary movements? member these performances as bordering on the verge Similarly, fine musical thoughts put together in a genius. You may have a spark of the divine fire, as though I have been in touch ’with that instrument and It is much nearer the fundamental truth of art to say Do you know that in ancient Wales blind harpers of tlie impossible both for player and hearer. The way which any ordinary college graduate could do Beethoven said of Schubert, but remember that Schubert its music all my life, I will not presume to contradict that the power to do vast amounts of concentrated labor were preferred to those who had their vision, as it metronome, however, shows that the speed does not ex¬ used to keep writing materials by his bedside and are forgotten long before the less striking thoughts so great a virtuoso as Mr. Kreisler; but I know that is at least half of genius. How was it with Beethoven? was thought their sense of hearing was more keen? ceed the rate of twelve tones a second; hence the part expressed by a master of style. Handel is recognized sometimes whimsically wore his spectacles when asleep played by each finger is comparatively small. the piano is an instrument which one must practice He had no distractions from lessons, or society, or There were many famous blind harpers. as one of the two great geniuses of his own time, so that he might not lose a moment when the Muse It is plain, therefore, that the difficulties of piano play¬ from infancy to the epoch of senile decrepitude if he travel; he lived for the most part upon a pension granted Do you know that “Yankee Doodle” was first not because of his ability to invent new themes and paid him a call. Don’t forget- that they rehearsed ing do not consist in the training of the single fingers as expects to be anything better than a clumsy bungler him by three wealthy noblemen, and averaged five or printed by James Aird, in Scotland? beautiful melodies, but because of his ability to take “Tristan and Isolde” one hundred and siity-five times such; they are encountered in securing the exactness of whom a pianola would be ashamed to acknowledge as six hours a day of actual composition, or, what is the Do you know that von Weber was very fond of the most commonplace thoughts, either of his,own or before venturing to present it. Think also of the ap¬ their movement, one with the other. This exactness of a brother. same thing, revision. So that with Tschaikowsky, he the guitar, and that he wrote some of his songs with others, and infuse into them the magic of style. “It palling stories which our first cousins, the actors, tell proportion depends entirely upon the will. It is in the Other eminent violinists are on record to precisely never could have bequeathed the world his astounding guitar accompaniment? is style more than substance that keeps art and litera¬ us of the rigors of rehearsal. We should, We must great centers of the nervous system that we must look the opposite effect from Mr. Kreisler; but let that pass. ture alive.” treasure of his incandescent, hysterical music but for practice, and that steadily, unbrokenlv, but never be¬ for the origin of piano technic; it is in these that the It is quite possible that Sarasate and Ysaye may not the gift of a pension of three thousand roubles from yond our actual physical strength cr the actual dimen¬ I should consider it almost wicked to compose possibility lies of executing the proposed number of have practiced on the day of the concert; the same a mysterious lady friend. Another instance may be something with which I am not deeply imbued. It movements at the rapidity of fifteen in a second; there thing is often done by lesser folk, simply because it sions of the talent which God has entrusted to our ^'.HE ariist ought not to ignore the culture and taste found in the case of Brahms, who did but little concert is as if I were telling an untruth.—Mendelssohn. it must be willed before it can be performed. Even if might bring on weariness and nervousness. But you keeping. Do not, like the frog in JEsop’s fable try to of his own time.”—August Wilhelm Ambros. playing or directing. He was granted a handsome become an ox. - ’ 737 THE ETUDE
736 THE ETUDE TURKISH PATROL—G. HORVATH. FOREST VOICES This is a bright and characteristic teaching piece, ly¬ BALLATELLA ing hardly .above Grade II. It will afford good practice JAMES FRANCIS COOKE in the minor key, in rapid finger work, in style ,and m Moderato M. m. = 104 dynamics. This composer always has something good Cantab He to say, and his pieces are invariably enjoyed y ®-u JL dents. Note the Oriental coloring in melody and har¬ mony throughout.
•.. JUST AT TWILIGHT—L. A. BUGBEE. POLKA CAPRICE—W. SAPELLNIKOFF. This is an easy but very expressive nocturne. The Sapellnikoff (born at Odessa, 1868) was a pupil of melody is broad and flowing, and the harmonies are interesting and pleasing. Play this piece at a slow rate L. Brassin and Sophie Menter. In 1897 he became of speed, steadily, and in the singing style, bringing out professor of pianoforte at the Moscow Conservatory. He is one of the foremost of the younger Russian the melody with full round tone. pianists and is a composer of originality and distinc¬ tion. The ‘'Polka Caprice,” bearing the sub-title "LIEBER AUGUSTIN” (VARIATIONS)—A. “Miniature,” is a brilliant and graceful work, with BISPING. strong contrasts, demanding in alternation the forceful In this clever teaching piece the comic old folk-song, style and extreme delicacy. The middle section of the “Lieher Augustin,” has been employed as the basis for piece, lying in the upper register of the piano, will a set of instructive variations, easy to play, but re¬ require the crispness and precision of a. music box. quiring a clear and even finger action. Each variation Play this number rhythmically, but without rigidity. brings with it an added interest, till the brilliant finale Note carefully the excellent fingering and pedaling of is reached. The variation in which the right hand the editor. crosses over the left is much like one of the variations ,;n Mozart’s familiar A major sonata. SECOND VALSE—A. J. PEABODY, JR. This is a brilliant concert waltz by a young Ameri¬ MARCHE RUSSE (FOUR HANDS)—L. can composer. It does not call for extended comment, GANNE. except to state that the middle section, all in double The composer, - L. Ganne, was born in 1862 and notes will require careful practice. This figure in studied chiefly in the Paris Conservatoire. His works double notes is a favorite device of pianist-composers. are .all in* lighteY, style, but display originality and It gives an effect both sonorous and scintillating. clever workmanship. His “Russian March” is a pom¬ Cramer devotes one of his best studies to it, and Ru¬ pous, brilliant work in which the Russian patriotic binstein employs it most charmingly in his “Kam- style is ingeniously imitated. This march makes a very Mr. Petrie was born in Bloomington, Ill., Mar. 4, menoi Ostrow.” The chief point is to play the double showy and sonorous four-hand piece which should go 1868, but while still in his youth he went with notes exactly together. To accomplish this result re¬ well at recitals and exhibitions. Play it with fire and his parents to La Porte, Ind. Here he had the quires strength and even control of the finger action. good fortune to meet with a very efficient musi¬ cian named Benjamin Owen, who was so impressed FOREST VOICES—BALLATELLA—BY JAMES SEMPER FIDELIS (VIOLIN AND PIANO) — with the young man’s voice that he offered to give him music lessons gratis. Mr. Owen was also FRANCIS COOKE. HENRY PARKER. responsible for Mr. Petrie’s studies in musical com¬ The popular English composer, Henry Parker, is A “ballatella" is a little ballad. This indicates the position. It was hard going in those days, and during known chiefly by his songs, many of which have lyric character of this piece. The melody in the first the last three years of his study with Owen, Mr. Pet¬ achieved great success. His rare melodic gifts, how¬ part should be played simply and in singing style. The rie worked as a shorthand reporter in court, continuing middle section of the piece should be executed with con¬ ever, are occasionally diverted to other lines. He has a decided fondness and aptitude for violin composition. his musical studies in his spare time. siderable force and bravura effect. Played slowly it After a while Mr. Petrie came to Chicago, and ac¬ loses its character. The piece is not descriptive in “Semper Fidelis” will appeal to good players. It makes cepted a position as tenor in the choir of the Memorial that imitations of the conventional forest voices, birds, no great technical demands, but it affords good oppor¬ Baptist Church. He had steadily maintained an interest rustling leaves, mill-wheels, etc., are not attempted. It tunity for cultivation of the singing tone and expres¬ in composition, and presently his songs began to attract gets its name, "Forest Voices,” from the fact that the sive style in delivery. attention, and Mr. Petrie went into the music pub¬ composer was inspired by the recollection of a glorious lishing business in New York and Chicago. He has day spent in the mediaeval castle of the “Wartburg,” MARCHE LEGERE (PIPE ORGAN)—C. A. KERN. now given up this business, however, as he prefers to which rests upon the top of a high hill in the Tlaiirin- A “Marche Legere” is a march “in lighter vein.” devote his time to musical work in Chicago, where he gen Forest in Germany, near Eisenach. From the room This is an animated march movement, piquant in har¬ is well known as a teacher. To the general public, in this castle in which the Minnesinger contest, de¬ mony and rhythm. It was originally written for piano however, he is best known as a composer of songs and scribed in “Tannhauser,” took place a veritable ocean of solo, but the composer has arranged it very satisfactor¬ instrumental pieces. He has had many successes in waving forest giants may be seen in the endless val¬ ily for the organ. It will prove useful as a postir.de this kind of work, and seems to possess the faculty leys below. Whether resting in the musical silence for a service of festive character, or it may be used in of geting the right side of the public with his works. of an April dawn, or whether storm-torn with the lodge work, as it can be marched to. The composer winds of November, a more inspiring sight could not has indicated an effective registration. Among his best known pieces may be mentioned “Over be imagined. the Ocean Blue,” “Asleep in the Deep,” “Cleopatra In¬ THE VOCAL NUMBERS. termezzo,” “To the Fairest,” “The Keepsake,” “Darling, Good Night.” LE TAMBOURIN-H. W. PETRIE. The “Crystal River” is th© latest composition by the Although Mr. Petrie has mainly devoted himself to This is a sprightly and alluring Spanish dance in the popular English writer, Hartwell-Jones. It is of semi- the best interests of music, he has also turned his at¬ sacred character and has a particularly taking “re¬ rhythm of the “Habenera.” This dance form was tention to other forms of musical endeavor. The song frain.” Each verse is given a different musical treat¬ originally introduced into Cuba by African negroes, which first brought him into considerable notice was ment. It is one of the composer’s best songs. and thence imported into Spain. It has been employed the enormously popular “I Don’t Want to Play in Your and idealized by many composers, notably by Bizet, Mr. H. W. Petrie’s “The Jack” should prove a great Yard.” success. It is a rollicking sea song, a style of writing who introduced it into the opera “Carmen.” Mr. In the music of this month’s Etude we are present¬ Petrie has succeeded in evolving a very attractive and in which this composer is peculiarly at home. The ing a new instrumental piece of Mr. Petrie’s which characteristic specimen. It should be played in moder¬ waltz refrain “takes hold” at once. is written quite in his best style. “Le Tambourin’’ mav ate time, strongly marked, with fire and abandon. A Mrs. Adams’ “Honey Chile” is very effective and be considered an excellent example of Mr. Petrie’s portrait and sketch of Mr. Petrie will be found in singable setting of some popular verses by Paul Lau¬ work, and will doubtless be as successful as most of another column of this page. rence Dunbar. its predecessors.
NIGHTINGALE AND THE ROSE—T. LIEURANCE. A charming waltz movement, graceful and coquet¬ tish. The melodious and well-contrasted themes re¬ mind one both of the French and, of the Spanish types The Christmas “Etude” of waltz-rhythm. The interpretation should be dainty and poetic, in keeping with the title of the composi- The Christmas Issue of “The Etude” will be a
THAT LITTLE GIRL!—A. TURLET. special “gift” number, replete with attractive articles, This is a vivacious French polka by a clever modern composer. It may be used for dancing or as a draw¬ fascinating music and seasonable features. Kindly ing-room piece. For teaching purposes it would prove useful as a study in style and rhythm and in the stac¬ ask your musical friends to watch for it. ,* cato chord touch. Copyright 1910 by Theo Presser Co. British Copyright Secured THE ETUDE 739 THE ETUDE 738
Edited and fingered by POLKA CAPRICE MAUBITS LEEESON MINIATURE WASSILY SAPELLN1K0FF Allegretto M. M. J = tempo S"
4 ? I 3 B 2 * 5 1i -| 15 1 ? 4 15 4 5 1 Vi 5 5 2 4 3 4 l3? 3 _ fTTT- CTgg^ 3 5 1 3 fiCH 31 3 L - 1. 3J a i 2 1 5 2 1 J
\'f • J • J -j— J. J. I t THE NIGHTINGALE AND THE ROSE I . i I? .* Si• *: 2 l
* i % S A B 2
? 3*3? - 1 L 1 ? • j
^,4 :=Hhh 4fH iS..Ll: .f .f ? jtfc I1 i' J 1 f ■r^ci ][ff 5 fg--, A4 L ii?Ti fefftM T’ 1 ■esc. ♦ f I cr■ *5 > ,&• 5
British Copyright Secured THE ETUDE 741 the ETUDE LE TAMBOURIN Intro. Popular Mexican Dance H. W. PETRIE Moderato m.m. J =72 Theme
pn,
dim. rail. ^ ■ V 3 f m u
> > »
ff 3 |y jif-p y mk to H 53ED 3
Copyright 1910 by Theo. Prosser Co.
