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

4-1-1909 Volume 27, Number 04 (April 1909) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 27, Number 04 (April 1909)." , (1909). https://digitalcommons.gardner-webb.edu/etude/546

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Supplement In lO Oil Colors: “ BEETHOVEN’S KREUTZER SONATA.’* / SPECIAL FEATURES Marcella Sembrlch on “WASTED FORTUNES IN VOCAL EDUCATION.” Theodore Leschetizky on “MODERN PIANOFORTE PLAYING.” I INI THIS ISSUE Ernest Schelllng on “HOW TO STUDY A NEW PIECE.” THE ETUDE ™ The fol New Publications |u.ude all ---— —- — useful for teaching purposes and re- ■- .•.--n are by stand- rs, in the origi- 1 editions, : me of the latest Juvenile Album The Isle of Jewels Women’s Club Collection ig the number. Part Songs and Choruses We shall continue FOR THE PIANOFORTE OPERETTA FOR YOUNG PEOPLE nerit from time t_ -, - .. _ Price, 35 Cents j lave all the desirable literature CARL REINECKE Text by JESSICA MOORE This is an invaluable collection for the J A MUSICAL TREASURE HOUSE. use of clubs, choruses and high schools. It ; ivailable on our lists. For those Music by GEO. L. SPAULDING mfamiliar with this form of music, Price, 75 Cents consists of Interesting and effective pat t jeleetions will be made on request. Notwithstanding the interviews with Les¬ A splendid set of teaching pieces, twenty Price, 50 Cents unncrii and choruses sacred and secular, in The. same liberal discount will be chetizky, Sembrich and Schelling, which have In all, by the veteran composer and teacher. twof three and fou? parts, with and without ; .llowed as on our own publications. These pieces are qualified to be ranked with One of the best operettas for young incidental solos. The numbers are all gems, A MONTHLY JOURNAL FOR THE MUSICIAN, THE It is our constant endeavor to find new, a peculiar and sensational interest to all of Schumann’s “Album for the Young.” Men¬ people ever written. It is by the authors well assorted, in every style and suitable 101 MUSIC STUDENT, AND ALL MUSIC LOVERS. attractive and appropriate premiums for our our readers, there can be no question that the delssohn's "Kinderstiicke” and Tscbaikow- of the very successful "Day in Flowerdom all occasions. The pieces are of but rni,s 1 rong, W. II., Homage1 a sky's "Album for the Young.” They are di¬ mow in its second edition), a work which moderate difficulty, all being highly effective. Edited by JAMES FRANCIS COOKE many friends among our subscribers who are most important educational feature of this versified in style, melodically and rhythmic¬ it will unquestionably equal, if not surpass, Many standard and popular composers ate Mozart . $ Subscription, *1.50 per year. Single Copies, 35 Cents. ally iateresting. displaying the highest in popularity. The “Isle of Jewels” is suit¬ represented, a number of the pieces having ] occlierinl. Menuet ...Werner Conn (linn Postage, 25 cents. Foreign Postage, 72 cents. constantly recommending and obtaining sub¬ issue is the collection of “Ten Practice musicianship. The use of pieces of this able for production at any season of the lelllnl, Norma, Grand Duo, scriptions for us. The premium of flower Rules,” by noted virtuosos and practical type will be followed by the most gratify¬ year. It is easily rehearsed and staged, Rosellen . Liberal premiums and cash deductions are allowed for ob¬ ing resalt*. They tend to develop taste, and cannot fail to please and interest both taining subscriptions. seeds announced last month has proven ex¬ teachers. In no one book costing many times style and musical understanding on the part audience nnd participants. The text is ceedingly popular. Additional mention of this the price of this issue could the teacher Qr of pupils. This volume is handsomely Turkish March. Remittances should be made by post-office or express witty and amusing and the music is full of will be found in this column. We also add pupil find such a wealth of advice from gotten up nnd substantially, bound. sparkle and go. Several of the numbers Chronology of Musical History Bclir, Op. 443, Mitzi Katzchen, are perfect little gems, worthy a place In several premiums of more than usual worth. similar authoritative sources. If these rules any light opera. As the characters per¬ Price, 25 Cents Blasser . riihns. Fifty Pieces as Sec¬ were to be read daily by the piano students sonify various popular jewels, the oppor¬ This useful little work contains brief ond Piano to Czerny Op. 740, March Album tunities for picturesque staging can readily mention, in chronological order, of every of our country there would be an untold ad¬ be realized. event in musical history, from the very Book I, Book II, Book III, Flower Seeds. Owing to lack of space part TOR FOUR HANDS Book IV, Book V, Book VI . vance in pianoforte playing in- the next year. earliest times It will form a useful ad- ratlins, Hungarian Dances, of our offer as to Flower junct, in the' nature of a ready reference Nos. 1 and 8 .each, The series will be continued in the May Price, 50 Cents book.’to any musical history. It should be serlpilon expiri Seeds and Bulbs, made in the March issue, A ampliation, unique of Its kind, con¬ in the hands of all music students and Brahms, Hungarian Dances, sent nt the tlm Etude. Don’t miss this chance to secure and Anthem Devotion Nos. 2, 3, 4, 5, 6, 7, », 10, 11, RENEWAL.—No rec no wills. On was omitted. The offer stands as made last taining in all seventeen marches of various teachers and a copy should be found in 12, 13, 14 .each, preserve these opinions of foremost thinkers styles, splendidly arranged for four-hand A collection of anthems for general use, suited every library. The book is gotten up com¬ month, and in addition: playtnft including two-steps, military to either quartet or chorus choirs, pleas¬ pactly in neat and substantial form. lerlloz, Marche Hongroise, upon the important subject of practice. marches and grand marches in goodly pro¬ ing and^singable, of bu^ntoderate The collection of flower seeds will be sent portion. All march rhythms are exempli¬ erlioz. Valse des Sylphes, fied, inslwding 2-4, 6-8 and 4-4 times. Va¬ De Mianont . as a premium for one new subscription not rious eamposers are represented, classic, Keyboard Chart Chopin, Op. 73, Rondo in C, your own. modern and popular. Every number is a Price: Single Copy, postpaid, 25c Kullak . gem. This will prove one of the most use¬ Per Dozen, $1.80 Price, 25 Cents Donizetti, The collection of Twelve Gladioli Bulbs THE PRICE OF THE NEXT ISSUE. ful daet albums ever published. A very useful adjunct in elementary Goria . will be sent as a premium for two sub¬ ^ This is the fourth and latest volume of our high- teaching. This chart Is in small and con¬ Durand, Op. 8 The price of the next issue will be as usual, scribers. venient form, compact and substantial irned. IS cents, notwithstanding the fact that it will Model Anthems, Anthem Repertoire, An¬ (made of heavy cardboard), yet it serves Dvorak, Slavonic Dances, Nos. The collection of Summer Flowering Bulbs Well-known Fables Set them Worship. every purpose of much larger and more 1, 5, 6, 7, 11.each. : ------h for the suc¬ contain quite as many features as the present complicated diagrams. It is intended to Dvorak, Slavonic Dances, Nos. ceeding month's issue. will be sent as a premium for two sub¬ issue. The only reason for raising the price These three volumes, appearing in suc¬ fit over the keys at right angles, extending 2, 3, 4, 8, 10, 12.each, scriptions. cession during the past few years, have about two octaves in the middle of the Dvorak, Slavonic Dance, No. THEODORE PRESSER, of this issue to 25 cents is that of the great to Music sold Into the thousands. No stronger com- The three collections will be sent as a keyboard. The chart contains a reproduc¬ 9 . 1712 Chestnut St., Philadelphia, Pa. expense of the supplement, which has sold VOCAL OR INSTRUMENTAL tion of the keyboard and gives the name of Goldmark, Bridal Song, "Rus¬ premium for three subscriptions. couM be given for the appearance of another each key and the notation for the same, tic Wedding Symphony,” Entered at Philadelphia P. O. as Second-class Matter. heretofore by the thousands at the rate of Verses by Jessica Moore being designed chiefly to teach the relation¬ Singer . Copyright, 1909, by Theodore Presser Co. Music by Geo. L. Spaulding This new volilme equals if not surpasses the ship between those. In addition there are Godard, Op, 56, Valse No. 2, $1.00 per copy. general excel ence cf the preceding. “ANTHEM diagrams of^note values and of key ^sig- Roques . Price, 50 Cents DEVOTION” v ill contain numbers for general Goria, Op. 91, Marche Triom- A Special Offer Send your subscription now Mr. Spaulding's work is too well known good advantage as an aid to self-instruc- of Roses This Collection of Five to call for extended comment. But this devolionp1 hi Ccharact^^U^^>n^0ar(^ Glinka, Kamarinskaja. Langer HOW ONE TEACHER SUCCEEDED. particular volume is unique of its kind. It Gounod, Faust, Fantasy, CONTENTS For Your Yard, following Collection: consists of sixteen little pieces which may Alberti .. This Collection of Five A teacher in a small city recently decided be played or Bung, each piece taking its title Gurlitt, Op. 174, Morceaux^Me- “THE ETUDE” - April, 1909. from one of AEsop's Fables, each fable hav¬ be sung^naccomtfatHecif °f ^ nUmberS may Guide for the Male Voice Roses has been carefully selected from the that if every one of hpr pupils took The Etude ing been versified and set to an appropriate Editorial . 223 catalogue of the largest rose growers in the regularly the interest in their lessons would and original melody. The pieces all lie FREDERIC W. ROOT What Musical Europe Is Thinking and Doing, be so increased that her own work would be in the first or early second grade, and dis¬ Important to Organ Teachers and Arthur Els on 224 United States. The plants are all strong and play the same freshness of melody and Op. 23. Price, $1.00 Henselt, Op. 2, No. 9. Etude . . 