British Copyright -Secnred THE ETUDE 743 the etude 743 MARCHE RTJSSE MARCHE RUSSE PRIMd SECONDO LOUIS GANNE i
Moderato e ben mavcato M. M. J = H6 > 4 3
Copyright 1910 by Theo. Presser Co. T H E E T U D E 545 THE ETUDE 744 THE ETUDE 747 THE ETUDE 746 “LIEBER AUGUSTIN’ Variations on a Folk Song
Moderate m.m. J =54 THE ETUDE 749 the etu DE Respectfully Dedicated to Mrs. Joseph Jefferson Martin, Brandywine Summit, Pa. LITTLE GIRL! L’ARRIVES THAT petite femme la CETTE 2meValse T »rFcn\r pfarotw- Tr.On.19 the etude
JUST AT TWILIGHT THE ETUDE 753 the etude TURKISH PATROL
DIE TURKISCHE WACHPARADE GEZA HORVATH Tempo di Marcia u.M.J -
^ J, » ; t1. tT-•-’- -
Py J > q u
*t 1910 by Theo.Presser Co. ® ™ ** 5 5 To 7>iy friend Edward M.Read International Copyright secured Sw: St.Diapason,Violino, Salicional, Flute 4 tralion* Melodia,Dulciana,Open Diapason Ped: Bourdon 16' Sc Violoncello 8' Coupler :Sw.to Gt., Gt.to Ped. MARCHE LEGERE
Tempo di Marcia m.m.J=ioo(U2) 3 4CARL WILHELM KERN, Op. 266-b
>AL ght 1910 by Theo.Presser Cl . * a «rr British Copyright secured THE ETUDE 7S5 754 THE ETE
Far o’er the deep bound-ing o - cean, Some day to me he’ll be sail - ing, (&^i, pi1fAQ- r-^ , J34.-I '1 H. 1 ~ »# ri- f. »• v J- 4 J 4 t t
Un-der the stars far a-bove,_ Outwhere the mad waves are roll - ing, Sails the dear one I love, _ O-ver the wa - ters so blue,—,- Nev-er my heart will be doubt - ing, My sail-or Jack so true, _
Sails the dear one that 1 lovg; My sail - or sweet - heart so true,
Sails the dear one that I love^ Brave-ly he saidgood-bye one bright sun - ny day, My sail - or sweet-heart so true,_ When on the roll- ing waves the moon soft - ly glows,
Copyright 1910 by Theo.Presser Co. # Also published for Low Voice International Copyright Seem*1 British Copyright Secured THE ETUDE 757 THE ETUDE 756 HONEY CHILE PAUL LAWRENCE DUNBAR Tempo Rubato MRS. CARRIE B. ADAMS lU 4 > I I ji. Jd .hMj 1. Dey’s a ten-dah light a-gleam - in’ in de 2What’s de lit-tle bird a sing 7 in’
glow - in’ sum-mah skies, Hon-ey chile, But it ain’t so soft an’ sooth - in’ as de set a - bove de stream, Hon-ey chile, What’s de mat - tah wid de wat - ah w’en hit bird an’ wat - ah do, Hon-ey chile, Fu’ de thing dat I’s a say - in’ is as
light dat’s in yo’ eyes, Hon-ey chile, Dey’s a ring - in’ an’ a sing - in’ in my run an’ smile an gleam, Hon-ey chile, Don’you know dey’s des a say - in’how dey hon - es’ an’ as true, Hon-ey chile, Dough I ain’t got words to jell it, you kan
head de live - long day, Lis-ten to me, lit - tie la - dy, won’t you lis - ten what I sav? PV ™ loves de lad-ies so? An’ de sum-mah sun * a shin - in’ on - ly makes ’em love ’em mo’? Hits dl feel it, cant you, dear? You mus’ know my hea’t’s a Jh’ob - bin’ all de time dat you is near, An I’s
hea’t’s a - go - in’ fas - tah den de £s - tes’ run - a - way Hon-ev chile 8Yle, / Tnt® t0, tel? y°U’ d0u8h by now y°u ought to know, Hon-ey chile’ gorn’ to shout yo’ praise-es ,v - ah sea - son of de year Hon -ev S’
Copyright 1901 by The Home Music Co. THE ETUDE 759 758 THE ETUDE THE CRYSTAL RIVER
CLAUDE LYTTLETON HARTWELL -JONES
#6» jfjgft W| legato SttsJ
fl 3. ' a L
Un - to our ears was borne- A song of ce-les - tial beau - ty
messagefromon High: For we thought of the sad and lone-ly, Of their woes,And cares, and tears._ And
International Copyright Secured the etude THE ETUDE 761 D. C. Refrain tion of the last staccato chord, wfiich' is played with the up-arm touch. Similar passages are played in a THE TEACHERS’ROUND psSj^pS similar manner. If you will procure the first and fourth books of [—/ Kgllk TABLE V -J Mason’s “Touch and Technic” you will find the sub¬ II Conducted by N. J. COREY j| ject exhaustively treated in them. SCALES AND ARPEGGIOS. 1. In what grade should I teach the scales in thirds, sixths and tenths? I find much difficulty m teaching my pupils to finger the arpeggios correctly. Is Printed Lessons Dealing with the Difficulties That Arise in Actual Teaching Work .- —- .e they could follow’ I*-
DAILY PRACTICE FOR ADVANCED PLAYER. For theoretical knowledge, read books on musical fingering, i form, history, essays, etc., as you are able to obtain them. The Etude, as you already know, will prove 1. With pupils who have an ample amount of time last season Although In need of rv„„ a mine of information for you, and invaluable in to devote to practice, such scales* may be taken up in being a teacher, I do not wish to get in a "rut” or "out-of-date,” nor allow my lingers keeping you abreast of the times in teaching. It also .the third grade. In many cases, however, they may to become stiffened. Neither do I wish to have to be deferred until the fourth grade. lose ground in my concert pieces. What dally contains a column of musical news which you should course shall I pursue in order to keep “up-to- carefully read, so as to know what is going on in the 2. A fingering that is the same for all keys is most date,” and acquire a thorough ‘-‘all-round” knowledge of music, in which I fear I am world. If you can also take one of the great musical practicable and easily remembered. Right hand, first lacking? c L. A. newspapers it will be a good plan, for in them you position, I, 2, .3, 5; second position, i, 2, 4, 5; third will find all matters of news thoroughly discussed. position, 1, 2, 4, 5. Left hand, first position, 5, 4, Some would say that a conservatory graduate 2, 1; second position, 5, 4, 2, 1; third position, 5, 3, ought to already possess an “all-round” knowledge of The Etude and one musical newspaper will be all 2, 1. When the fourth finger of the left hand comes music. But such does not necessarily follow. People you will need along this line. If you are a busy on a black key the inclinati n of pupils is to substi¬ of cultivation know that graduation, whether from teacher, and can only find one hour a day to devote tute the third finger, and some teachers use this school, college or conservatory, does not mean that to systematic practice you will find that it will keep you in good condition. Any special oscasion that fingering. If, however, the tendency is combated one’s education is finished. Graduation simply means from the first, it will prove simpler in the long run. the completion of a prescribed course of study, you have to work something up for may require more time. Your musical reading you can do ,in the Conforming the hand to the extra reach will soon whether along academic or musical lines. The post¬ be accomplished, prove perfectly comfortable after graduate course is a., most important time in an evening, treating it as recreation, the same as you would any boox or magazine. It is also a good plan a short time, and prepare the hand for other exten- artist’s study. The uninformed look upon graduation sions in which there can be no choice. In the chord day as the finishing of all study, the time when the for you to read over all the musical compositions that .you can lay your hands on, in order to make E, G sharp, B and E, the use of the fourth finger student has learned all there is to know, and can on G sharp seems a little uncomfortable at first. yourself familiar with them, as a matter of general play in a manner that equals the greatest The In E, G sharp, C sharp and E it is much the most musical education. Try making yourself familiar with graduate discovers that it is just the beginning of comfortable. Therefore, the fingering that accus¬ tlie great operas and oratorios in this manner, indeed, study. Mendelssohn said, on his death-bed, that he toms the fourth finger to the black key in both felt he had just arrived at the threshold of his art. all kinds of great music, and you will’ find that you chords is the simplest and best. Mason, who is a The more one studies in any department the wider will gradually make yourself an authority in your high authority, teaches this method of fingering in the horizon opens, and the more unlimited the oppor¬ community. his “Touch and Technic.” Do not allow your pupils tunities appear. It is like traveling in a hilly coun¬ CHORDS. to leave any key for the next, until its fingering is Will you please explain the correct and try. The summit of every hilltop only reveals more artistic way of playing heavy chords? How thoroughly mastered. to be climbed. should the chords be played on the first In applying this to the grand arpeggio forms, in You are now confronted with the fact that you page of Chopin’s B-flat Scherzo ? L. S. positions beginning on black keys, the pupils may must choose your own'eourse of study in future, so Place the hand in playing position on the keys. be assisted in finding and fixing the correct fingering long as you remain without a teacher. You wili Without producing a sound, depress your wrist a in the mind by the following rule: For the right have several departments to look after. The preser¬ little -below the level of the keys. Work the wrist hand, play ascending, and let the thumb take the vation of your technic and already acquired reper¬ up and down and loosely until you understand the first white key following the black. For the left toire, the acquisition of new pieces, theoretical knowl¬ motion. Then, letting one finger rest on the surface hand, play descending, and let the thumb take the edge and general musical information. of a key, depress wrist again, letting it pull down first white key following the black. Black key arpeg¬ Although you will find it requires special effort to the key. W.ork this motion until it becomes, simple, gios with no whites are fingered the same as the gain new technic, yet a comparatively small amount add another finger to the motion, and so on until key of C. of practice will suffice to maintain in good condition you can produce a three or four or five-note chord A CARELESS PUPIL. what you have already obtained. There is really with ease in this manner. Vary the force, and you I have a pupil who. might play music of the third grade of difficulty if it were not for no excuse for anyone allowing his skill, acquired by will find that you can play the chord from pianissimo carelessness. She seldom observes the sharps hard work, to lapse. A short time daily, or even to fortissimo without harshness of tone. Do not lift or flats as indicated by the signature. I have tried giving scales in the same key as the every other day, if necessary, spent on conventional the fingers away from the keys, except when you try piece studied, and -have placed circles around forms, scales etc., will keep you in good condition. to produce very heavy chords. This is the down-arm all notes to be raised or lowered, but to no purpose. Once a note is played incorrectly You will not need to devote time to etudes, except touch. it is almost impossible to change it. Her such as possess an artistic quality, like those of -Cho¬ parents insist on four hours’ daily practice, way, where there is no sor-rows, Far a - way where there is no pain- In the Next place your hand, in playing form, on the edge but I consider it impossible for a child of pin, Henselt, and others, which you will wish to play. of a table. If you place some light, flat object thirteen to concentrate her attention for that The polishing of kneffty places in your repertoire length of time. Although I have taught her under the- fingers all the better. Lower your wrist how to practice, yet she persists in simply will provide you with tall the etude drill you will below the level of the table, leaving the finger tips playing her lesson through time after time. need, unless you wish to devote a good deal of time How can she be induced to study carefully? resting upon the edge of the table. Suddenly force I. YV. to further advancement. your wrists straight up in the air. Be sure the wrist Your case seems to be a stubborn one; and yet it As to your repertoire, follow the examples of the joint follows a perpendicular line. Although you great virtuosi. Take Paderewski, for instance, and may be partly caused by the long hours she is kept made no motion with the fingers, yet you will observe at the instrument. It is far too long a time for a what is true in his case is true of them all. If you that this upward spring of the wrist forced the can. gain access to the hies of musical papers, and child of thirteen, especially if she is doing any other fingers down with such violence that the flat- object work or study. So many hours spent at the piano follow his'programs for the past twenty years, you under them was jarred or thrown out of position. would tend to produce the condition you mention, will observe, first, that during all these years'he has Master this motion, and then try on the keyboard, and, with a natural tendency in that direction it been playing the same round of compositions; sec¬ with one finger over a key, adding as before until would be greatly aggravated. Two hours is as long ond, that the majority of these pieces belong to the you have your chord. Practice until you can let the as a child should be allowed to sit at the piano, standard-works that he must have studied during his arm spring high up in the air, always lowering to a and that period should be divided into three sit¬ student years; third, the comparatively small num¬ point below the level of the keyboard, before making tings. Then there may be some possibility of a ber of new pieces introduced. If such is the prac¬ the spring, which' must be very sudden. As you fresh attention being brought to each period of prac¬ tice of the great virtuosi, it certainly cannot be a bad make the motion let the fingers close into the palm tice. Pupils who can with difficulty be made to cor¬ one for you to imitate. Therefore, select from the of the hand, as if making a fist. By putting on the rect mistakes when once made are not unusual, and pieces that you have once learned such as you think pedal, and making long, sudden and violent upward are always trying to the patience. Some of the . y°u would like to play this season, and carefully work sweeps of the arm, you will find that you produce them up again. You will find that you will play them loud, brilliant chords. This is the up-arm touch. It brightest are guilty of this fault. It is invariably due to failure to apply the attention to the work in hand better every season. The music you will play best is difficult to make these~points clear in print. Many will be the music you have played all your life, so bright pupils have to work a long time over them, in the case you mention you can accomplish little to speak. Do not try to make your repertoire too under the constant supervision of the teacher, before unless you . shorten the practice hour. . Then give her large at first. As to the addition of new compositions, they learn, to understand;and make the motions cor¬ etudes and pieces that are easier than she has been you will be thrown on your own resources. Choose rectly. You will need to study them carefully, there¬ accustomed to, and make them short. Then insist on carefully an occasional piece from the classical and fore. given portions being practiced over and over with modern repertoire, something that you especially In Chopin’s B-flat minor Scherzo, the first fortis¬ A cnbcal attention. The lesson should be corrected admire. Learn from the musical magazines and papers simo B-flat octave is taken with the up-arm touch don can I ne« lear'ied, so that her atten- what new things have made a success, and add one The arm swings over in an easy motion and descends rom time to time, in order to keep in touch with become fi HC , Weak Places before they modern progress. upon the next chord from considerable height, play¬ come for h im ^ fingers‘ Sh'e should ing the passage in down-arm touch, with the excep¬ come for her lessons three times a week, even though her two half-hour lessons have to be divided into 763 THE ETUDE the etude 762 . ,.lke the performance of a sonata without an5 Now let me offer a process of self¬ liant voice, they at once determined that > undertake tne P ^ and development. Many of ■‘this was the spot” they were seeking, CHEAT.no AND MA.NTA.N.NG A MUSICAL guidance for not only my far-away in¬ i would lose half three twenty-minute periods, her p; quirer, but for all who dream of the “big and they stopped. e could not look back and recall things” in vocal art: Writing directly Another case of the same type. An > strengthen our interest. And artistic appearing young" woman called four hours daily until she is much S.^*isome mythical story t .... and personally, let me ask: as for the historical part, many a composers identity Do you, my fair aspirant, know the at my studios and asked if it were I who, 3 ORGAN STUDENTS. SCALES A There is always a desire to produce «P-sentaUve m become lost within their mus.c it we didn’t Department for Singers ft requirements of a singer, especially a the day before, had been teaching- a Is advl. pupils wherever there is a possibility, and whi e know something of their lives, their act.ons, their pe- Edited for November by LOUIS ARTHUR RUSSELL “grand” singer? Have you ever at¬ soprano an aria from “Lucia.” tempted an enumeration of the needed The singer stated that she had been orsan^ONtructor the unfortunate lot of us all to record occasional The Entire Department is from the Pen ol Mr. Russell ures. the fact that we have used our best el - CUNondoubt many teachers have realized the benefits attributes of a successful opera singer or studying this aria and was so pleased derived from illustrating their lessons from the theo¬ with the way the singer she heard was I Pupils will be able to take up the study of the Should at least reflect credit upon us. In sue s . high-class concert and oratorio singer? we should never say “impossible” until every reso retical and historical side of musical literature, and vet ' singing that she determined to take a scales; jn the first grade. They should begin them Let me state a few of them for your ; known to us had been without avail. We m unable to conduct the extra classes from lack of own self-examination. You will, I hope, course of lessons with this master. as soon a fair control of their hands m seen pupils who were utterly impervious to impres Ume Man" teachers, knowing full well the import of check off with “yes” or “no” as you Not having courage to come in at the ...:n playing _ exercises- and a few of the simple sions, and finally, almost in the last desperate effort general knowledge as a stimulus to interest tn one’s time, she came now (the day after), and, running forms.- —They should. - crst learn the scales SUGGESTIONS TO A SINGER. find, and then to couple this advice with make a personal inventory of your quali- „ interest them, there was a sudden awakening and instrumental work, have endeavored to compromise the. octave” being- taught* |how to construct e_,each fTwo things have combined to induce the as much of good sense in music matters though she was sure of the corridor, she behold 1—not the dumb, driven cattle that we expected, I “ ,w mere b ts of information along the theoretical they progress. T he y_ should editor of this department for the current as it may be his fortune to possess. Have you good health, strong nerves, had lost the exact studio or suite, and rrhiiSr.ine during the UM les^ Such ■ month to write in the vein which follows: each hand singly. Children find it simpler when but students of deepest sincerity, even surpass.ng b First The frequent requests coming to the Useful lives without number are a fair general education, great courage, was. therefore going about looking for a plan has always resulted in the same end-failure. beginning to take them up hands together, to pract.ce writer (as to all publicly known vocal In¬ wasted in musical endeavor because of unwavering industry, a love for music, the unknown teacher. There is only one way to teach these courses and that structors) for advice. Second. The constant them one octave in contrary mot.on, as far as the '^Therefore, it is obvious that there can be no fixed evidences on all sides of misdirection in the flattering words and inexpert advice of a love for study, a pleasing personality, I was obliged to confess that “yester¬ plan of procedure. Each situation must be met fairly is to give it the strict attention that it deserves. key of E at least, as the fingering for each hand is tne matter of training tn the art of singing.] “friends”( ?). an emotional nature well under control day was not my ‘Lucia’ day;” the seeker and squarely, and in a manner that will allow otno As the easiest and most assured plan for interweav¬ “Beware of the ‘friendly’ adviser!” The would-be singer above all other of mind, a spirit willing to sacrifice for a teacher went her way. i Reed organ students have the same human feel¬ misunderstanding in the future. Often will -c ing a separate course in theory, and history, we would Among the thousands who study hitman beings should constantly pray to much (perhaps all else) for your art, ’Tis the same sort of story all over; it ings as any other beings. They get tired of the problems have to be met on the spur of the moment, suggest this plan as being the most available to the be delivered from the snares laid for instruction book, just as piano students do, and should “singing” but few really become singers, absolute devotion to music in its various may be in Philadelphia, or New York, or and in spite of the quick thought entailed, the answers average teacher. First, see that each pupil is provided him by his “friends.” . be treated in the same manner. It may be a foolish and the unhappy results of wrong ideas phases ? Paris, Berlin, or even so wide a field as must be no less decisive and accurate. Thus it is with text-books and a blank-book. Then having as¬ These amiable destroyers Of hope and notion of pupils, that they are really progressing regarding this everyday and everybody’s Have you had enough experience to Europe. Hundreds of students leave that one's methods should have the pliability of wax- signed each one a chapter to read, set aside an even¬ happiness are the chief sources of tor¬ when they arc given a piece of sheet music, but it art are all about us; not because there is make sure of your voice possessing at¬ their home town to find a teacher in and to achieve results we should fit them into ing toward the latter part of the week, and having ment in the life of a young singer. It is is a harmless one, and does cause them to progress •a scarcity of good teachers; not because tractive qualities, somewhat of power some larger music center, all unprepared the peculiarity of each individuality so that each pur' assembled your class, proceed to give at least a half- the. “friend” who flatters him and “puffs more rapidly,' because they take more interest, for and of range, etc,? for a wise selection, the majority simply may leave our class as they entered it—each one a unit hour talk upon that chapter, illustrating your explana- the art of singing has deteriorated, for him up.” It is the .“friend” who excites the moment at least. The teacher of reed organ If so, you, may venture to leave your floating in with nothing to guide them in themselves. fons thoroughly with the piano and the all-important there can be no doubt in the minds qf the his jealousy. It is the “friend” who, is should, therefore, have a list of suitable organ music native village or city where you are but the desire to find the best teacher. ILLUSTRATIVE TEACHING. blackboard. When your class is dispersed it should thoughtful observer of the trend of vocal always on the lookout for a “better for each grade, which should be given to the pupils “doing something” and seek the higher be with the instruction that they write down the affairs that we have to-day more excel¬ t 'acher” and who awakens discontent in I need not add a word about the utter fronh time to time for the sake of encouragement. Pursuant to the method of applying vivid lllustia- goal in some great music center, but let substance of your talk, this writing to be graded at lent vocalists and better vocal teachers the mind of the student; the genial, ad¬ folly of this sort of thing. It has cost Yon can obtain a selection of organ music on inspec¬ tions in order to make more lasting impressions upon me urge these facts upon you: nothing the end of the term according to the respective than ever before in the h:story of the vising friend is the tormentor and fre¬ millions of dollars and hundreds of tion by addressing the music house where you trade. the pupil’s mind, most especially should such a plan less than absolute devotion to your ideal, merits. Such a course, faithfully carried out, should art; but the hundreds of failures among quently the destroyer of the artistic wasted lives, and been the cause of un¬ ELEMENTARY FINGER WORK, appeal to the teacher of small children. A music; supported by good health and a musical ba productive of the best results in furnishing a vocal students is accounted for in a large spirit. told numbers of shattered hopes and un- , problem becomes knotty enough to the pupil whose nature, will bring you to lasting success jjul 1.,What^ finger w°rk ^ w®»M(1 v“" i^V'es ? age gives him the prestige of mental power to com¬ wealth of general knowledge, to stimulate and strength¬ degree by the thoughtless manner in But again we cannot reach the friend, fulfilled prospects. on any high plane of endeavor. bat with it, but with the young boy or girl of tender en musical interest, as well as to familiarize them with which the average student enters and con¬ but must be content to admonish the It is easier for me to name the unde¬ 1 IjLa s ”T I akl v!'' ALuami* o™ Philip™ fin- beglnnera The large cities, especially New York K. Which of those would he most suitable? ^ years, the instructor must not only present the solu¬ the styles of the different composers. tinues in his vocal studies. student. sirable teacher than to enumerate the ■City (confining myself, in this, to otir own tion of the problem but aid the child’s mind to grasp In using a figurative style of explanation, the teacher The popular idea regarding singing is, If we could reach the “friend” and qualities of the worthy instructor, but I , If you are using Presser’s “First Steps,’’ or country), are.full of rather good singers; it as well. Ofttimes it seems impossible, yet it should confine himself to the very simplest of similes. broadly speaking, universally wrong; prevail upon him to read The Etude will offer as briefly as possible some sug¬ the "Standard Course,” you will find all the finger It is the simplest expression that we