1 00 How Fortunes Are Wasted on a Vocal Edu¬ healthy and will live, grow and bloom if more attractive and more profitable. Accord¬ attractive musical qualities as are to be Students found in the composer’s well-known “Tunes Hummel, Polonaise in F, cation. Marcella Sembrich 225 properly treated. ingly she wrote the following letter to the par¬ and Rhymes for the Playroom,” and other The most recent volume of the celebrated series Horv&th . 1 Oi The Other Side of Foreign Study. of educational works for pupils in vocal music, Jensen, Op. 45, Wedding Music, Charles Doran 226 New White Soupert (Schneekopf), waxy ents of all of her pupils: works. This volume is gotten up iu hand¬ published under the general title, “ TECHNIC Ludwig . 3 0 Theodore Leschetizky on Modern Pianoforte Dear Sir:—I am requesting the publisher of some form, very clearly engraved and uni¬ 24 Progressive Studies for AND ART OF SINGING.” This new work is Ketterer, Op. 7, Grand Caprice white, shaded with pink. form in general make-up with the other Study.Edwin Hughes 227 The Etude to send you some sample copies of popular volumes by this writer. minute in its instruction as to the development of Hongrois . l 6 The Tie or Bind_Dr. Orlando A. Mansfield 228 Duchess de Brabant, a beautiful, clear pink. Kulie, Op. 62, Grande Marche the paper. It has always been of greatest help the Pipe Organ exercises*ami s^ngs^or'eacl'^^he^haracterisUcs Triomphale . 1 0_ The Story of the Waltz.Edward Baxter Perry 229 Gruss an Teplitz (Virginia R. Cox or Crim¬ of the male voice are exhaustively explained and I.nek. Op. 99, Napolitana. 3 80 Some Foreign Musical Terms. William Benbow 230 son Hermosa), dark, rich crimson. to me in my own musical studies. I attribute GEORGE E. WHITING treated. All teachers, including ladies, who have Liszt, Op. 12, Grand Galop Lessons from the Life of Beethovdn, much of my progress to the fact that it has New Songs Without to deal with men’s voices will find this volume to Chromatique .... Burmeister Mrs. B. R. Cant, large, rose-pink. Price, $1.25 brought me inspiration, instruction and prac¬ be aecor^pl Q^er i H nec?ss^ry knowl” Liszt, Hungarian Rhapsody No. How to Study a New Piece. .Ernest' Schelling 231 Uncle John, buff-yellow. This volume is destined to become a 2 .Kleinmichel Mothers and Music.Fannie E. Hughey 232 The above Collection and a year’s subscrip¬ tical help every month for several years. I Words standard technical work for students who L8w, Op. 344, Hungarian Rhap- Gallery of Celebrated Musicians. 233 FOR THE PIANOFORTE have passed the elementary stages of organ Story of Musical Prodigies.. .Louis C. Els on 235 tion to The Etude for only $1.65: could not have secured this help in any other study. For the development of modern way. Preparatory to those of Mendelssohn technic and the tone organ style nothing Standard Compositions Beethoven's Kreutzer Sonata. .Edith L. Winn 236 The above Collection will be sent as a RICHARD FERBER finer has ever been offered. Those having Ten Practice Rules. 237 premium for two subscriptions. There are many things that a teacher cannot a fairly good piano technic may take up FOR THE PIANO LOw, Op.' 491, No. 2. Tarantelle, Lessons in Music Theory.Thomas Tapper 239 find time to tell at a lesson. Your child will Price, 75 Cents these studies after completing the usual Lysberg, Op. 51, Baladine . Self-Help Notes on Etude Music.P. W. Orem 240 The Collection of Roses and Twelve Glad¬ Vol. 1-Fir.t Grade Vol. Ill—Third Grade find these things in The Etude, which has con¬ This volume is of rare educational im¬ preliminary drill in pedal work and the Vol. II—Second Grade Vol. IV—Fourth Grade LBw, Op. 491, No. 1, Brillan Teachers' Round Table.N. J. Corey 265 ioli Bulbs, mentioned above, will be sent as portance, consisting of a beautiful set of independence of hands and feet. Hence, Bach for Piano Studies.T. L. Rickaby 266 tributions by all the leading musical writers modern lyrics (fifteen in number) for the this volume may be used to follow any ele¬ Vol. V-Fifth Grade a premium for three subscriptions. How We Formed Our Musical Club, of the day. There are also sixteen or more pianoforte, which, in addition to being un¬ mentary organ hook, such as Stainer’s Price, 50 Cents Each Ellen Holly 267 Add 25 cents to all offers for each Canadian usually interesting and attractive in them¬ “The Organ” or Rogers’ "Graded Mater¬ pieces in every issue. Several of these I will selves, may be used as a preparation for ials.” Mr. Whiting’s ability as a composer Graded and Compiled by Success in Small Music Centers, subscription. _ Charles E. Watt 268 be able to use in teaching, thus affording a the “Songs Without Words’’ of Mendels¬ and player and his long teaching experience W. S. B. MATHEWS Moseheles Op. 92, Homage to How Long Shall I Practice?. .Alice I. Crocher 268 sohn and for other classical works of simi¬ render him particularly fitted for the prep¬ The first five volumes of this series are now Hkndel . Mission Lamp. It has been possible for us direct saving. lar grade and scope. These pieces are all aration of a work of this type. These ready. Each volume is intended to be used with Mozart, Menuet E flat. Voice'Department.J. Harry Wheeler 269 of the earlier grades, easier than those of studies, in addition to their practical edu¬ Gobbaerts .... Organ Department.J. H. Rogers 272 to procure a number of The entire cost is only $1.50 a year, a really Mendelssohn. They are all melodious, ex¬ cational value exemplifying various tech¬ Gi^ad^d'ouu-se and^anduller ^r^ded^courses'^^tn Mozart, Sonati ' Violin Department.Robert D. Braine 274 beautiful, hand-wrought Mission Lamps for ridiculously small amount. Should you desire pressive and harmonious, well contrasted in nical problems, characteristic passages and of the pieces in these volumes have beeS’ected I, Op. 15, Serenata, Children’s Department.C. A. Browne 276 rhythm and musical content. The use of devices in registration, are also original and either gas, oil or electric light. The height to subscribe I will be glad to forward your pieces of this character with pupils of in¬ with Hie greatest care. They have been thoroughly Publishers’ Notes. 278 unusually interesting, many of them being The World of Music. 280 of the lamp is 24 inches. The shade is of subscription with those of several others who termediate grade tends to develop taste and suitable for use as pieces or voluntaries. passed through several" editions in sheet music musical perception. This set should prove ■The engraving and printing of this book Haydn as a Street Musician. the celebrated cathedral art glass in various desire to secure the unusual advantages The a ^welcome addition to the teaching reper- form. In addition to their pleasing- musical Quali¬ N’iirnberg, Festival Sounds . . . J. Cuthbert Hadden 281 are ^of ^ the best and the binding is sub- ties, all the pieces are of genuine educational value Pirnni, Op. 35, Airs Bohemiens, 1 shades of green. The pedestal is of selected Etude offers. Each volume is carefully graded. Relneeke, Op. 86b, No. 1, Gon- Questions and Answers. 282 doliera . ; What Others Say. 283 oak, finished in flemish, hand rubbed and Very cordially, Rossini, William Tell, Over- Phrasing and Common Sense. 283 waxed. All attachments for any of the above Haydn and the Fiddler. 283 IN PRESS St—Sxtihis, Op. 35, Variations Recital Programs. 284 lights are included. This letter took but very little of the FOR SALE AT LOW ADVANCE PR]ICES on a Theme of Beethoven.. ■ SEND FOR BULLETIN St—Snens, Op. 40, Danse Ma¬ How Acoustic Defects Hamper the Singer.. . 285 The lamp represents a value at least equal teacher’s time. Later she called upon the GRIEG, E„ Op. 12, Lyric Pieces for SACRED SONGS, nigh Voice. cabre . ; Thoughts From a Teacher's Note Book, to the value of the subscriptions for which it pupils’ parents and showed them copies of The ' Piano, Book I. PRIMER OF FACTS ABOUT MUSIC. E. Wentworth Layton 286 SACRED SONGS. Low Voice. Questions and Answers. M. G Evans Schubert, Op. 27, No. 1, Marche Mental Music.A. Belwyn Qarbett 287 is given. We will give it to anyone sending Etude. In less than two weeks most of her GRIEG, E., Op. 46, Peer Gynt Suite ORGAN REPERTOIRE. Pipe Organ Col- FOUR-HAND MISCELLANY FOR CON¬ Heroique .Gobbaerts (Piano Solo). CERT AND HOME. t. Op. 27, No.' 2, Marche Making Beginners Confident, us six subscriptions at full price, securely pupils were Etude subscribers. Although she FIRST GRADE STUDIES FOR PIANO. Bessie J. Mowbray 287 packed; transportation at the expense of the GURLITT. C., Op. 141, Elementary L. A. Bugbee. LITTLE^ FUGUES FOR PIANO. J. S. Music and Mirth. 288 received a premium for her services similar to Velocity. receiver. that any representative would have received LANDON & BATCHELLOR. Kindergarten TWELVE SHORT MELODIOUS PIECES LWT^PRELUDEiaAND FUGUES FOR Method for Teacher and Pupils. FOR YOUNG PLAYERS, for the MUSIC. for conducting such transactions, she writes: piano. Geza Horvath. MODERN MARCH ALBUM FOR PIANO. Send for List* of Music for Nocturne in E.A. Cteibel 241 Magic Tucker. Valuable as the premium was, it is in no way Two Pianoi, Eight Hand* The Blacksmith (4 hands).F. L. Eyer 244 This article sells for $1.00. It fits all Idleness.Charles E. Brillhart 248 comparable with the increased interest and en¬ One Piano, Six Hands Shepherd’s Morning Song.F. P. Atherton 248 machines. Cannot get out of order. Does not thusiasm of my pupils, which I well realize Fascination Waltz.Paul Wachs 250 cut, pull or stretch the goods. Takes the Berceuse.0. Zapff 252 will mean more business to me as the years THEODORE PRESSER Summer Days Are Coming.H. J. Storer 253 lightest and most delicate as well as the THEO. PRESSER, Philadelphia, Pa. The Chase.J. Rheinbcrger 254 heaviest goods. Makes the smallest pin tuck 1712 Chestnut St„ PlilLA., Pi Alsatian Dance.F. Thome 256 Minuet from “Berenice” (Pipe Organ), to the largest tuck. Width of tuck and space , Handel-Best 257 between perfectly even and uniform. Does the AGENTS WANTED. -..s (Violin and Piano).P. Renard 258 work in one-fourth the time. Tucks silks, -j, - aiiu resonance ot lone; Kespon- If I Were King (Vocal).R. K. Armitaqe 260 Large commissions are offered to canvassers The Maiden’s Wish tVocal).F. Chopin 262 flannels, woolens without creasing, basting or in all parts of the country who will devote all , slveness of Touch, Unsurpassed Construction, Workmanship, A Prayer (Vocal).T. Lieuranoe 263 measuring. Given for two subscribers at Pussy’s Lullaby (Vocal or Instrumental), or a port'on of their time to soliciting sub- - and Excellence; and New Artistic Designs of Cases. L. A. Bugbee 264 $1.50 each, or $1.85 for one Etude subscrip¬ script,ons for “The Etude.” Write for par- tion and the Tucker. titulars. * Manufacturers of / rtistic Grand and Upright Pianos. 