remember most the field has narrow limits when com¬ is accomplished in the end. It may be only a little there appears to be no appreciation of and the like there would be another and gestions and warnings for your guidance. work necessary for the first grade. story, or it may be a mere reference to some little clearly, and often, when our lesson is compared in the pared with the numberless would-be values in vocal matters; there is no a happier tale to tell, for the crying need First, let me urge you to take no ad¬ After the first grade it will be a good plan for incident from every-day life, but the look of rn lev- most common manner, does it create the greatest im¬ artists looking for a fitting, congenial standard within general comprehension to-day in the music world is' silent, vice from a friend who 'knows nothing you to make use of one of the books mentioned. standing which we have all seen suddenly to lighten pression. Well do 1 remember the sarcastic expression thoughtful, respectful music listeners, place in which to exploit their art. by which singers may be rated, and young more of the question than that a certain You must remember, however, that they are compen- the tiny face, has often told us that our random shot from the master who was directing my musical foot¬ open to culture and conviction, and the Some of these are of the true sort of singers, finding their efforts well received teacher has a successful pupil. diums of exercises for several years’ study, and that has reached its mark. steps, when he greeted my careless rendition of a pet first evidence of development shall be real devotee, many are but mere “fiddlers" under the most unfavorable conditions, you must select the work very judiciously. In the Making the lesson so full of interest that the pupil number with, “You played that like mince-meat looks.” (or should be) silence, so that the student among singers, half trained or less, badly Qn general principles I would warn case of the Mason system, you must make sure that soon lose sight of the ideal goal set be¬ will always look forward to it with eagerness, is the I never forgot the remark, and from that day on my may go his way without the “advice” of equipped, badly started in their work and you not to put too much confidence in you understand it thoroughly, or you may lead the one great factor of successful teaching. To have playing was never careless, if not exactly correct. fore them by the capable teacher, and sadly yearning for the impossible. the teacher with one brilliant pupil. A pupil into harm. You will find a similar question the uninitiated. your pupils qome to you with a pleasure in their eyes jj since any sort of work is sure of some And yet withal there are a goodly good pupil or two may be mere “acci¬ considered in the March number of the Round Table. Upon this topic pages of interesting and a gladness in their hearts, means more than any¬ one’s approval, a lowering of standards evidence could be written by any experi¬ number of these unworthies who for a dents” in the career of a teacher, and thing else for your ability as an instructor, since an TREBLE AND BASS.' USING THE FINGERS NATURALLY. ensues and carelessness rules. The un¬ enced teacher or singer, but more specific time appear successful, even to the point we must not forget that the Creator has interested pupil means a successful one, and that is . i Is It the. general opinion arm trained singer is as likely to please his matter calls for our attention, and the of displacing worthy artists. had much to do with the making of what makes and supports the teacher’s reputation. t It is easier anti better BY ALBERT ROSS PARSONS. listeners as the more cultured artist; the writer will offer no apologies for the fol¬ Now, you may not possess all of the ...... —’--stvelv In striving to maintain a pupil’s interest, one’s first voices. When judging a teacher’s abili¬ with b » anti indifferent amateur with but little or no lowing, written as an informal personal required qualities in my catalogue ties by his results with pupils we must 'ould n effort should be to avoid monotony. Dull routine in Before learning to walk, it is necessary for a child to , instruction wins his way in church choir letter in answer to a request for advice (above), yet I may not say that you excess is apt to discourage even the best of us, and we, seek the average result with the average ' C. L S. learn how to stand, and the same way, the at will not succeed in the broad field of in our sincerity, should realize that perhaps our pir il¬ or even in concert work in communities in the matter of choosing a means of material, or, indeed, in closer analysis, “standing and walking” upon the keys of the piano the great music centers. Judging from the instruction books which are in lume not yet reached our state of enthusiasm. The where the earnest, artistic student fails. entering into study for a singer’s career. by the results reached with poor material. A fine personality wins much of public most general use, I should say that the majority of trend of modern instruction has been to avoid as much haying been mastered, the art of “leaping’’ follows. All of this sort of thing creates an A singer whose natural limitation may PERSONAL QUALIFICATIONS. good will; good voices of unusual range, teachers begin with the treble clef. Tt seems, less of this dullness as possible by the use qf attractive To this end velocity exercises are requisite. Here the atmosphere of indefiniteness in the vocal forbid her ever becoming a popular idol purity of power, without the finer at¬ confusing to the pupil to begin in this manner, on material- material that would interest and appeal by finger motions resemble less walking and running steps world which calls for reform, not so , My questioner wishes to know how to may yet; by her artistic management of tributes, have won for their possessors the principle of one thing at a time. Pupils seem to reason of its own charm. True enough, a certain and consist chiefly of extensions and contractions of much among the teaching- fraternity as enter and to continue in the real life of her voice, display not only her own su¬ high distinction; so if your inventory of be equally successful in learning to read the notes amount of technical work must be endured in order the fingers. The extensions are performed by the ex¬ among the people at large. a singer; how to become an artist and perior mentality, but also the reasonable¬ whichever way is used. It is largely a question of to secure sufficient foundational strength for the sup¬ tensor muscles with a relaxed hand, while the contrac¬ Everybody who has learned a hymn or how to determine the ejass of work she personal qualities does not “foot up” a ness of her teacher’s processes, and such the thoroughness with which the student is taught to “hundred points” you may yet have hope port of tile musical growth to follow. However, in tions are performed by the flexor muscles with a slight a folk song at once becomes a self-styled is best fitted for. Her “friends” have singers are more likely to reflect the work from the start. The Round Table will be glad if you are at heart “true blue,” as we order to make these technical exercises as interesting tightening of the muscles of the hand. Like the tight¬ music lover and a critic, and, still worse, advised her variously; she has been told actual ability of the teacher than are the to hear from anyone who desires to.express an opinion say, with courage and devotion; but take as possible, they should be largely concentrated and ening of the muscles of the jaw is energetic mastica¬ an “adviser.” that she is a beautiful high soprano, a more endowed students. on this subject, and to print his views in the depart- warning, the cities are full everywhere applied to meet the deficiencies of the pupil much the tion. One cannot thread a needle, 'much less play the Could we then by any means reform magnificent mezzo-soprano; yes, even Another unsafe teacher, as a rule, is but at the “top,” so' you must be pre¬ same as a remedy is applied to counteract a disease. pianoforte with absolutely relaxed muscles. the public, could we, who devote energies (by ope “expert”) that she shows many the man or woman who, having had a pared to climb, and climbing is hard When a ptmil is assured of the necessity of a sound For the lasting encouragement of readers who nw: to the cause of music, and especially to of the qualities of a dramatic contralto. short career as a popular singer, at the work. Music describes as well as any other art, only that technic, it is generally easy to interest him in the have suffered the torture of any such public experience, the art of singing, reach the public and My fair inquirer for “points” has the age of thirty or forty has lost the voice overcoming of these difficulties, and if properly admin¬ it has its own province of description, like any other let me say positively, that if one but acquires in play* induce a general appreciation of some addresses of a dozen or more of the very which was once so beautiful and has been istered. what might have been an irksome cate, through CHOOSING A TEACHER. art; and to demand of music a definite outline of the pianoforte the natural use of the fingers as» fundamental' facts regarding singing, a best teachers in New York City, and she ‘ compelled to abandon the platform or “things” is as unfair as to demand the poetry of color yottr tact will become a sudden pleasure. using a pen or in opening’a door, nervousness can #* great change would soon come in fhe has been advised to study the Italian, Carnegie Hall, New York City, is a stage and enter into the work of from sculpture, or eye-feast from literature. Each art Many teachers lose sight of the fact that in order more paralyze the fingers in playing a well-Farasc field of vocal art, the art would reach a French, German, psychological, physiolog¬ very nesting place for singers, teachers teaching. has its own domain of description, or suggestion, or to make a pupil’s musical grasp thoroughly compre¬ piece of pianoforte music than it can prevent the writ* higher plane in human endeavor and we ical, natural and other “well-known” and students. The name seems to give utterance of emotion (whichever you prefer). If one hensive. it is essential that a knowledge of theory and . Early decay of voice generally reflects of one’s name, or the opening of a door. The net'® would soon begin to realize a deeper methods. a sort of thrill to young ladies who hope and the same subject were given to a painter, a sculptor, musical history should.be distributed through Id- its improper use, and a method or process temperament is the musical temperament, nervous o significance and a further reaching benef¬ By her friends, including musicians of to sing in the Metropolitan Opera House. a writer and a composer, each would describe that course of instruction. It is impossible for one to which “uses up” a voice at the time of citement is musical fire A natural use of the icence in the ministry of song. local importance, this young aspirant for Here are two instances which show phase of it for which his peculiar art is best qualified; create an interest in the work if his instruction is its prime should be shunned by the young and the musician infringes upon no exclusive right of limited to the mere notes of a written page, them seats the hand so com”. • tahly ; n<| normally up But we are here unable to reach deeply vocal honors has been assured that the the thoughtless way in which young (and singer. literature if he employs onomatopoeia with good taste should be a backbone, as it were, a something tangible keyboard that it cannot be jostled off by fear. into the public spirit, and we must con¬ opera, grand opera, is her immediate sometimes old) people come to Carnegie This early loss of beauty and effective¬ and dignity in his description. But—and this is a big upon which one may base a working foundation These tent ourselves with advice to the student, prospect, if she will study with the ' Hall in quest of the “best teacher.” ness is everywhere in evidence, and our “but”—as to such a description as would instruct or studies cannot be looked upon as mere fanciful side¬ and, since we cannot prevail upon the proper teacher, etc., etc., until at last in One day as I was teaching a rather principal music centers are alive with People are always talking about originality; “ inform the untutored, there is no such thing in art: light incidental, to the course, but must h» regarded public to “hush its voice” of. ignorant despair she comes or writes to a stranger brilliant voiced singer two ladies entered erstwhile singers, who, after but a few what do they mean? As soon as we are bom, neither in literature nor in painting, and, of course, not as an essential part of it. In our theoretical stud ;- praise or pernicious advice, we can hut whom she thinks ought to know, and asks my studio, asking if I taught singing. years of public activity, have become ■world begins to work upon us, and this goes in music. Unless the language of art is learned, ari we get our first ideas of the forming of the seal - our urge the young singer to hearken not to for “help.” Caught, as it were, in the act, I confessed strained out, pinched up, forcing, im-' the end. And after all. what can we call onto* will remain a blank; so will nature, countries, nations: first intuition of correct musical forms the d.lTcmni the clamor of the kind neighbor or My opening paragraph above is my first that I made efforts in that direction. proper fundamental training or other except energy, strength and will? If I couM 8>u so will the Bible; so will all things that appeal to those dance rhythms and all in all, we learn from a fund , ,f friend, or friend of the neighbor, or any offering in the way of assistance, and I The ladies then told me that they had causes, all traceable to misunderstanding qualities in humanity which lift it above the animal.— an account of all that 1 owe to great predeces?0' knowledge that gives us new life, new interest It other ever-ready adviser, but to seek ad¬ reiterate the- warning, “Beware of the been directed by "a friend” to come to of the true functions of the vocal ap¬ Sternberg. and contemporaries there would be but st»aS"® vice from as experienced and highly ever-ready friendly advice of the un¬ would be a meaningless mass of notes to its if were Carnegie Hall for a teacher. Passing paratus. Some popular singers have ance in my favor.—Goethe. cultured a singer or teacher as he may initiated.” along our corridor, attracted by a bril¬ made .excellent teachers, but that a man TH E ETUDE 765
in Teaching Muelc, Lee YOUR CAREER. ing has been largely given over to the THE ETUDE The allurements of a career in opera memorizing of a role or a few roles, Horsford’s Acid Phosphate THE PERRY are always attractive to young singers, Among the more or less famous ora- 704 , m thp our. therefore be sure that every item of prac- PICTURES but this field is so limited and its require- torio singers and recitalists the condi¬ u . _ nr lot and what is more to the point, he can large city, leading us away fr Pfest ^ ig thoughtfully done, that we may • ONE CENT EACH ments so exacting, especially physically, tion is quite the reverse, for in these con- Gives Good Digestion. •Oman has been a popu ^ ’ make these fundamental thoughts, and poses of the ,st“de”t ? ^ th™habit of positively fix right conditions and right BP sood singer, does not p e you plan for you is to cultivate to a state of automatic precision For 25 or more. Sire 5« , 8 as to make it one of the last lines of cert efforts good musicianship is a neces- If your dinner distresses you, half a tea¬ ,ble teacher, and, as a many otners, i|gan i^you^a ^ finding yQUr chief pleasures a|ong lines accuracy; correct habit, once estab- work for the average American girl to sity. In the preparation for operatic per- and accuracy; spoonful Hereford's Acid Phosphate in worl< best teachers your own status relating to them. , determine upon. Your appearance in ama- formance, long drilling in memorizing of ' other words, the true teacher will whichmen artare helpful in your studies lished, will take care of itsqjj, and will half a glass of water will give quick relief. Remember also the needs of the^ body, Beautiful^ Catalogue of 1000 teur and semi-professional performances a role, and frequent complete rehearsals .1 to your mentality; he stands on Rememb— .— , exercise allow you to give free play to the spirit Makes digestion natural and easy. of the standard smaller operas may give discount, so to speak, the mental side of singers. hi method 'erra-firma and deals with realities, seek fresh air an< ou when interpreting a song. The teacher who names h.s method thQugh .n his ,ater work With you he regular interval , step e.glU cause for many words of praise, and musicianship; but the oratorio singer has "'regularly, nothing The effort of singing is the work of Italian, French, American the like may prove himself a very positive idealist hours a day ana t the body. When we learn to depend' THE PERRY your success in these recitals or per- no such opportunity for rehearsal, etc., needs close investigation, fc r these terms and a musician of deep penetration and butwhnlesomc oj- a sjngcr. 1o upon the body to carry the effort it is I ^thls picture of Waguer) PICTURES COMPANY formances in “Opera Schools” may ex- she must “assemble” herself and mold VOCAL INSTRUCTION cite fond hopes within you, but let me herself with the other artists of the cast, _i any way a of great emotional spirit. uear ’ . . , J • , ,)aths of her comparatively easy to control the free¬ Box 611. Malden, Mass. IN PARIS guide as to how, by what process, the All^ ^of this is summed Up in the thought .be success fid n ^ st'lff than the dom of throat we all so much desire. again urge you to go slowly in your de- often, yes, generally, in a single re- GEORGE E. SHEA (Georges Chais) teacher readies results, and usually the. tI„iat,at youou must help yourself in choosing art, must b.■ <•. lcHrn, thetllc It is remarkable how singers struggle cision, for the successful grand opera hearsal. career is for the chosen few, of whom So you will see that you are not plac- 5. rue Gounod naming of one’s method “nationally”‘nationally is a teachertcacher by looking at the matter with average™ of“ficewoman.. and andshe unceasing labor to sing, and how few appear- to know I WILLIS E. BACHELLER a mere ruse, appealing to ignorance, a eornmon sense, putting y< the first principles of the art. you may be one, but time alone can tell inff the most ideal career before yourself One of thefirst American men to sing in Opera in France the part of the judgment in play, that your decision be early in her student life. • Years are wasted in the search for Teacher of Singing you this secret. hy selecting opera as your field. reached .hr,inch any sort of ••bluff." Slum the /'Bohemian !■'/• Tluu >■ freedom through localized superficial ten¬ In the beginning of your professional There are, and have been, famous opera 125 East 34th St., NEW YORK WHITNEY mOCKRIDGE The teacher who during the first inter¬ by reasoning, threshing out the “ifs nothing in it which W1 a sion. - The great secret of correct vocal life the smaller things should be looked singers who have attained high rank in | RESUME TEACHING OCTOBER 1st | Teacher of Singing, Voice Production, view goes into extatic praise of your ands” in your own room, all alone, singer in her ambitions. effort is in its simplicity. upon with respect. the fields of Oratorio and Recital. and Preparing for Oratorio, Opera, voice and at once proclaims you a beau¬ r the day of first interviews is over. -;- Singers are constantly thwarting their In America the Protestant Church But they have generally Concert and Recital Work countries where Church Choirs and Able assistants In French and German Song-diction. tiful lyric soprano with a phenomenal week of thoughtful inquiry may own purposes by straining for their Choir offers a splendid opportunity for a After September 15th, 1910, will tearll In Park. ■ PRACTICE. Singers, Elocutionists and Public Speakers Choral Societies flourish. Mmes. Patti, range, or any other extravagant diag¬ years of regret. tones. Your Dally Practice Annoy* Others. singer’s ministrations, and while you are Tetrazini, Melba and many others of nosis, with many promises to place you, Self-examination should be a part of engaged in good work in a choir, you are 8, CIT^ DU KETIKO (MADELEINE) PARIS their class are very limited in their fields ill a few weeks or months, in an im¬ each day’s work. Nothing should be also gaining a splendid experience, learn¬ done away from the master unless its INNER CONDITIONS. ing how to sing “to the heart” of the of endeavor, while men of England and portant dturcli position or in opera, is GETTING DOWN TO WORK. 5 of teacher against whom I purpose and its underlying principlespr are We have all kinds of training leading listener, learning to read and to interpret America are more often as famous in JUST OUT! When you have chosen your teacher, understood-• - yjjlA good an,lent I good to lip shaping, tip-tongue exercising, ensemble as well as solo music, learning oratorio as in opera, for instance, Chas. through expert advice or your own select- questioner Flattery is good bait for pupil-catching, ducking of the head, drawing in of the to use the voice artistically,- learning self Santley, Sims Reeves and David Bispham. SYSTEMATIC VOICE TRAINING ing, your real work begins. Every studcnt should keep ; record of control, etc., etc. The rule is, however, by no means with¬ for, with the idea that the teacher is You will be likely to come in contact progress and a question list, abdomen, etc., etc., all of which are out¬ e pupil is easily brought to he- side efforts, something which the eye can UPPER SOPRANO TONES in the meantime the occasional or fre- out mar>y notable exceptions, but, for in- with many singers and students of sing- All. of her experiences, dilemmas, etc., Iiev erself a soon-to-be-prima-donna. see; but all of this class of effort is futile, quent trials in concert work will soon stance, among Italian singers the most should be recorded, that they may, be i strange fact that the average ‘"g. and, worse, these things prevent good give you confidence in yourself, and your famous do not come off the stage to the Generally • speaking, free discussion i taken to the teacher and “cleared up” at be Upper Soprano ;er has perfect faith in the , singing and make an outward show of experience with the public will gradually concert platform with success o praises her and promises her a valuable way to use a part of the lesson. what should be a quiet, unseen effort. bring you to a knowledge of your real So I urge you to let your ambitions for FRANK J. BENEDICT future, and, on the contrary, she time, but among students of singing this , See to it that when you practice for self and your powers, and under proper opera, especially grand opera, be held far sort of thing is often a source of unrest, But you must realize that the eye is Voice Culture and the Art of Singing n the teacher who fails to prais “tone” you know that all classes of tone guidance you should progress to the off, to be considered after you have been and, in many eases, of real are cue to definite causes in the person the least subtle of the organs of sense, e quite too brusque and larger concert field, in oratorio and other successflli in the finer ]ines of work and 503 Carnegie Hall, New York City of dis- of the singer. Your study then should and oar art of song the appeal to to be relied upon as a proper master. xI have*»<*»». known of‘ many 7. work with orchestra, and at last, if ___ . ... t let me urge you to take all flattery courageme.it resulting from futile d.scus- be to find the “cause” of your tones. The sight is the weakest of al philosophies OnOTOnNEYSIHON c ear must be trained to great acuteness, of voice, therefore it has been used by you'have made a thorough study of your . W .y^11"Se, . e,leV,® allgpromLsis of coming greatness among, - ,stude,lts , as, t0 the, , re,ative art in its many phases, you will, no doubt, °fra » essent.ally the “highest” )iil grain of salt Your merit of teachers and of methods, that the least differences in quality the multitude and the less thoughtful of ri s }°af ^ ®ermaQ Lied' ' q with the pro teachers, but you are to look for deeper grow to the status in vocal art which orm of v°ca art demands that you shut When y°u h.avc mastered your method’s •ill he apparent to you as you practice. will allow you to enter the most exacting As tQ| the hffhter forms of operatic Diaphragmatic Breathing Exercises. principles, and can demonstrate_. the the- With certain conditions of body, throat, truths than those within the reach of the FOR ALL VOICES D all flattery from all sources (musically and mentally) of'all fields of work’ such as the American traveling r who dwells partial- ones >’°« are Practicing, then you may tongue> mouth, lips, etc., a certain tone outer eye. You must be introspective,„ - . Written in i mention THE ETUDE when addressing our advertiser THE ETUDE 771 THE ETIDE 770 but strange to say. be was As he hated to have unmusical pupilj as ever to any musical A LESSON ON THE CARE OF THE Mildred stood .listening, her head INSTRUCTION BOOK—WHAT dropped low in shame. Suddenly, how¬ ever, she straightened up and, as if she rsa f«^S^rs s»rPapa Wieck lived to be old man— THE LEAVES SAID. :nough at home on Jhepiatoto^ya ^ ^£sefage. And he enjoyed :eing meant many things, went over to the rf II' /, i\\ enougn at non.e «•» , , jn ?6 wars of age. And he . piano rack, gathered her long-suffering §1 83 111 last. ; BY CLARA LOUISE GRAY. music books into her arms and rushed J the ~ key of the piece. If you nau ““ “^“"“ly'fourteen years ago s away from the room. PUBLISHER’S NOTES m1 studied with him and if anyone na Schumann herself passed a..-,. “Ouch!” said a squealy little voice as “You poor darlings,” she whispered as A Department of Information Regarding with a tender hand she tried as well as TH§ CHILDREN’S PAGE peered to beyou able '°“‘ tod transpose « = a small dainty hand placed itself on the New Educational Musical Works 5* S* gpl ■ she knew how to repair damages. “You page of her daily instruction book arid i: pN shall never suffer from my cruel care¬ think of that! denied her in her girlhood. For started to crease and turn down the lessness again,” and she kept her word. Clara was only nine when she first cover. Ky/ appeared at con^r—.X j^3^£3Si»B Mildred jumped from her piano chair QUESTIONS IN MUSICAL HIS¬ frre.d of «be Wreck., «»_.»