132d Street and Alexander Averm* Mfw vrtDtr ^ lllh hi UDk when addressing our advertisers.-- ^ ^ THE ETUDE 219 218 -WANTED- ORGHESTRA AND BAND LEADERS OF INTEREST TO TEACHERS OF MUSIC PUBLICATIONS OF G. SCHIRMER : NEW YORK Bach is interesting—Bee¬ “A^K7anW SKS"* thoven is masterful—Kullak is UBLISHED SAWYER genius-Chopin is delightful— JUST F* Liszt is wonderful, but to teach ■'ARCAM,SiSis7‘s”a,,d others the art of exec THE DOLL’S CALENDAR CONCERT OVERTURES The 3 for 50c postpaid works of these old PROGRESSIVE is a trial and a drudge in more A Cycle of Twelve Songs Edited and^Fingered ^ToWSOESTERLE instances than not—It’s hard Words by NORA ARCHIBALD SMITH 2 Volumes, each $2.00. In Cloth, each $3.00 work; a strain, a labor, in fact, Music by ISIDORE LUCKSTONE CONTENTS M. L. CARLSON & CO. the life of the average teacher SCALES of music is not the ' Illustrated - - Price, $1.25 net VOLUME I CONTENTS Berlioz, Carnaval romain. to be sure. January: “Was ever a doll like my Dolladine?" Goldmark, Sakuntala. A soothing rei February: “February, dark and chilly.’’ Massenet, Phedre. istered properly is beneficial to March: “Pussy with the silver fur.” Tschaikowsky, Hamlet. SPECIAL OFFER April: “A rainpool lies just over the way." Tschaikowsky, Romdo et Juliette. HENRY S. SAWYER both teacher and pupil. We May:. “May is coming, listen! hark!” Wagner, Eine Faust-ouvertiire. have that remedy. It’s our June: “ Dollie and I in the sweet June weather.” VOLUME II splendid catalogue of semi- July: “The poppy glows in the garden bed.” Benoit, Charlotte Corday. August: “It really makes me very sad.” Brahms, Akademische fest-ouvcrtiire. £ 10 Piano Solo degree3 and delightfully" simple September: “Do you know of a fairy maiden?" Gade, Nachklange von Ossian. SPECIAL PRICE TO TEACHERS October: “Autumn’s coming o’er the hill.” Litolff, Robespierre. and melodious. After hours of 25 Cents Bach, Beethoven, Kullak, Czerny, Chopin, Clementi, Lis ces the mott representative etc., a little light classic is nd individual tonal poems, eding the operas, but com- palatable as a dainty dess lly recital pieces, not easy. after a sumptuous repast. sissssesss: Ew‘3£-!" An adequate and convenient

light and easy to play. INSTRUMENTAL

O’Neill’s Irish Sent for Examination A Modern School for the Violin uesSSSSSS Sheet Music Form B V HSSS2tSS«S".Tr :*S Songs to be Sung Carl Fischer Sr. New York “One Sweel Rose” TO CHILDREN August Wilhelmj and James Brown The Star Puzzle Phelan .40 s Silver Sails Coverley .30 Eft KS: SSJSS: tt- : *18 The Offended Moon . Phelan .40 The Dreamikin Tree Coverley .30 What Makes the Thunder Sound ? Work is to provide, in one A 2 keys.Phelan .50 that is n<>C an<* comprehensive scheme, all The Star Fairies . . . Coverley .30 A Posthumous Work by The Playful Ocean J . An of ES“yt ?r, *e acquirement of the Thematic The Spiteful Ocean / ’ Phelan -50 the late Eduard Holst The Sandman .... Mittell .50 School for ,he Violin™ V,ol.,n "A Modern Circular to Daily Technical P c?nsists of Six Books devoted giving extracts Sheet Music Form Violin alone and Six Books °< Studies hr from three of Pianoforte Accomnanf^6 nu/Tll)er Pieces with these songs will Songs to be Sung specially edited fortfie^ent’ the Violi» parts being be sent to any BY CHILDREN ia t , ea tor purposes of teaching address : : Creep Mouse . Therese-Macy .50 55: <■*$ My Kitty’s Gone to Sleep Ditto1 ■*>, 2nd, „d ,d ,. My Little Pussy Cat Little Effie’s Prayer Ditto ' • Two Robin Redbreasts . Fisher .25 Little Footsteps Barney .40 A Cruise in the Old Arm Chair Watkyn .25

This music -will be sent on approval to anybody any¬ S: Sl;;° where. Your regular discount allowed, plus postage. BOOKS

WHITE-SMITH MUSIC PUBLISHING CO. To be had at all music dealers H W‘ QI*AY CO., NEW YORK Dixie Girl, or sending direct to us BOSTON NEW YORK CHICAGO 62 & 64 Stanhope St. 13 East 17th St. 259 Wabash Ave. N1*11’ remick fi CO. SSSSSf** II «3IW. 68DpJrRrrSf. on THE ETUDE when addressing ?

THE ETUDE THEE TUPE 221

RINGTlME’ HAVE YOU HEARD IMPORTANT “LOVE’S SP STANDARD AND MODERN IDEAL IMPORTANT walt7es—notMng*pr^eHi ere ver wri tt eru ^ Th!s •Love's Springtime" INSTRUCTION BOOKS PUBLICATIONS offer is good only until April 25, 1909. None TO TEACHERS COMPOSITIONS SUNBURST ’ OTHER POPULAR PIECES : FOR THE PIANOFORTE The John Church Company All or any of the.e Method, cheerfully sent "On PIANO SOLO AND SCHOOLS Sale” or on approval._ CINCINNATI NEW YORK CHICAGO AN ODDITY, BY FIRST STEPS^ PIANOFORTE To EDUARD HOLST NEVIN’S SONGS WITHOUT WORDS JOHN FRANCIS GILDER (Writer of "Dance of the Demons,” etc.) FOR PIANO SOLO Readers All carefully fingered, phrased and pedaled. School of Scales and The combined and condoned results of the work of aeveral The Favorite Songs of Ethelbert Nevln ••SUNBURST" i practical teachers of the young of THE Transcribed for Piano by Double Notes Carefully Edited and Revised by THEO PRESSER “Birds’ Courtship, The”.... 3a .50 CHARLES GILBERT SPROSS his book begins al the beginning and serves as n practical ETUDE Nevin is here revealed in a newform KONINSKY MUSIC CO. * •' introduction to the study of pianoforte playing. “Brocken Revels”.3b .75 by a series of transcriptions of his ex¬ FOR PIANOFORTE quisite songs made in a masterly and Dept. E TROY. N. Y. “Dying Shepherd,The”... ,3b .50 appreciative manner and depicting pict¬ By MAURICE MOSZKOWSK1, OP. M want every teacher and lover of good ures with mood, color and sentiment, Book 1—Scales in Single Notes compositions of Mr.Sydney P. Harris. Mr. “Old Chapel Bel!, The”.... 3a .50 perfect in each case, and each one in “ 2— “ “ Double “ and order again, s Harris’ style of writing is forceful, dainty turn being absolutely unique and utterly and convincing. unlike any other, even from the same G. A. BELL MUSIC CO. “ 3—Exercises in Double Notes “Old Folks at Home”.4b .75 1193 Broadway Now York CARSE TECHNIC FOR PIANOFORTE Romance—Piano Solo, Gr, 41 Key D flat. pen. Price, $1.25. “ 4—Advanced Studies in Dou¬ FOUNDATION MATERIALS FOR " -Violin and Piano “ D mvi»'ir, •- By Herbert E. Carse ble Notes - String Orchestra D ,“r u*eU*» “Robin’s Morning Song”. . . .3a .50 An authority and text-book for students and teachers. THE PIANOFORTE KNEISEL COLLECTION Finger, hand and arm position, and stroke. • Price, 60 Cents Each FOR VIOLIN AND PIANO Songs for Children ILLUSTRATED BY PHOTOGRAPHS and accurately By CHARLES W. LANDON “St.Valentine’s Memories”. .3a .50 This method leads to solid musicianship through an easily Selections from the Masters, Old and New described. Endorsed by many of the greatest concert gradela^apIc^gl^W^ejon^^fah^.^ ^ pianists. Price $2.00 postpaid to any addres. JUST PUBLISHED “Woodland Lullaby”.3a .50 Edited by FRANZ KNEISEL C^RSE TECHNIC PUB. CO., Los Angeles, Cal. edecbve'tehnical value the entire work bang based upon the A notable issue for violinists are these author's wide personal expenence in this field of musical A Masque of May Morning “Sing on Sweet Bird” .f (e to f) .50 really superb books, a gathering into Special attention is given to rhythm, time values and sight (Ew,y Waltz Song) Companion to “Hnppy Bird.” practical and permanent form of Vio¬ lin Masterpieces, some old, some Fillmore Music House PRESERVE YOUR COPIES OF THE ETUDE Fairy Cantata for Schools, witl It is an ideal method calculated to awaken a sustained interest ed with these exceptionally rich pieces, we will modern, some familiar, others rare. YOUTHFUL DIVERSION Dialogue. By A. T. Akeroyd in the study of pianofortc^phrying., send them postpaid for 15 cents each (only FOR THE PIANOFORTE THE ETUDE BINDER Price, SI.OO Net one copy of each to a person) or the The present collection includes com¬ Introducing Well-known Children’s Melodies It is simple but complete, cheap but 9 FOR ONE DOLLAR positions by Bach, Bazzini, Beethoven, GEO. L. SPAULDING durable, and beautiful in appearance. LANDON S PIANOFORTE Brahms, Godard, Goldmark, Guiraud, It has a solid wooden hack, which al- Latest English Ballads lor Handel, Hubay, Joachim, Lalo, Laub, iginalpieces ways keeps it in shape, and it does not METHOD Daisy Doyle. M. WITMARK & SONS in various rhythms a mutilate the contents. Lauterbach, Locatelli, Lully, Paganini, in the keys of C, G ai :ce introduc- The copies are instantly hut securely Teaching Purposes EASILY GRADED FOR BEGINNERS Complete ^copies ^for ^ sale ^ everywhere. ^ If Renard, Saint-Saens, Sarasate, Schu¬ al children’s bound by the thin slats which run the This book is by a practical teacher who has proven A* value bert, Senaille, Spohr, Tartini, Tenaglia, mftodTS itlmuWlet length of the periodical, and yet can be I Hear You CaUing Me of the method in his own work with primary pupils. The plan publishers direct. Price, 25c per copy. Mailed printed with the me! / be regarded removed^at^pleasure. ^ ^ By Marshall - - - J Keys of the book is thoroughly modem, including the use of the FREE—With ar Tschaikowski, Vieuxtemps, Veracini. .. ___.widely known Mason system of technics in its simpler forms. The teacher s In their scope, adaptability and au¬ Tunes and Rhymes for the Playroom,” and it Price, 60 Cents needs are also fully considered, ^special featm-e^of^e^work rect accounts with your pupils. An invaluabl time saver. Send for Thematic Catalogs. thoritative editing, the Kneisel Folios Young pupils especially will be delighted O Fragrant Mignonette k^These suggestions and directions are weTl worth the price of are the best collection seen for many a By Laura G. Lemon - 4 Key. the book and are applicable in connection with the use of any of Their Publicati and instruct both young and old. day. This is the first time that Mr. Price, 60 Cents method or course of piano study Kneisel has lent his name to any line THEO. PRESSER, 1712 _Price, SI.50_ Little Teddy Bear of work far-reaching in its teaching The Sydney P. Harris Co. ANTHEM MAGAZINES import. His long career as an artist, By Laura G. Lemon - - 3 Keys GUSTAV DAMM S PIANO DETROIT, MICH. Price, 60 Cents FOR VOLUNTEER CHOIRS teacher, soloist and quartet player fits SCHOOL fifth to two-thirdi as much as in any other form. him especially to give to this present THE QUICKEST MAIL ORDER MUSIC SUPPLY HOUSE King Fisher Blue WITH ENGLISH AND GERMAN TEXT "The Choir Leader” The be^&r trained volunteer work a peculiar and lasting value. The By Amy Woodforde Finden - 2 Keys An excellent edition of this widely used work, the popularity “ TheChoir Herald ’’The ** iormutmeichoirs. student of the Kneisel collections starts Price, 60 Cents of which may be judged by the fact that the original German publisher has issued no less than two hundred editions of it. out confident that the editor speaks Our edition is somewhat larger than most others so the notes Chamber Music for Various with authority. and text are correspondingly larger and clearer, making this the THE ' LOBENZ ° PUBIJSHrNa^^COMPAjrr Close attention has been given to ideal edition for both teacher and pupil. Price, 60 Cents Price, substantially bound in boards, laroa Combinations every detail of fingering, bowing, phras¬ Theodore Presser quarto (329 pages), S2.00 ing and to book-making, presenting a A selected list of ensemble numbers published How Lovely Are Thy Dwellings series alike artistic and durable. By Samuel Liddle - 3 Keys IN THREE VOLUMES. EACH $1.00 Price, 60 Cents PRACTICAL PIANO SCHOOL , Two Violins, ’Cello and Piano Twilight Murmurings For Everything in Music By LOUIS KOEHLER Wagner, Oscar.Barcarolle New dainty Reverie for piano by H. E. Schultz, SONGS OF ALL CLASSES FOB Opus 300 . “ “ .Rondo die clever writer of Halcyon March. Ask your ^Not the well-known “Practical Method"of this author^of “ “ .Divertimento CONCERT PURPOSES “ “ .Allegro stamps bjj-BERLE MUg,c co TWENTY-FIVE YEARS AGO, as a sequel to rse of pianoforte instruction. We consider it Prahger.Minuet VIOLIN AND PIANO ors than any other work of this writer, “ .Sabbath Morn the foundation of the ETUDE (then only a journal for interesting and full of useful ideas suggested by Timothy.Andante and Scherzo 86 Went Avenue BUFFALO, N. Y By T. ADAMOWSKI New Song Cycles jGautier.Moorish Dance In this suite the author achieved the books—each, 75c “ .Maypole Dance piano teachers), the publishing house of Theo. Presser Pagoda of Flowers. For four solo “ .Sabot Dance happiest expression of his genius. The An Enlarged and Revised Edition of music has the sparkle and the thrill, was founded to furnish practical teaching material in con¬ voices. By Amy Woodforde Fin¬ all mingled in an infinite charm, mak¬ formity with the suggestions and advice of the journal. den. Price, S2. OO Net LOUIS KOEHLER S PRACTICAL ing an impression of lasting sweetness Bird Songs. iFive Songs, 2 Keys. METHOD FOR THE and pleasure. While it is daring to NEW PUBLICATIONS have been issued continually — ever By Liza Lehmann. say that this new arrangement lends a PIANOFORTE new freshness, vigor and fervor to abreast.of the times-adapted to all modern educational demands Price. SI.SO Net Opus 249; Volumes land II this charming suite, it is ever an ex¬ carefu ly ed,ted and annotated by the foremost teachers of the dav’ Revised by the Author’s daughter, Four Songs, 2 Keys. By Ralph CLARA KOEHLER-HEBERLEIN pression of the graceful beauty and and all of the most helpful character. y’ harmonic charm of the original. Vaughan Williams. ■ This is a work needing no introduction to teachers. There are many editions, but, owing to the distinctive character of the _PRICE, $1,25_ Price. S1.00 Net revision by the Author's daughter, who assisted him in pre¬ PROMPTNESS. A stock, second to none drawn from paring many of his educational works, our edition of the quarter of the world, linked with a corps of efficient ^el7 PRACTICAL METHOD is recognized as definitive—it is CLASSICS FOR THE YOUNG workers, means the correct filling of an order on the v trained Songs from Tennyson. By Mrs. -” f ’ AMERICAN PUPIL; whether for one piece of music or the L. Moncrieff. Price, S1.S0 Net Simplified Transcriptions of the Favorite Compositions of the Great Masters ECONOMY means not only the giving of the larg¬ Eight Nursery Rhymes. By H. m other dealers should ask for the Carefully Fingered and Phrased SATISFACTION. No doubt the greatest factor in est discounts possible and the most favorable terms, Walford Davies. For Mixed Volumes I and II, each, 50c. Combined, S1,00 By PAUL FELIX but, mark you, fair retail prices as well. Our best the success of any business is the personal confidence Quartette; also arranged as Trio In Two Vols.-one for Piano Solo, one for Four Hands endeavors are devoted to the teacher’s interests, engendered by fair and helpful dealings. No less th for Female Voices. LEBERTAND STARK’S PIANO This collection has been made for saving time, thought, labor, giving the greatest value the purpose of helping the young stu¬ for the least outlay. 25,000 accounts are on our books, denoting sati fa " Price, 75 Cents Each, Net hon in our publications and satisfaction in our s ' SCHOOL dent to approach the works of the English Traditional Songs and Car¬ great masters in a practical way. Com¬ THIS BUSINESS founded on the above principles has grown to be the largest mail r, a erv,ce. ols. By Lucy Broadwood. positions have been selected—the fa- supply house in the world and is now established in a permanent home, six stories in he mUS1C This world-famous, joint-production of tw vonte BeethovBn and Mozart Sonatas, with an annex-all carefully planned and thoroughly equipped to attend to the WMts oF’44 X I5°’ Price, S1.00 Net Masters of pianoforte instruction, still enjoys ’ ms wishing to impart thoroughness to tb the Chopin Dance Forms, the choice tdieve in the ultimate value of a Mendelssohn numbers; in fact, the Every Teacher, School and Conservatory in the United States and Can d best things from Bach to Schumann- iDMATIAM Z' ATil A/iunn ed by Liszt, Heller, Marmontel, Lf INFORMATION AND-- CATALOGUES---o n any subject in music free; the On Salenlan c -oted authorities. that are frequently heard in concert or nal and helpful ideas to' aid the teacher) is very liberal; our New Music Idea pleases every teacher orig¬ on of this reliable school leaves nothing to he desired, "? re9!ta*• .These have been carefully card order— prmr- 1 ' * ‘ " T simplified in such a manner that the inal. Write to-day for first catalogues and general information as to ourmethodof f^F US 3 pos‘al Part 1. Eler Part 2. Exei__ essential features of the original have Part 3. Exercises & Etudes—Third Pec been retained, but arranged within the B00SEY & CO. possibilities of small hands and early LIBERAL DISCOUNTS TO THE PROFESSION music study. The books present, in a concise and practical way, the beauties Published by THEO. PRESSER of the classic school. 1712 Chestnut Street, Philadelphia, Pa. PRICE, EACH, 50 CENTS 1

222 THE ETU

Kindergarten Method of Music The New Steinway By CHARLES W. LANDON and DANIEL BATCHELLOR Five-Foot- T en-lnch Miniature Grand A Complete, Concise Treatise on the Teaching of Music to Young Children. The Result of Years of Actual Experience in Piano the Daily Teaching of Little Folks. (Trade Marked) i9 proving a constant and This is the first work published with whi h the music teacher can do increasing source of won¬ kindergarten work ; the first published book where kindergarten principles derment and delight to all have been scientifically applied to music for the use of the young child. musicians and music - lovers. Scientific experiments and acous¬ This method is a great work, far in advance of the “ Songs and tical researches have determined the Games ” in vogue. All methods have been carefully investigated and this exact size, namely, five feet ten inches, necessary to reproduce the remark¬ work is the result of an experience of twenty-five years of music and to print.” Loathsome and morbid in the extreme, able attributes and qualities of our larger The position of the mother Ex-president Roosevelt in kindergarten teaching. This book will place in the hands of the intelligent these pieces have attracted far more by reason of Grand Pianos. Any Grand under this size in the American home has one of his recent messages HOME their sensational librettos than by their music. music teacher a method whereby the child may receive as solid a founda¬ crosses the danger line, as it cannot yield < THE been revolutionized by the said: “The share that the WORK vs. National Government should Remarkable as Strauss’ music undoubtedly is, it must tion musically as in any other fundamental branch. The work is emi¬ tonal result superior to that of the discarded MOTHER’S American magazines for be admitted that its educational influence is limited to Square or the present Upright Piano. The full, women. From the silent, PRACTICE take in the broad work of nently practical, abounding in ingenious devices and games for stimulating PART the large cities. His principal works require the rich and sweet tone of the Steinway Miniature Grand submissive factor of our education has not received machinery of the theatre and the employment of huge the interest of children. and its dainty appearance are already giving the utmost former American life she the attention and care it No teacher can afford to be without this book. It will make her serv¬ satisfaction to thousands of purchasers, and we recommend has been raised to a new rightly deserves.” Until the orchestras. Even the advanced musicians will find the last year, the National Gov¬ pianoforte study of most of his scores tedious and ag¬ ices more valuable, it will increase the breadth of her work and thus a thorough examination