<; f/rd““ »“"k»it-.o her heart', roe- and stood still, listening, her face bright¬ TORY FOR CHILDREN. fectionate'lyl'that the'little girl’s playing portrait of a composer, as well as the rosy and merry/ and tent. _ ening at first with pleasure and then, Can you answer any of the following Standard History of This new work HOW THE FATHER OF CLARA play. She gre birthplace, will again be on sale for 1911, ’" a healthy, happy with pain. questions which pertain to the subject Music; a First History is an enor- SCHUMANN TRAINED HIS rapidly blossomed as well as the calendar of the year before “I wish so much my mistress would of musical history? They are all for Students at All mous success. FAMOUS DAUGHTER. child. THE SINGING BOYS OF JENA. that a duotone portrait of a Great father’s mode of teaching was not be so careless of my welfare. She simple questions on subjects which Ages. By Jas. Francis The advance Hundreds of years ago the streets of Master, mounted on cardhoard with an ased on the simple principle tnat in is such a sweet miss and tries hard to should be familiar to little folks who Cooke. sale has been Tena and of other German towns used easel. The price of all are the same, irder to learn, to the best advantage, are earnestly interested in music. unprecedented. to echo to the songs of black-robed practice and study her music, but I do ioc. each or $1.00 a dozen. 1911 calen¬ uv __re must love music so dearly that the not understand whether it is because she 1. What Pope is said to have estab¬ It will prove one of our most suc¬ When you nd I i o be over sixty monks, who went from door to door, cessful publications. It consists of dar pads on all. k'deaf and*suffer lesson hour becomes a pleasure, and singing and begging alms. Their ex¬ does not think or is really careless that lished the first training school for sing¬ years old and- not a task. He took the greatest pains ers? forty illustrated story lessons in the Glad Tidings. A Com- Last month greatly with rheumatism, do you bcli< ample was followed by bpnds of poor she defaces my covers and leaves as she with the technic and expression, for he 2. What was the system known as development of musical art, adapted for plete Christmas Service we announced we shall keep on with our daily practice students, known as Bacchantes. These does. beginners, music clubs, private teach¬ said that a pianist needs such great Bacchantes wandered from one univer- “What would she do without us, any¬ neumes ? for Sunday-schools. the new and study of music? Well, that is just 3. What were the joglars or jong- ing, class work and general reading. confidence; you must feel that you can¬ sity to another, in search of better in- way? How handy it is for’ her to be Christmas what Clara Schumann did; but then, she not possibly fail, and this confidence There is a useful appendix giving prac¬ Service for Sunday-schools. The title had a very remarkable father, Friedrich struction or better means of support. sure to just glance at the notes printed tical details of club organization and has, what tree growers call its “tap¬ Such a wandering life was favored by 4. What is the art of combining melo¬ adopted for this service is “Glad Tid¬ Wieck, who was, perhaps, the greatest in my bosom if she happens to forget. management. There is also a map of root,” in a full, firm, clear musiem the customs of times when people dies called? ings.” Copies are now ready for deliv¬ piano teacher of his period. Why, there would be no music if it were musical Europe, and- a diagram of the touch. And he tells us to try to bring thought it a virtue to give freely to all 5. Why were the works of Palestrina ery. Good judges who have had an Ten years more, and on September not for us, and yet, look at the manner growth of modern music, giving all out from the piano the most beautiful persons seeking help, but especially to considered greater than those of the opportunity of examining this work in 13th, 1919. it will be just a hundred possible tone with a quiet movement of in which we are maltreated. See my composers who preceded, him? the important events in musical his¬ monks and students. advance of publication have com¬ years since a-dear little girl baby was poor cover, and my back is almost 6. Name a’ famous Irish king who tory, together with contemporary the fingers, and a correct position of The Bacchantes had with them mended it very highly, and we antici¬ bom at Leipsic, in Germany, whose the hands, with ease, lightness and broken. You can see a part of my ribs, was known as a musician. events in general history. The book, pate that it will be extensively used. fairy godmother—Close Application— ,urcuc younger traveling scholars, known as sureness without any uneasy jerking yet instead of being put into the hospital 7. What was the name of the first aside from its rare quality as a text¬ Mr. R. M. Stults, the popular American transformed her into the finest woman q{ {he arrfts Skirmishers, who were to receive in¬ I am obliged to give out the notes just Oratorio? book, makes most interesting reading composer, is represented by a number pianist of her time, perhaps of all time. structions in return for certain services. This is why, when Clara grew older, the same. 8. To what particular form of musi¬ throughout. It is written in bright of original pieces. Other contributors Her father, Friedrich Wieck, had The younger Skirmisher had to wait audiences noticed there was never any¬ “I suppose I am lucky, for my poor, cal art did the great Italian composers style and vigorous English through¬ are Homer Tourjee, R. R. Forman and loved music from the days,when he upon his Bacchante, beg, and even steal thing harsh about her playing. For her dear neighbor, Mr. Etude, has no cover of the seventeenth and eighteenth cen¬ out, and is profusely illustrated. The J. W. Lerman. All are experienced in was a tiny lad; but his parents were so for him, and for the most part he was touch was so steady and attractive, she at all. See what has just been happening. turies give the most attention? work is no longer published at the spe¬ poor that often the delicate little boy vej-y tyrannically used. But as he was •this kind of work. The Service is very seemed to almost squeeze music out of It hurt me terribly to have that cover 9. What is a requiem? cial price, but those who are contem¬ did not even have enough to eat. So CLARA SCHUMANN IN OI-D AGE a waif without other protection, he had neatly gotten up, and printed from spe¬ the keys, rather than to strike the in¬ turned down, especially when she tried 10. Who was “Couperin the grand?” plating introducing it as a text-book in cially prepared plates. To anyone that he could not grow strong, and, of strument. And one music student to make the best of matters. 11. What is a prodigy? schools, colleges, conservatories or course, he had no money to take music was admirable and- free from any af After the Reformation, in many so hard to make the crease, and yet she sending us 2c. for mailing, we shall be wrote home from Germany, “Oh, if you fectation. A year later she began to has a tender heart, they say, and cries 12. Who were the first organ builders? musical classes would do well to con¬ glad to send a copy of “Glad Tidings” lessons. When he grew older his par¬ could only hear her scale!" places these orphan boys, or waifs, were 13. What parts of Italy were famed sult us as to special ; Ians. compose; and Paganini, the _ great bandedDanueQ mluinto organized choirs, who„..m when any tiny live creature is injured.” for examination. Copies in quantity ents wanted him to study for the min¬ for their noted violin makers? istry, but during his student days he THE ADVANTAGE OF SCALES. violinist, who visiting Leipsic, was. received pay from churches, but also “Yes,” chimed in the second page, “I Music for Our Church Music. De- may be had at our usual liberal rates. so delighted with her talents that he 14. What great affliction came to Bach had to live on bread and butter, and assisted by private subscriptions. feel almost used up. I am so ashamed Thanksgiving partment has had spe- Give Thanks and Sing. This new edi- Papa Wieck thought scales should be insisted upon her being present at all in his old age? was delighted with a Sunday when he played at least fifteen minutes a day, It was their duty to sing not only in when she takes me to her teacher. I try & Christmas, cral attention paid to it Compiled by James tion of t h i s his concerts. 15. What is a passion ? could have hot soup. Yet he loved staccato, legato, fast, slow, forte, piano, the churches, but before the houses of as hard as I can to tumble down on the 16. How Old was Handel when he com¬ for many months, and we N. Clemmer. work is now music so that he learned to play with¬ of ways, you see, but one, anu HER FIRST CONCERT TOUR, their patrons as well. Thus they ceased floor, so that I cannot be seen, but the menced to write his great oratorios!— consider it one of the best equipped in published. out any instruction, which is the hardest. carelessly. i must be Beside her piano practice and lessons to be beggars. Martin Luther himself, teacher almost always laughs and says, From the Standard History of Music. the world. Aside from our own large This work was so little known that it way of alji, And while he studied wi.n not one moment of inattentive playing. -n counterpoint and harmony, she as a boy, had been one of these sing¬ ‘Mildred, cannot you find the time to and rapidly growing list of Octavo will readily pass for a new work. It all his might lo please his good parents, He would rather have his students studied singing under Mieksch. and ers, and it was largely due to his influ¬ mend your music book?’ ‘Oh, I have so Any great achievement in acting or Church and Quartet Music (catalogue has been com cted and slightly revised. and graduated at last, he never practice short periods, and often, and violin piay;ng as wdl. When she was ence that the old custom of begging many other things to do,’ replies the music grows with growth. Whenever free on application) we carry all the The book contains 96 pages, no preached but once, for his heart was pay diligent attention-ho wanted his eJeven years okl she was taken on an entirely passed away. There is a little girl in an indifferent manner, ‘I can an artist has been able to. say, “I came, standard issues of other publishers, So hymns. They ha a been compiled from not in it. Music was always calling to pupils to practice with their ears and extended concert tour bv her father, famous picture of Luther as a singing study out of it, and that is all that I I saw, I conquered,” it has been at we arepreparedto give the best of atten¬ every source—the very best and most him. boy in Eisenach, where his song at¬ A CHARITABLE TEACHER. minds as well as tire ten little hammers Jn Pan she met and heard Chopin, want.’ ” the end of patient practice. Genius at tion to ‘all orders for supplies of this popular religious songs ar.d hymns, tracted the attention of the good Frau “It must he she is careless,” and some¬ first is little more than a great capacity kind. Just now, there is a steady ad¬ T.ater on he borrowed money from we ca . 