and trial of this unique instrument to station. She is no longer anybody desirous of possessing a Grand Piano, but who does told to go to her knitting ernment took practically no gravating. Without the orchestra and the picture be¬ increase her earning power. It will start a beginner’s class much earlier not wish to exceed the iu when questions regarding interest whatever in the yond the proscenium they have little value. than is now possible. The result will be in every way to the music vestment of fHoo in the State, the fine arts or the advancement of musical educational work of the country. During In the case of the opera this is perhaps not undesir¬ able. When Oscar Wilde, the most meretricious genius teacher’s advantage. ^ a Piano Purchase, i man are discussed. Her presence, advice and good the last year it published a report representing some¬ counsel are courted at all times. The days when thing of the amount and character of the work done of the past century, wrote “Salome” he selected tha the mother’s position in our homes was to cook, by the different music schools of the country. It would most ghastly story in biblical history. In print tha t during the Winter. It is an expen- STEINWAY & SONS, wash and slave unrelentingly at the household not be feasible to have our National Government take story itself is extremely revolting, but with the real¬ ! and necessarily voluminous. But, ft 5TEI shrine are gone. Care for the home is her first absolute control of the educational work of the coun¬ ism of the theatre it becomes sickening and horrifying. in accordance with our regular practice, we m v offer it at the low introductory rate ( Jl Steinway Hall, 107 and 109 East 14th SL | duty, but this care includes a consideration for the try. School methods have to he adapted to the needs of At best it is an orgy of blood and lust. The story of of $1.00. When the book is out, double this mount will not buy it, so order now. NEW YORK. intellectual and social welfare of those who compose the a community by those who are on the spot and know “Elektra” is equally monstrous. Certainly these operas Jr Subway 15Express Station at the Door.\ home. Music has become one of the most desirable what kind of educational work is needed by that com¬ do not contribute to the beauty, progress or happiness factors in making the home loved. munity. of the world. They are particularly out of tune with THEODORE PRESSER The mother should by all means be a musician, and Long distance educational advice is rarely profitable the best in our American life. They have compara¬ or advisable, but in some matters governmental control tively no musical educational influence and their only 1712 CHESTNUT STREET she should fight to keep up her musical work in after PHILADELPHIA life, if only for the welfare of her children. This is a would he advantageous. For instance, at the present object can be to pander to the curious, sensation-loving very important question and we are sure that our read¬ time our school systems have an educational plan which public and their only result to fatten the pockets of ers will be delighted to have the views of Mrs. in some districts is robbing the pupil of all opportunity their producers. Bloomfield-Zeisler, Mme. Sembrich, Mrs. H. H. A. to secure a musical education. The amount of school STANDARD BOOKS ON HARMONY I Beach and other artists, who in a coming issue will work given as “home work” makes practice impossible Twenty Preludes for the Pianoforte RECITAL PIECES discuss this subject. In our best homes the mother in some cases. This is most unfortunate and most de¬ Coincident with the dis¬ EMERY, STEPHEN A. FOR IN THE FORM OF is no longer shelved or retired. She knows the wisdom plorable. In the place of music study the pupil is fre¬ THE gusting sensationalism of Elements of Harmony. $1.00 VIOLIN and PIANOFORTE of keeping up with her children in their battle for quently given studies that have but slight bearing upon the New York production of Supplementary Exercises to Elements SHORT TECHNICAL STUDIES success. As a writer in the New Idea expresses it,— his after life. It is downright wicked to crowd a child’s RETIRE¬ “Salome” came the retire¬ of Harmony.SO FIRST POSITION “She now has the position of ‘mother emeritus,’ a life with so much work that the child can not have some MENT OF ment of Mme. Marcella Sem¬ A Key to Elements of Harmony.60 By ARTHUR FOOTE degree which is conferred by time, and which means time in which to enjoy the most beautiful moments of brich from the operatic stage Allen, Charles, Op. 16, No. 3. Waltz SEMBRICH FOOTE-SPALDING that she has worked out her problems of circum¬ his existence. on Feb. 6th. No more re¬ among the flowers. * a stance and vicissitude with dignity, courage and self- Perhaps our national crime of ceaseless haste lies at Modern Harmony in its Theory and markable scene has ever an Borowski, Felix. L’Adieu . possession, and that she has been marked one the bottom of this fault. We try to crowd a high school Practice . 1.50 been witnessed in opera. Hermann, Th., Op. 99. Tarantelle hundred per cent” education into our grammar school work. It is com¬ A Key to Modern Harmony.75 Kimball Hall, Chicago. Twenty-five years in Amer¬ MacDowell, Edw. To a Wild Rose monly said that the college course at Harvard in the ica had endeared her to TAPPER, TH0S. difficultdi°dS Pi“es ,hat.Ferve ‘he purpose of etude Simplified Edition , . It seems Impossible days of Benjamin Franklin was no more difficult than thousands of Americans. First Year Harmony (100 First Lessons) 1.00 Seybold, Arthur, Op. 110, No. 2. Cavatina the ordinary high school course of to-day. In some Her entire career has been one of noble aims, high GETTING that there are still people Op. 127. Pippa's Dance who believe that they can cases we have seen pupils who have done excellent ideals and abundant generosity. No wonder she was SOMETHING musical work up to the time that they entered the high greeted with gifts from her friends and admirers that 12 PIANOFORTE ETUDES FOR THE FIRST AND THIRD POSITIONS “get something for nothing.” FOR Whenever you see an adver¬ school, but who are compelled to abandon their musi¬ would have staggered the imagination of an empress. Allen, Chas. N., Op. 7, No. 1. Introduc¬ tisement of a business house cal work because of the greatly increased amount of The American people had not forgotten that at the DEVELOPMENT OF THE LEFT HAND tion and Polonaise. NOTHING making an unusual offer, you home work. We feel that this is a matter which con¬ time of the San Francisco earthquake she hurried to By CARL A. PREYER Althaus, Basil, Op. 63, No. 5. Resignation may be sure that the firm cerns all of the music students and music teachers of New York and gave a recital for the benefit of the Op. 45 Bohm, Carl, Op. 366, No. 2. Rococco expects to receive something our country. Are we to permit musical education to sufferers which netted several thousand dollars. They (Gavotte gracieuse). suffer through an unjust governmental imposition of an PRICE - 75 CENTS iSmS""8”1*"*1 *“ot? has scored will c your patronage, and very often there is a just- the duty of teachers to agitate this matter and we want Ex-Mayor Seth Low, in presenting her with the gifts arpeggios, broken chords, double notes, octaves, full chords, Hoffmann, J. Polonaise in E min. to render them all possible assistance. legato and staccato, etc. ’ ’ and places us all under ob igatSS titan™! fk“dies.’ OP 5 a special offer. However, there is a limit t of thousands of admirers, did well to emphasize the fact . . Poetic perception and interesting workmanship are com¬ ^clinically, and expect thl'bJu'r things, and when an agent calls upon you and offers to that she was honored and admired because of her fidel¬ bined with their chief purpose as a set of studies " SchiL£"'\ 0p\“'. Th< —From Signals fur die Musikalischen Welt. give you a membership to a musical society conferring ity to the highest ideals of womanhood. Her life should Professor of Music at Abbott afd Seybold, Arthur. Op. 115. Night in Spring special benefits, discounts, etc., and at the same time Richard Strauss has again be a lesson to those artists who imagine that desirable Zerlett, J. B., Op. 182. Album Leaf ^ mr . X- ~ ~ ----Gp. 182. Album Leaf . ■shows you a certificate which he claims is worth $10.00 SALOME become the most sensational publicity can only come through being connected with SELECTIONS FOR TEACHERS AND SCHOOI ^ . *771---- hut which you may receive without cost, it is high time figure in the musical world. sensational matters which should only he aired in the for your American common sense to come to the front AND The European performances police courts. --SPECIAL ATTENT and tell this agent with a smile that the certificate is MUSICAL of his newest opera, “Elek- During Mme. Sembrich’s artistic career in New worth just exactly as much as the paper it is printed EDUCATION tra,” and the American per¬ York many singers have come and gone. Some of upon, and that the society is simply a blind to induce formances of “Salome” have them have had phenomenal voices, others have been you to patronize a particular music company. There made columns of copy for remarkable actors, hut none has had this singer’s re¬ are all sorts of schemes of this kind afloat to capture newspapers everywhere. If markable magnetism and personality, with the possible the musician’s dollars. Most of them go under the the main incidents . upon exception of Mme. Schuman-Heink It is good to see false colors of some great educational movement. which the plots of these that a career such as that of Mme. Sembrich meets They are no more educational institutions than the plays were founded to occur, to-day they would with real, appreciation. It gives us material to fight Standard Oil is an educational institution, and those find public notice only those “yellow” journals those cynics and pessimists who contend that it is use¬ who patronize them deserve the sympathy of all. which confine themselves to that is “not fit less for the artist to live an upright, conscientious life.