'JgTf' until he Liszt and other musical stars, who, on from all the books of all the publishers. Cotta, who adopted and educated him. one stopped to catch a breath. Then for receiving discipline. Singing and vance call for THANKSGIVING MU¬ a friend to set. up a piano—• factory their part, were delighted with tire liule It is certainly an ideal book from the Nowadays^he old custom of the choir from the middle of the book came a cry SIC, and there are also early orders for Leipsic. He also hoped to become a acting, like the fine dexterity of the point of, vie.w of the Sunday-school or The left hand is always the hardest to ^ Chopins music was ju = t be.no- boys’ singing from house to house ts of trouble and worry. juggler with his cup and balls, require CHRISTMAS MUSIC, for both of concert pianist himself. But he found young people’s religious meetings. One the difficult places; so that t° be known and PaPa Wlcck was fadng away. There are only five other which occasions unusually good pro¬ it was too late, for the sensitive muscles £°a “Only look how my page is marked and the shaping of the organs towards a‘ introductory copy will be sent for ioc. bass is apt to suffer from playing very proud of having been the hrst one towns besides Jena in the. whole Ger¬ grams seem to be in preparation. To of the hand must be trained from early soiled,” called another. “Hello!” said finer and finer certainty of effect. Your The price is 15c. each, $10.00 a hundred, timid and false notes, he said. Since a to teach his compositions in Germany. man empire where this music can be childhood. So he began to give piano page forty, “Is that you, number thirty? muscles, your whole frame must go those who have not yet selected ma¬ transportation extra. spoils the very best play- This first concert tour of Clara's heard. Once each year lessons. He taught his pupils with the slovenly ba: You are better fixed than I am. My page like a watch, true—true to a hair. That terial for these purposes we offer copies This edition of the work is particu¬ the world, he advis d them to made known the father’s method of go to F.iscnach and sing before the greatest care, for he was determined is torn right across the middle.” is the work of springtime, before habits for examination and liberal discounts. larly attractive in appearance and, practice the bass part a great deal, and teaching. After that, pupils came emperor in the great hall of the his¬ they should become what he could not. nr:l1 And so it went on from one page to have been determined. . . . Any suc¬ Write for catalogue of octavo music, bound most substantially, a very im¬ very often, for a week or two before him from distant places and countries, When they were very poor he even toric castle of the Wartburg. where the the other. A spot of ink, a ragged edge, cess must be won by the utmost patience. cantatas, etc. portant matter. playing the right hand with it. and his lovely, talented child became Minnesingers held their music battles. and everywhere ruin and destruction. —George Eliot. loaned pianos to them. He was think¬ 1911 Calendars. Each year at this com¬ He made it a point to choose the the favorite of the German people, There are just twenty of the Jena Richard Wagner; We will con- ing out a new method by which technic ing hoi i d a y season according to the ability of the - Although he had other children, Clara singing boys, five each of the ages His Life and Works, t i n u e this could be more easily acquired, never - time we try to make an effort to have always impressed was his special pride, and life was never eleven, twelve, thirteen and fourteen By A. Julien. month the spe¬ supposing that liis baby daughter would a few novelties which will act as small it upon them, the simplest waltz, well quite the same to him after she mar- years. They are orphans, and the only some day surpass his proudest -dreams. “ """" * A PUZZLE FOR VERY LITTLE CHILDREN Christmas remembrances. Our calen¬ cial offer on this played; makes a better impression than ried Robert Schumann and left home, qualifications for the privilege of four For little Clara developed so slowly dars, in the past, have formed no small splendid work. It gives a complete bi¬ a larger composition badly done. In Miss Fay’s ‘ Music Study 111 Gcr- years’ board and schooling are good at first that no one noticed anything part of these offerings. We have this ography of the master, as well as a He also advised everyone to keep many” you will find a sprightly no- character, ability to sing and obedience critical review of all his compositions. unusual about her musical talent. But year a new series of calendars, beau¬ one suitable piece in good practice, as count of an evening which she and a to the laws of the organization, one of when she was five she began to show tifully lithographed in a number of col- It is profusely illustrated with scenes the greatest interest in the sounds of a friend, companion and support. friend spent with the Wiecks in iS72.^Hwhich requires them, to sing before from the operas, autograph reproduc¬ music. And as soon as her father And the child must play eve-y p:ece Another friend had told her and her houses of their patrons.—,-fr//i«r Vpst tions and caricatures. It will be got¬ • The series consists of four panels, noticed this he began giving her lessons, faultlessly by heart. This must have party they must walk in ju*t as though »» St. Nicholas. ten up in handsome style in a single meant much hard work- even for the they had always been members of the ____ about 4x9 inches in size, mounted on just a few minutes every day. It was cardboard, each containing the portrait volume of over four hundred and the nicest plaything in the world, she filling, industi iuu=., little*•«.».•». Clara.— — -•-*For family,«umj. «u>uand anjr,say, “Gooduwki evening, PapaI’apa » «. . eighty (480) pages. f Reinecke. of Liszt, Wagner, Beethoven, or Mo¬ thought, and very soon her progre: ven when she grew to be a woman, Wieck.” “Then we were to seat our-' u ,u™rous story is told c zart, with a frame around it, surrounded During the present month the price tonished him and worried•d" the’the friendsfr,^.,,uo they- say- she used to cry and cry, be- selves and it would be well if we had wic th^JnnT ™j'rr'cd th’,oc t,meS “L will be 75c., if cash accompanies the and neighbors, who began to blame him cause she had to learn every s.ngh | by 3. very delicate and beautiful flower design. The calendar pad has been added, order. If charged, postage will be ad¬ for worrying at the child to the possible P’ece on her. concert program all by rr ditional. undermining of her health. He smiled hfart, no notes to depend on, before a pearancenearanre 01nf meaning to stay fort several\ foundi near ,the . , Reinecke, , home,. ,and ,think- and in addition a cord and tassel, to be at their1 scolding, for he knew by what biR audience. used as a hanger. Elsewhere in this Life Stories Biography will always be issue we print a photograph of one of simple and natural means he was work- Papa Wieck said she must not do o have people come in, simply 3 receivi of Great one of the most interest- ing with her and how very careful he anything to cramp her fingers, «n tO'Call. these. The price will be the same as Composers ing of all studies. We heretofore, that is, 10c. each, or $1.00 a avoid the least bit of tiredness. s not allowed t sew, or to knit, like expect like to read how great ^ a^Slt^JnS itSsd0mlekn°-W £ill ask^ my 1 wife to count per dozen, postpaid. And the little Clara loved her n other little German girls. me in half an hour?” He was very deaf the children.” men have waited, struggled and . tri¬ The calendars used last year, consist¬ This picture represents the kind of music used to express sadness. Can you tell what it is ? umphed. The story of a real human life ing of a frame, containing a lithograph is usually more fascinating than the most ’ P THE ETUDE 773 THE ETUDE . 772 of musical references for the next twenty- turn, etc., and treat them as a special Reprinted Editions Never in the his- This work is now Teachers get sick of the old Jhmgs ^ years. it contains special articles, study. In this work Mr. Sartori has for October. tory of this house performed the task admirably. These attractive novel. Take the life of Cho- Qctave Velocity. ready, and the which they have been teaching biographical data and theoretical mtor has the opening of VIRGIL CLAVIER for sale or rent at r that of Handel, or ^ Studies is over for years and long for ideas aDoui not to be found elsewhere. It is, studies can be taken up by any one $5.00 quarter. H. 4224 Chestnut St., Phila¬ a season “been more auspicious from delphia, Pa. Wagner, or Beethoven, each life, P eby with- new pieces. They willfindth^^^ jn short, a monumental work of musical who has studied two years. The work every point of view. Our organization reads like an absorbingly interesting By Jas! H.°Rogers, Those wTofuJe'iuggestions, as well as excel- 1 without which no musician', will only remain on special offer this is the best that it has ever been; our .story. The "Life Stories of Great Com¬ who have subscribed for it in advance lent ' interpretative ideas Pert^ library is complete We cordia y sohot month, and will be withdrawn ir. the publications are deservedly popular, The Etude. posers” contains thirty-five such lives, will be pleased with it beyond a ques- the performance of P> xhis correspondence with regard to it. December issue, as it is now ready for but never has there been quite such a and while you are being entertained you It is one of the best sets of studies which they are already fa ' SDecial „ To supplement or add the binder. demand as at the opening of this sea¬ Musical Compositions dedge, he kind ever published. Although book is now wit dr«„ More On Sale yariety to any ox The advance price is only 20c. post¬ .. Organ Things. Save worry, keep are extending yoi son. sweet. Each list 25 cents, silver. ,T. B. ng that volume may no longer be had at advance offer rate and 1 Music. SALE music now in paid. If you have not already sent in Our own publications are carefully Waterman, Org., Battle Creek, Mich. ipetus to work and succeed filch can special price, we shall be pleased after will be $1-5°. the hands of our patrons, we are always your order, do so this month. and, our patrons think, sometimes, too ' I O stimulate a greater interest in ily come from the sedulous s send it for examination to all who _ for This unique d t0 send special selections slowly prepared, but the idea is to pro¬ musical composition and to de¬ e great men and women wh may be interested. Games and Puzzles for and very use- ering any„„„ requirement.wmirement not providedorovide, for Anthems for This is a work duce something in every case that is of the Victor Talking Machine is constantly velop the opportunities for gaining the Musical. By Daniel fuj httle worx being increased by the addition of a most icceeded in the past. Get thi in the first lot. Congregational Use. which we will is- an actual aid to musical education and excellent collection of masterpieces interpre¬ the widest possible publicity for the New Gradus Ad Par- is continued Bloomfield. ;s n 0 w pub¬ * Many customers get the impression By Anderson. sue during the ted with authority by famous bands, singers composer the publisher of this journal to the teacher, and it cannot be done and instrumentalists. Great changes are go¬ herewith announces an nassum Left-Hand Tech- durj tbe lished and on the market and the spe¬ that one “ON SALE” package must do present month. quickly. ing on in musical instruction, and the teacher nic. By I. Philipp. current cial offer price of i$c. is hereby with¬ for the entire season. This is not so, There are a great many congregations who can introduce the features of a fine con¬ with which to supplement the study c Our new Standard History of Music, cert as part of the lesson can not fail to musical history.__ The_ -advance price c month. We have had many good re¬ drawn. No further copies will be sen. and we trust no teacher needing more that will be glad to get a work of this by James Francis Cooke, we can increase the Interest of the pupil as well as Etude Prize Contest at this rate. The book will retail tor music or studies will hesitate to let us kind. These anthems have been se¬ the teacher’s income. The first movement book is 60c.. and this price holds ports from the volume previously is- point to as an example of a work from the Schubert Symphony in B. minor, r until the date of publication. Those sued, entitled “BOTH HANDS TO- not less, than 50c. know. lected and adapted with the greatest slowly, carefully but exceedingly well played by Arthur Pryor’s band will be a for Piano Compositions Mr. Bloomfield has drawn together A „ e care. They are graded according to revelation to the child who has only heal'd , purchase this book at this, advance GETHER.” Advanced pupils will be special done. Never has a work published by crude bands and piano or organ solos. Like¬ gain much benefit from these ,nt0 this one volume all of the musical Studies in Florid Song. o^er difficulty, from the beginning of the this house received the enthusiastic re¬ wise educational are the great new Melba Five hundred dollars will be divided HHHjt and will iloiilulo'S ask, "How ■ arious volume- "I lands I 111 ■ 1 1 KanK-s, puzzles and charades that have gy p. W. Root. w.irk book to the end. The first anthems are records, seventeen in number, made a month among the successful composers in ception which this work has received. ago by the highest priced of all living singers. the following manner: can sucha valuable b'Mik be s