Ji 225 THE ETU DE 224 THE ETUDE In London, at the Kmgsway Theatre an experi¬ While the training of the voice may be deferred WHAT MUSICAL EUROPE IS THINKING ment was tried which is well worthy of note. The to the age of sixteen, the early years should by no Has it ever occurred to manner, Stanley Hawley, decided to retire the con- means be wasted. The general education of the you that the imitator is AND DOING. DEVELOP Htinnal light overtures and dance music that child, the fortification of the health and the study of rarely as successful as the flourish between the acts. In their place he sub¬ music through the medium of some instrument are YOUR OWN creator? It never pays to BY ARTHUR ELSON. stituted movements from string quartets by the most important. The young girl who commences INDIVIDU¬ imitate. It is the best pos¬ The performance in Germany of two ea£jy great composers, played by competent musicians. voice study with the ability to play either the violin ALITY sible way in which to ad¬ vertise your competitor. The “Der Apotheker,” by Haydn, and Der Betroge The change has been fully justified, for the or the piano has an enormous advantage over the firm who puts an article on Kadi,” by Gluck, brings back the old days of the audiences show themselves well pleased. There is young girl who has had no musical training. the market and calls it Singspiel. It reminds us that there were several types also an educational influence, which should not be I found the piano training of my youth of great¬ China-lac when the public of operas in existence before the thunderous s y overlooked. The success of the Boston municipal est value, and through the study of the violin I knows full well that a sim¬ that keeps the critics and the cables busy at presen . concerts shows that the public enjoy good music learned certain secrets .that I later applied to respira¬ ilar article has been successfully used for years Haydn’s opera was a work of his early days, scored when they hear it. There is no reason why some of tion and phrasing. Although my voice was naturally under the name of Jap-a-lac and that the pro¬ for an orchestra smaller than that of the Ester azy our enterprising theatre managers should not make flexible, I have no doubt that the study of. these prietors of this article have spent a fortune in ad¬ household. It had the usual harpsichord accompani¬ a success of such a plan on this side of the water. instruments assisted in intonation and execution in vertising it, must have the feeling that the imitation ment, for the leader to play. Gluck’s work was A similar plan is now being attempted in a New a manner that I cannot over-estimate. is only another way of pointing to the established more successful in its effects, and doubtless was en¬ York theatre. A beautiful voice is not so great a gift, unless its excellence of the genuine. joyed heartily at the Schonbrunn court, for which An interesting anecdote about Brahms is told in possessor knows how to employ it to advantage. The There are hundreds of similar instances in music it was written. the Musical Times. He had been passing the evening [Edi miserable failure. It is a very serious matter for musical training that one receives from the study The term Singspiel covers a multitude of sins. As teaching. Teachers without attempting to create adapt with Professor Billroth, the famous Vienna surgeon. czyk. GallcU^'t Austrian Poland J, February 15th, 1858. t'he pupil, and one that should be given almost of an instrument is of greatest value. Consequently, its name implies, it was a combination of song and the business methods of their rivals with the same bold¬ When he and the pianist Epstein came out they Sombrlch was her mother’s name. Her father was a music sacred consideration by those who have the pupil’s I advise parents who hope to make their children spoken dialogue. It grew up after the decline of teacher and she tells, with pleasure, how she watched him ness with which an oriole takes the nest that some found a man lying in the street, evidently over¬ construct the little violin upon which she took her first welfare at heart. singers to give them the advantage of a thorough other bird has worked to build. The imitator al¬ the Hamburg school, in which Keiser and Handel lessons. At the age of 11 she was taken to Wilhelm Stengl, “Wise, indeed, is the young singer who can so musical training in either violin study or the piano. come with the cup that cheers and also inebriates. ■ mberg, for further Instruction. He • " ’ ways loses in the end. Nothing more stupid than did such effective work. It was first developed in estimate her talents that she will start along the Much wasted money and many blasted ambitions Lcipsic, by Johann Adam Hiller, or Hiiller (1728- It was quite cold, with snow beginning to fall, and the jihenomenal talents of the child v. 0 could already play imitating a competitor’s advertising methods could both violin and piano.__ He.... watched_ c_.ar every Btep of her right path. There are many positions which are can be spared by such a course. 1804). In his hands the music was of some im¬ pity entered the hearts of the two musicians. They cnrlv career a-_d ’ when later she went to study with Julius possibly be imagined. Advertising attracts by the aroused him from his persistent slumber, asked his desirable and laudable which can be ably filled by portance, and he showed considerable skill in hand¬ Epstein a*,.t ’Vienna,m'‘ the renowned pedagogue was amazed at A GOOD GENERAL EDUCATION OF VAST IM¬ very newness and freshness which seizes and holds address, and started to pilot him towards it. When her ability. After hearing her play on both piano and violin competent singers. If you have limitations which the attention. Learn to create. Learn to make your ling the German Lied, in arranging ensemble pieces, lie exclaimed: "Is there anything else she can do?” “Yes,” PORTANCE. the good Samaritans had brought their charge to replied Stengl. "I think she can sing.” Sing she did, and will prevent your ever reaching that 'will-o’-the- business indicative of your individuality, your and occasionally in creating a dramatic .scena. his home they began to help him up the stairs. Epstein was not long in determining what the girl’s career wisp’ known as ‘fame,’- do not.waste money trying The singer whose general education has been character and your educational achievements. Reichardt turned the form into a spoken drama should be. Her other noted teachers were Victor Rokitansky, to achieve what is obviously out of your reach. neglected is in a most unfortunate plight. And by with music in the unimportant parts, while Benda Suddenly an irate woman appeared from above, G. B. Lamperti, Richard Lewy and for a few months with broom in hand and cried in angry tones. “So " acesco Lamperti. In 1877 she made her debut in Athens “If you can fill the position of soloist in a small general education I do not mean only those aca¬ transformed it into melodrama. Dittersdorf set _I Puritan!. Later she married her teachertf ' HerrTT Si.""-’ choir creditably, do so and be contented. Don’t demic studies that people learn in schools. The many comedies in the earlier Singspiel form, and you’re the men who take my husband and make him whose tender care had turned to a closer devotion. She has Doubtless one of the worst toured all the European countries and with invariable suc¬ aspire for operatic heights if you are hopelessly imagination must be stimulated, the heart-felt love showed real brightness and vivacity. The culmina¬ drunk!” This was immediately followed by the mistakes that the music cess. In 1883 she made her first American appearance and shackled by a lack of natural qualifications. for the poetical must be cultivated, and above all RESPECT tion of the school is said to be Mozart’s “Entfuh- exit, prestissimo, of two very much surprised musicians. returned with the Grau Company in 1898. Since then she teacher can make is that of has appeared every season and America has become, as she It is a serious error to start vocal instruction too things the love for nature and mankind must be YOUR rung aus dem Serail;” but that is true only of the openly underestimating his — “My second home.” Upon her retirement from- early. I do not believe that the girl’s musical educa¬ music, for the play is not extraordinary. "While NEW MENDELSSOHN MANUSCRIPTS. developed. RIVAL rival teachers. It almost al¬ tion should commence earlier than at the age of six¬ none of these composers created comedies of the I can take the greatest joy in a walk through a ways reflects upon the In connection with the Mendelssohn anniversary, teen. It is true that in the cases of some very lasting brillancy shown by Rossini and Donizetti great forest. It is an education to me to be with teacher himself, and the two vocal quartets of his have been newly brought EVERY ONE WHO CAN SHOULD LEARN TO SING. nature. Unfortunately, only too many Americans go greater the animosity he in later times, their works were much enjoyed, and out, both being taken from the manuscript albums are sometimes given even now. “Few accomplishments are more delight-giving than rushing through life neglecting those things which arouses the more he will be in the Royal Library. One is a canon, with words that of being able to sing. I would most enthusi¬ make life worth living. about the wise Diogenes which ascribe to that astically advise anyone possessing a fair voice to MUSICAL ADVANCE IN AMERICA. A teacher located in a worthy a deep and abiding thirst. The other is have it trained by some reliable singing teacher." little Western t found that his most success- Doubtless it is already well known that a com¬ called “Musikantenprugelci” (the musicians' free European peoples appreciate the great privilege of There has been a most marvelous advance in this ful rival ’ convent school. This school had poser named Strauss has written an opera named fight). Both will be excellent additions to the being able to sing for their own amusement, and the respect, however, in America. Not only in nature been established for many years and had been “Elektra!” This was performed recently, in Dres¬ repertoire of our singing clubs. pleasure they get from their singing societies is love but in art it has been my pleasure to watch a doing splendid work. The teacher finding that he den. From accounts received, it is not of the Max Reger’s violin concerto aroused great in¬ inspiring. wonderful growth. When I first came here in 1883 had great difficulty in competing with so excellent an Singspiel type. The composer has completely sup¬ terest when given by Martcau at Hamburg. A piano “If Americans took more time for the develop¬ hings were entirely different in many respects. Now 'institution, stupidly and maliciously attempted to arouse pressed all spoken dialogue, and has done his best, quintet by Hans Pfitzner scored a decided hit at ment of accomplishments of this kind their journey the great operatic novelties of Europe are presented a religious prejudice against the school. He miscon¬ by tremendous orchestration, to suppress the singers Vienna. Paul Ertel's symphonic poena, “Hero and through life would be far more enjoyable and per¬ here in magnificent style, and often before they are strued the self-sacrificing efforts of the sisters who also. The associated press, we believe, reported haps more profitable. I believe that all should heard in many European capitals. taught in the school and ignored the fine educational Leander,” has these three words of explanation- that seismographs were broken in London, and the understand the art of singing, if only to become . In this respect America to-day ranks with the best .'work that has been conducted for centuries by the great earth was seriously shaken in Persia. “Liebesfeier, Sturm, Leibestod,” The subject lends itself well to treatment, and the rich instrumenta¬ amateurs. in the world. Will you not kindly permit me to •educators of the church. The people of the town were The orchestra with which the work was perpe¬ digress for a moment and say to the music lovers •for the rpost part narrow and quite uneducated. Conse- tion aided in making an excellent effect. “That music makes the soul more, beautiful I have trated was as follows: 1 piccolo, 3 flutes, 3 oboes, not the least doubt. Because some musicians have of America that I appreciate in the deepest manner 'quently, for a short time the private teacher seemed to 1 heckelphone, 1 E-flat clarinet, 4 B-Flat clarinets, The Kleist—Overture, by Richard Wctz, received the great kindnesses that have been shown to me 'prosper. He succeeded in securing several pupils who led questionable lives does not prove the contrary. 2 basset-horns, 1 bass clarinet, 3 bassoons, 1 con- praise when given in Lcipsic. A symphony by everywhere. For this reason, I know that my had attended the convent school, and encouraged by What might these men have been had they not been trabassoon, 8 horns, 6 trumpets, 1 bass trumpet, 3 Count Hochberg was played in Diisseldorf: no com¬ criticisms, if they may be called such, will be re¬ this apparent sign of success, he exaggerated his false under the benign influence of music? trombones, 1 contrabass trombone, 1 bass tuba,' 2 ment was made; perhaps we are expected to read ceived as they are intended. statements. “One has onjy to watch people who are under the harps, 1 celeste, 6 kettledrums, 4 men ‘.for the bat¬ between the unwritten lines, Sinigaglia's “Baruffc magic spell of beautiful music to understand what a The singer should make a serious study of However, the people of the town soon found that the tery (percussion), 8 first, 8 second, and 8 third Chiozzotte” overture (to Goldoni's comedy) was power it has for the good. I believe that good vocal languages. French, German, English and Italian are 'musical results, that the private teacher claimed would violins, 6 first, 6 second, and 6 third violas, 6 first well received in Vienna and Lcipsic. A list of music should be a part of all progressive educa¬ the most necessary ones. I include English as I " follow his work as a natural consequence of a course and 6 second ’cellos, and 8 contrabasses,—115 opera performances in Germany shows that “Car¬ tional work. The more music we have, the more am convinced that it is only a matter of a short time of study in Europe, were not forthcoming. Then they musicians in all. Wagner had one more than this men comes first with “Tiefland" second: “Mignon" beautiful this world will be, the more kindly people when a school of opera written by English-speaking began to realize that this was not the sixteenth century at Bayreuth, but there the orchestra was hidden so will feel toward each other and the more life will composers, will arise. The great educational and but the twentieth century, and that the church was not that its strains would not cause other strains’ in outranks “Faust,” and “Cavalleria Rusticana " leads r trial. the ear drums of the audience. the Italian works. be worth living. musical advance in America is an indication of this. As for voice exercises, I have always been of the In less than a year the young gentleman who so in- August Spanuth, of the Signale, known in America as Ariane et Barbe Bleu,” given at the Monnait in WRONG TO ENCOURAGE VOICELESS ASPIRANTS. gloriously attacked these very faithful and competent a thoroughly reliable critic, finds little to call forth Brussels, is well spoken of. Die Musik calls its com¬ opinion that it is better to leave that matter en¬ “But when I say that everyone who possesses a tirely to the discretion of the teacher. There can teachers, who, from the nature of their position and unreserved praise in the opera. There was little poser, Dukas, a genius, who unites melodic clear- were not permitted to fight with such unfair voice should learn to sing I do not by any means be no universal voice exercise that will apply to all warmth in the applause until Strauss appeared, and ness with intricacy, and strong characterization wish to convey the idea that anyone who desires -weapons, was obliged to leave town. A more dismal the first call was for Schuch, the conductor The Mme. Marcella Sembrich, cases. Again, it is more a matter of how the exer¬ failure could not have been imagined. If he had with dazzling orchestration. A Lyons composer, may become a great singer. That is a privilege that cise is sung than the exercise itself. usual Strauss faults were in evidence. The themes Manotte, has written a “Salome” of his own. in- is given to but a very few fortunate people. So worked, minded his own business and behaved himself and melodic bits were commonplace, as in the healthy girls no very great damage may be done, The simplest exercise can become valuable in the as a 'gentleman should, he might have succeeded in a fP^ ?nt ^ °* Strauss, while Henri Hirschmann, many things go together to make a great singer but it is a risk I certainly would not advise. hands of the great teacher. I have no faith in the “Heldenleben;” it is a hero of musical mathematics that the one who gives advice should be very cir¬ small Wfiy, as it must be remembered that he was com¬ rather than compelling inspiration. The orchestral 01 Hans has finished a five-act “Ernani” without Much money and time are wasted upon voice train¬ teachers who make each and every pupil go through peting with a successful institution. making Verdi turn in his grave. Philippe Gaubcrt, cumspect in encouraging young people to under¬ ing of girls under the age of sixteen. If the girl is one and the same set of exercises in the same way. dm was often so great that the opera would been take a professional career—especially an operatic Retnember that the more you attack your rival, the better as a real, instead of an apparent, pantomime b! "ut'st- bas composed a Rhapsody on Gascon destined for a great career she will have the compre¬ The. voice teacher is like the physician. He must career. Giving advice under any conditions is often more the public will believe that it is necessary for you The Strauss virtues were present, too. The orches¬ .... les ™blcb pleased Parisian audiences. A com- hension, the grasp, the insight that will lead her originate and prescribe certain remedies to suit cer¬ to remove an able competitor to further your own ends. thankless. tration was more wonderful than ever, and full of °f vlo,ins> Played in turn behind a screen, to learn very rapidly. Some people can take in the tain cases. Much money is wasted by trying to do “I have been appealed to by hundreds of girls the marvelous touches that give such frenzied in whole meaning of a picture at a glance, others are without a good teacher. If the pupil really has a case d m a second prize for the “Strad" in the who have wanted me to hear them sing. I have tensity to his work. Elektra is rated as a less plcas- obliged to regard the picture for hours to see the great voice and the requisite talent it is economical always told them what seemed to me the truth, mg heroine than Salome, in spite of her psycholog¬ same points of artistic interest. Quick compre¬ to take her to the best teacher obtainable. AT THE GRAVE OF BEETHOVEN. !r°nd0n. tbe Moody-Manncrs Company will but I have been so dismayed at the manner in ical correctness. y x'-nuiog- hension is a great asset, and the girl who is of the American women have wonderful voices. More¬ • - We stand by this grave as the representatives of the Coler,MPCr^ Englisb- including “Thelma,” by which this has been received that I hesitate greatly “Elektra” is booked for other German cities and iT\ right sort will lose nothing by waiting until she over, they have great energy, talent and tempera¬ whole German people, mourning over the departure of Nii-tini gC r^ayl°r’ Colin Macalpin’s “Ingomar." and before hearing aspiring singers. American impresarios may think it a drawing’card reaches the above age. ment. Their accomplishments in the operatic world -one who was all that remained to us of the glory of ™IaS ^atty’s “Duke or Demon ’ A concert of “It is the same way with the teachers. I know - our native art, the last blossom of our national genius. but it is an open question whether works of this are matters of present musical history. With such his beet1- Holbrooke shows that he is not at that some teachers are blamed for taking voiceless PIANO OR VIOLIN STUDY ADVISABLE FOR ALL -The hero of song indeed lives, and long may he live sort will last long. In “Feuersnot” is a passage splendid effort and such generosity it is easy to ooine „ , form- One critic says that the only pupils, but the pupils are more often to blame than SINGERS. in the German tongue and in German hearts; but the full of puns on the words Wagner (cartwrighfl prophesy a great future for musical America. This a . ere be resembles Schubert is his habit of the teacher. I have known pupils who have been Ambition, faithfulness to ideals and energy are last master of the musical tied, the grand exponent of and Strauss (bouquet). It aimed to convev th’ is the land of great accomplishments. idea that Strauss, like Wagner was a y .the discouraged by several good teachers to persist until the only hopes left open to the singer who is not the tonal art, the heir to the genius of Handel and In P°,ems unsuitable for a musical setting, With time Americans will give more attention to they finally found a teacher who would take them. gifted with a wonderfully beautiful natural voice. Bach, the inheritor of the immortal fame of Haydn of the cf d C Douma wishes to dissolve the ballet the cultivation of details in art, they will acquire thThatShenem:teS ^ be c"foSlnn,the “Most teachers are conscientious—often too con¬ It is true that some singers of great intelligence and Mozart has passed away, and we stand weeping more W,Ptt.ersbur8 Opera, and use the money for more repose perhaps, and then the tremendous rndd JXolZZ K* ^XthS TUT ^ scientious for their pocketbooks. If a representa¬ and great energy have been able to achieve wide over the broken chords of the soundless lyre.