• n movement on foot Deatb,” Woyracb. .khTdergar fen ASiasw w d®» su.^c^»w«i HWBWW**! .W“=k »'niwj|r» SSSSwue- =S®5|f®= This intensely human picture wmsmm am iisss stands for all that is best in music SSr**“ BS^-nsc you lUStheVe^beSst music offv^nd^sjtng^ placed’ bS issrSss^-schools'™ col'lkes b.VS?= 3 ■Bail ^.rrr^izr::,.,^ MONZEL Vwag-saar RFFftn«EN~SSt.., . j MOULTON safrPBBC once^befapparent—SBSg»e»mwiWiBftaaaga to you just why it has accomplished such great things in the f ,honyHSSS orchestra. iij its action and that frightened me. TRACY nw. oTsci BENT & BUSH CO., . - - Finally my physician told me about a year ago, that I must stop drinking coffee VtONVEON Z.. ■JBr’S’.u,. [., ,,.T»nHFH'sctRDH or I could never expect to be well again. failures were hy non-advertising concerns. “I was in despair, for the very thought WHISTLING SSggSgj T "1s^:HH=- ; Mintral School m CLASS PINS S2 of Piano Tuning® rNe°", Sy^easHfH^iS musical jsusns StfSSSri1 Y0UNG=S?a:-^ i, you will do but little last- J^usic Cypograpby tn all its Branches \ste,"™y "*"> c'"'a'°' ,..S—- --*.- “Finally T -.IgrigH that I owed it to Children and grown pupils to give trial. So I got love to think if thinking is made pleas- t MMeJ0 s PIANO FRAUDS! .v.. v.nk it was! Do you know I there is a great variety in our ability The Casters for it very easy to shift from coffeeto f service by t0 think> but whether the child be- The Piano and Organ - and not mind the change at il Your Piano “Almost immediately alter I made the Purchaser’s Guide change T found myself better, and as the y I kept on improving. « gsm&fE&s as sound and steady, HeP : strong and well-balanced all nuiYear. 25 cents oy man, rrepaui at oioux uty, Iowa. — ...... MJSIC TRADES CO. gBATTT1B «VMPT “Now I am completely cured, with the ips^si ir= l~|g Your Music is Torn! 7oT«LpIf5".?^y“S;g wn to the young mind. This many --1 SMsMsSS f=wrS mot do, others think it beneath MULTUM-IN-PARYO 111 TAPE ZABEL BROTHERS —«2Sf ,TZ^ o ciock at nignt. them to do it. To develop the think- MUSIC PRINTERS ssss^f^ss AfiEJCHK i for which wi,n be successful unless thought is de- - AND ENGRAVERS Hi VMMMyn|MgHjj| Zff wrre yeloped. No teacher will be success¬ ful unless he is a t Please mention THE ETUDE when ai THE ETUDE 777 776 THE ETUDE NERVOUSNESS in PUBLIC—ITS him more confidence and will insure a ■ -a. * . THE PHILADELPHIA ORCHESTRA Answers to Questions^ C",T =S r“£%zi£ Learn Piano Tuning j^BLACHfc 50 SYMPHONY CONCERTS SO Not excepting public speakers and detract Tom °thf aruS^sidTTf The Mo."^ UT-id °T ho™ '"J16 Civil‘ oc T’OTnAV' ArTFRNOONS AT 3:00 25 SATURDAY EVEINIJNQ»S> o.io Edited by LOUIS C. ELSON individuals when they have to go An acquaintance with the hall where through the ordeal of a public appear- one is to appear will prove helpful. The "'SHBi r£eSZssiss excitement not only affects the novkT, be studied to ad^tntage"*1/wwk before A. There is no reasoni why certaU^ Walton be writtenm adrancedstudents .areat but also the most experienced. It is he is to appear the performer should only necessary to be in the green-room Set as much rest as possible. On the with some great virtuoso before hrs day°* the performance the diet should ipssiss recital to realize this. be Stimulants must be avoided It would seem that nervousness in al aI .times. Their use may mean the public is one of the ills artists are heir bungl,ng °J an otherwise good perform- io, and that one must accept it com- ance‘ ,rlf the player, at any time, feels placently; but this is far from the truth. gr°wll,S nerv°us> he should ■d~S£S!.tW4 manifest a higher degree of nervous- tlon to h.ls appearance. This is effective 15 Cents np„ Still that is no valid argument ln restonng self-possession. At no lime for the existence of this apparent ill sboldd he allow his mind to dwell on Fov Comfort that is the price The causes of nervousness in oublic the. Performance. The player, before g on the stage, should illiii. i his ability. He should The human body is an extremely deli¬ cate organism which can easily be placed .out of gear by Artists, in their blind ' Dears9 M SOAP I00L OPERETTAS AND ENTERTAINMENTS sion. His - brother, George" Astor, was With a weak body, :her by long hours of signment of . flutes worfh about $25. These he sold in New York and pur- ■tsS; -U~-J furs, which he took back to makes greater the possibility of error England and sold with consid. while before the public. The artist, frofit .Ending this venture succ( UHllinSCi0USly rea'iZing thiS’ f6arS the of businesses, atid*6finally Cestah aTd£fQe whid, l|>SSisbr2dy to ™ -«3B8few.. .. £K53Sr«'%3: E£C-r^H:S -b-'SSBSsSSSL. T in art song Is one that has music sot their hcalth> ^P^ially by hygienic and “ **SSj rlE.'SSs'SS „ feeling n, to my duty. I *“«** =«f s t . no food to equal Grapc-Nms. a^d that I Business Manual for Music Teachers toe,al3wen And there is almost no limit to the great benefit this food wi” bring when used in By GEORGE C. BENDER tSSST s j^ssyusseasL, -^srss^jsss^ WuRUlZER n*CTa1Iete),‘“t=^UtS SEE “THE ETUDE” PREMIUM LIST ON PACE 784 takes m 6 ‘S 3 way of Preventin« mis* clergyman invented a process for pre¬ in mihl ° °"eLsh°uId atten3Pt to aPPear serving the wood which he never mmrnmm !!i“b!1C wlthoat the most thorough divulged. but I s EMERSON PIANO CO. haye th_WMS high grade Grand and Upright Pianos. Catalog on °f bh public a 560 HARRISON AVENUE, BOSTON iing our advertisers. THE ETUDE THE ETUDE STANDARD HISTORY OF MUSIC A FIRST HISTORY FOR STUDENTS A' (Etude, July, 1909.) Price, $ of the Flower Fairies. By JAMES FRANCIS COOKE 1-25 Piano. DuetJ^ MiW in the Black l8. P^na*\dh™Su£Z*’ Sgg. IN MUSIC-LORE A COMPLETE, CONCISE SERIES OF 40 STORY-L 2. VocaUSolo. Tucf'a Little Elf man. l8. p£™Drag™Mes^C00mbs . Robinson. (Etude, October, 1909). (Etude, December, 1906.) is PLEASED so many 3. Piano. March Militaire. Rogers. 30. Recitation. Cay Little Autumn iu privale-class or (. Piano. Dancing Nymphs. Braun. ^j^greatestmusi- Op. 10, No. 6. (Etude, April, (Enter pupils who take part in recital.) ;. Recitation. Over Hill, Over Dale. LE I 1_)S YUU « - -- II THEO. PRESSER CO., 1712 Chestnut Street, PHILADELPHIA, PA. sH&s’sstiSr' -nsz&snjs,, «• «»»•• OaUn Lam. . KiS.wr„; „ r grSSfSS. Tm. Vafiluiin LThangaeDearUn Zek cwsUpT'ear. (Etude, December, 1909.) BLANK MUSIC PAPER - § - ' ” . The Fiddler. L. ] ible of any paper on the market; thick le&&S&aper havelSeS^c 6. Piano. Over Hill and Dale. C. Gur- litt Op. 189, No. 2. (Etude, May, "MADE Tn *12*I4T16LINE AND ■VOCAL,^SIZE 14 x 2! DEPARTMENT FOR YOUNG TABLETS, ETC. FOLKS’ MUSICAL CLUBS bl^^Tertpon‘request3: l^Sh^^xsTwiSeS^ 2Sl««W,db»S. &Ave. SlelSaSmmw (fiomBanu New York CI^INNAtT^^ flTsutteTstreet BLANK MUSIC COPY BOOKS zmwmsmzmmzs i SSa Ave. 40°Huntington Ave. St. ThSHJlHi°n *: m-rke: : : II: . A FALL RECITAL. with green silk thread in such a « IflP^aSlI (SLz jSSSSSSES&asi* •“~ Music and Verse of the Dying Y<'ear tllat t'ley may be lowered like a ci , tain oyer the proscenium opening wl SSt^-sa«.aaa^ - - -— msme-ri^tsrxwr . “ CHRISTMAS MUSIC fcti:SEi,.wfiSs.M..,.s,.,.. •. : •r-r'i-nassss SWl-SS.'SSfSt.arl »S^aK-year- the ^heav^rfs^ blue )• Piano. Dance of the Wood MAKE YOUR LESSONS ENJOYABLE BriSbI theSlMomlnEMorning,8 16Bubinstem-Dress-bMf Bells„Traoy of Betblebem, . Low Vc., G. L. 50 say. (Etude, August; 1907.) October, 1907.) n. Piano. The Mermaid. Schytte. 26. Piano. Good-bye. Eggeling. (Etu Information, which gives zest to the lesson and happiness to (Etude, August, 1907.) October, 1907.) .15 Cbrt^as P« A, Low Vc.. ' the pupil, is supplied by the new and captivating book, 12. Recitation. The Mermaid. (Selec- 27. Recitation. Airy Nothings. Shak, ’ Much may be added to the general ^°nt °f J ^ Schnecker^ .60 Stories of Standard Teaching Pieces attractiveness of the decorations by ef- ^ ^ of the Fall k' nfe mass By EDWARD BAXTER PERRY t it is to be had in plenty, an MUSIC EDUCATION PIANOFORTE, HARMONY, ETC. THE FIRST YEAR IN The bee could play upon the comb; Pupils of Mrs. Cora Pierce Fye'. They wished he hadn’t come, hffiLrvSSsalnS?*Ior 1 Emerald Waltz, L. Elsen; On the Lake, For all the music that he knew . py .menus ,.r writing and oar-tral Engelmann; What the Nightingale Sang DUNNING SYSTEM OF MUSIC • Was simply “Hum, Sweet Hum.” (vocal), Parker; Sextet from “Lucia de Lam- scales, key relations. mermoor,” arr. Engelmann; Delora March. staff notation, nil' con Cora Pierce Nye; Le Colibri, Paul Perrillo : 5* STUDY FOR BEGINNERS Sw Lvijj —Success Magazine. the dominant seventh Diamond Medal March, Engelmann : Over Hill various cadences, and Dale (4 hds.), Engelmann; The Nightin¬ ^student mastering this gale, Liszt ; Black Key Etude, Chopin ; Gems It is a significant fact, and one that intelligent teachers are recogniz¬ Aunt Martha laid down her weekly of Scotland (fantasie), Rive-King. ■ newspaper, and, assuming a pensive method lie learns™ o' know ing, that this practical,, unique System is the only one endorsed by the a'm progressions by sound a Pupils of Copley Square School. most renowned educators in music and pronounced by them the best in attitude, addressed her husband Sonata, No. 14 (2d piano bv Grieg), Mozart; “Josh,” said she, “I don’t see how it Danse Espagnole (violin). Atherton; Fire Fly use. Madam Gadski’s message to teachers is as follows: (2 pianos), Duvernoy; FIngertwist, Emery; is some folks get paid a lot of money PRACTICAL HARMONY ON A “Faust,” Gounod-Leybaeh; Reveuse (violin), _ St. Louis, April 25, 1910. for not liftin’ a hand. As an example, DeBeriot; Prelude, Op. 28, No. 20, Chopin ; My Dear Mrs. Dunning : FRENCH BASIS Tarantelle, A flat. Mills; Romance (’cello). this paper tells how a certain cele¬ Goltermann; Sonata, C major (2d piano by 8‘ I greatly enjoyed your lucid and intelligent delineation of By HOMER NORRIS the Dunning System of Music Study for Beginners, with the unique brated tenor was paid a thousand dol- Grieg), Mozart: Impromptu, A flat. Chopin; lars just for appearin’ at a concert in ,,„T“ the French system all dissonant Prelude, Op. 28, A major, Chopin; Taran¬ apparatus used which must be as interesting and instructive to harmonies are reducible to simple domi¬ telle, A flat, Whitney ; Dream of Love. Liszt; COMPILED AND EDITED BY JAS. N. CLEMMER older pupils as the children. I was deeply impressed with its Chicago! Concert Piece, Op. 40. No. 3 (violin), Leon¬ nant harmony. A glance at the volu- A Book of Songs Thai Ihe Sunday School Will Sing adaptability to the vocal-teachers needs as well as to the instru¬ “Fve read such things afore, and minoiia excerpts which Mr. Norris has ard ; Gay Butterflies, Gregh; Caprlcclo introduced from many sources to Brilliant, Mendelssohn; Polka de Concert, mental, and I believe that its general use would revolutionize the they, keep me a-scratchin’ my head Bartlett Study of Music for the masses and give them that broad intellectual S LiS,atem“nts spems absolute!! - COLLECTION of over one hundred of the best liked, rejol1ned Unde Josh, with a sigh el“»- . Even the “Altered Chords” foundation which is usually lacking. This system certainly fills a nantt Cated lationnlly as simple do-' full-of-melody songs for the use of Sunday Schools’ long-felt want in ear-training, sight-reading, transposition, and Why, only a couple o’ weeks ag08 I memory work, and I recommend it to every progressive conscientious . Practical TIarmonv Is ’published _up, Bugbee; Song without Words, Ascher ; Revivals, Prayer Meetings and all other religious nff h * We"-knom Prizefighter rohoJ181'18'. ,I,ftrt I deals only with coa- The Spider. Bugbee ; Touch-Me-Not, Bugbee ; teacher, both vocal and instrumental. vras offered $10,000 simply to meet an- sonance- trl id horinony. The Raindrop and the Flowers (4 hds.), Bug¬ services. ' - ■_._JOHANNA GADSKI TAUSCHER. Part ir deals with die bee ; Birds In Their Nest, Taubert; A Frolic, ttrZtrJsUwal,h,‘ own leading *s OUR GUARANTEE The Course includes instruction in HARMONY, COUNTERPOINT Free Sample S£s3 THOROUGHBASS and COMPOSITION by Write today, nnder Hr.ADOLPH ROSENBECKERand Mr.DANIEL PROTHEROE (Both Musicians of the Highest Standing) first to answer this advertisement. SIEGEL-MYERS CORRESPONDENCE SCHOOL OF MUSIC, 1975 Monon Block, CHICAGO attribute of lovely woman is Cleanliness The crowning A Pure Product of a Perfect Process BAKER’S Breakfast Cocoa is made from the best cocoa beans, carefully selected, cleaned, roasted, freed from shells and the ex¬ cess of fat, and then, by a perfect mechanical proc¬ ess, is reduced to a very fine red-brown powder. It is absolutely pure, Unseen—N AIA D—Protects healthful, and makes DRESS SHIELD a most delicious Odorless Hygienic Registered U. S. Pat. Office drink. Get the genu¬ Supreme in BEAUTY! QUALITY! CLEANLINESS! ine with our trade-mark on the package. Poss^esse^ two important and exclusive features. It does not deteri¬ orate with age and fall to powder in the dress—can be easily and quickly 52 HIGHEST AWARDS IN EUROPE AND AMERICA sterilized by immersing in boiling water for a few seconds only. At the stores or sample pair on receipt of 25 cents. WALTER BAKER & CO. Ltd. EVERY PAIR GUARANTEED. Established 1780 DORCHESTER, MASS. The C. E. Conover Co., Mfrs., 101 Franklin St., N. Y. BOUDOIR UPRIGHT TESTED AND SUCCESSFUL D inty, petite, a piano of delightful individuality. Of rare musical charm and chaste simplicity of case, it Complete School of Technic is as carefully designed and built as our most expensive FOR THE PIANOFORTE grand. A catalogue showing this and other new styles of uprights and grands mailed free. Write for it. By ISIDOR PHILIPP PRICE $1.50 IVERS & POND Comprehensive, Exhaustive, Practical. The Last Word from a PIANOS Great Living Authority M. PHILIPP is the leading professor of pianoforte playing in the Paris Conser¬ appeal to discriminating vatoire, and this work embodies the result of years of experience both as teacher b u yers who appreciate and player. M. Philipp is advanced in thought and methods, thoroughly abreast of the times. In compiling and arranging this school of technic he has hit upon quality. Their sterling ust the needed exercises and upon the logical manner of their presentation. integrity of construction, beautifultoneand extreme durability havemadethem pofsibte keys1 being o.Toftee treatn">5 the choice of over 350 critical musical and edu¬ cational institutions and nearly 50,000 homes. ^ HOW TO BOY. ST™ Upright ’VERS & POND PIANO COMPANY, p.nssble portioIT’.f 'tK.* *' rottiixPwirll PRACTICE and ,h(lu,d bec°mo » 141 Boylston Street, Boston. Theo. Presser Co., Publisher., Philadelphia, Pa. ablished 60 YEARS *n moderate circumstance* system of Payments take old instruments in exchange u a vose P,ano- We home free of expenseexDense "'WriteTorr^^ ! deliveraellv7r the new pianoP‘® inir your vosev PIAN0Svose & sewSONS PIANO CO., Boston! Mns «PiaLions. 7'.