—Grill- that fore’ eShlps\ They should realize, however, tive teacher or a prominent singer advises you not energy which has done so much to make the coun¬ parser. Strauss may have to content himself with theTaT' fame with natural voices that under other conditions try what it is will be a great factor in establishing a of being preeminent as an orchestral virtuoso. f to attempt a public career you should thank him, would only attract local notice. These singers de¬ as he is doubtless trying to save you from years of school of music in the new world which will rank the Rutsian Nat? d“c"' *nd '“"P'”"' l! serve great credit for their efforts. with the greatest of all times. THE ETUDE 227 THE ETUDE 226 fatigue and rest. then there are many bad ones, too. The situation her before the much-coveted entrance J*6 is much improved since fifty years ago. THE OTHER SIDE OF FOREIGN STUDY. school of music she has crossed the ocean By W. FRANCIS GATES. “Many a clarionettist or player of some other tend is obtained. orchestral instrument wandered across the ocean BY CHAS. DORAN. only to find that he must have something else THE COST OF INSTRUCTION. After work comes weariness; after weariness,rest besides the clarionet to eke out an existence. What ditor's Note.—The folio ng statements may seem exaggerated to many, bi from our personal expert- True fatigue is in itself a warning It means that should he do? Give piano lessons, of course! The we have seen enough to /arrant the publication of An instructor is sought, one usually na more work will be poor work. Fatigue means that pupils of such musicians were bad enough, but when article. Of course, there e splendid educational sys- l center of the first-class, is recognized by the conservatoire and who ca a man must rest before he can again do good work. it came to their pupils”—Leschetizky ended the sen¬ * think that the European jt means loss of will power, loss of attention, loss ire willing to give therefore command his own price for les?°n \ tence with a smile and an expressive gesture. .. The cost of living has a reputation, and the student who seek h.s aid of self-control. In mental lines, one must work i„ About public appearance Leschetizky had some the author of this article, must pay for it and pay very high., The well kn ^ spite of a weak will, but not in spite of a tired mind interesting things to say. and highly-recommended teacher, who is p or body If the body is weary’ the m,nd ca«not do “For public playing the heart must be in the right the girl’s mind as a person willing to prepare the its best work. Dr. Clouston calls brain power “the spot, and there must be ‘nuances’ in the fingers. The body of a young woman was recently found student for a couple of francs a lesson and the most valuable of all brain qualities.” Fatigue means Tone and diction are everything. The pianist who floating in the Seine River and identified as that pleasure of increasing the number of his success that the stock of reserve power is being drawn on; knows how to tell a story in his playing is the one of an American girl who had gone to Paris to study ful aspirants to conservatoire honors, thereby as Dr King says, “Drugging the watchman of the who holds the public. One must be constantly on music. The sunken cheeks and emaciated form told ing new laurels to his already won scores, perhaps treasury.” Dr. Crowles says the mental symptoms of privation and want, and a letter, addressed to the ‘qui vive’ to discover new and unexpected effects hundreds, is not to be found, and in lieu of1"® of fatigue are “lessening the memory, lowering the _ _ _ go down In musical hls- THE VALUE OF METHOD. friends at home, found upon her person, spoke of price of tuition under an experienced instructor _jr of great virtuosos, Is now seventy-eight -—whether they are beautiful or not they will always emotional tone and reducing the power of atten¬ ears of age He was born In Lancut, Austrian Poland, “Of course, in the beginning I have a method. her cruel hardships and bitter struggle to keep from being so many francs per hour, it is so many dollars. S captivate an audience. Better it is, of course, when tion.” All this means poor work for the musician. une 22d, 1830. His teachers were his father, who was In A knowledge of correct hand position and of the what ultimately became her fate—suicide. The story The girl of limited finances knows what so many his time an eminent teacher In Vienna, Sechter and Czerny, they are beautiful 1 Self-control lies at the basis of all that is valuable lie made very successful tours In 1848 and 1852 and there¬ many different qualities of touch which I use and in a few words is that of an American girl who dollars and not so many francs per lesson means “When one plays in public one must consider the in the mental and the physical life. Consequently, after became a teacher In the St. Petersburg Conservatory, which give a never-ending variety to the tone must had laid aside a little money—the fruits of per¬ it is more denials, more privations, limiting her¬ and later he went to Vienna and became a private teacher. fact that he is in a larger field than the salon; more whatever may lessen self-control is highly danger¬ He has been married three times. Hls first wife was his be learned before one can go very far. The fingers haps years of toil and sacrifice—to go abroad to self at the table, or -in the end to return to America strength is needed, more breadth of effect required. ous. Fatigue, that is the “tired-out” condition, re¬ famous pupil Essipoff. Hls other celebrated virtuoso pupils must have acquired an unyielding firmness and the study at one of the European conservatoires and in the steerage of a slow steamer whose company include Paderewski, Bloomfleld-Zeisler, Gabrlllowltsch. I have to go back to the comparison with the cook¬ duces the control to a minimum; hence, one can¬ wrist, at the same time, an easy pliability in order met failure. caters to the south of Europe immigrant trade, the Katherine Goodson, Hambourg, Sleveking. In late years ing again! It is as though ten persons came to a not focus one’s efforts on work, and the results of Leschetlzkv lias given very few interviews similar to the to avoid hardness in the tone. Besides this, there Hundreds of American girls go abroad every poorest and worst class- of immigrants. following and as it is not likely that, from the nature of dinner where only six were expected. In the cook¬ year to study music, most of them, fortunately, with work in this condition frequently are worse than things, many other talks of the great master will appear we are the rules for singing, which apply to melody The cost of what in many European seats of book one finds nothing to help one out of the abundant means to defray their expenses, maintain¬ useless. The inference is that we must keep fresh advise our readers to preserve this article.—Editor's Note.] playing on the piano to just as great an extent as learning is known as “student life” is usually far dilemma, but a good cook must know how to get ing them in comfort while they are in quest of the by frequent rest and change of occupation; must to melody singing in the voice. in excess of what' room, board and tuition m a “AMERICANS PLAY TOO MUCH!” around the difficulty. knowledge that they so often erroneously believe renew the physical powers by outdoor exercise, and “The natural accents must be properly placed and first-class American college would come to. _ In “There is too much banal piano-playing nowadays. can be better obtained in Europe than in their own stimulate the mind by reading good literature. Thus did Theodore Leschetizky express himself long notes must receive an extra pressure in order Paris, which let us take for our illustration, living I do not find that the art has developed in any way land. Some of them, however, have scarcely suffi¬ That person who boasts of five or six hours a day one bright Sunday forenoon when I sought him to overcome the difficulty of sustaining tones on the cient to supply the barest necessities of life in the being no higher there than in Munich, Dresden or out in his Karl Ludwig Strasse Villa in Vienna for since the days of Rubinstein. No one plays to-day Milan, board and room in the Latin Quarter, the of practice virtually confesses a good part of it pianoforte. All these things a good preparatory cheapest of quarters in the foreign cities to which worthless. Three hours is a maximum for a woman, an interview on modern pianoforte study. as he did! student quarter par raison d’etre, if obtained in the teacher can give as well as I, and for this reason I they go. Disappointment and suffering come to four for a man, if one would keep the powers oi “How many come to me and say, ‘I practice seven “As for technical development, have the Alkan same house, would cost about six francs—one dol¬ require my pupils to go first to an assistant, to the most of these girls from the outset. They find, hours a day,’ in an expectant tone, as though praise etudes or the Don Juan Fantasie grown any easier lar and twenty cents—per day or possibly thirty- attention and concentration at their best to the last contrary to their expectations, largely due to some were sure to follow such a statement! As I say with time? The quantity of piano-playing has in¬ five dollars a month if negotiated for by the month. ten minutes. flowery account they have read of student life in so often at the lessons, piano* study is very similar creased, yes, more strive for a great technic; but Paris, Munich or Milan, that the cost of living is A room without board, not heated—few rooms in as for the quality I do not see any improvement. the Latin Quarter are heated, save perhaps by the NERVE STRAIN. to cooking,” with a hearty laugh. from three to five times higher than has been “A good cook tastes the cooking every few min¬ Programs are many times entirely too long and too reported. “The very cozy little studio in the aid of a little charcoal stove, an apology for heat— stereotyped. Let us hear more of the new things! would cost from forty francs—eight dollars—per Americans are noted for “living on their nerves" utes to see whether it is progressing properly; just scrupulously clean, well-kept home of a charm¬ What great pianist is there who plays the works of month up; food, three meals a day (light break¬ That spirit of rush and haste which permeates the so a piano student who knows how to study makes ing petite madame, herself formerly a teacher in living composers? They are all afraid of the critics. fast, coffee and rolls; lunqh consisting of cold meat business world has no place in the life of the musi¬ pauses constantly in his playing, to hear if the a conservatoire,” which has been so pleasingly de¬ Even Paderewski doesn’t have the courage to play or sausage, and two vegetables; a roast dinner, soup, cian. Poise is everything—balance, self-control, or passage just played corresponded to the effect de¬ scribed to her, becomes in reality but a small ill- whatever you want to call it. While specialists de¬ sired, for it is only during these pauses that one more than a few of his own compositions.” lighted and ill-ventilated attic, with its usual three beef, two kinds of vegetables and a dessert, wine or vote volumes to the general disease of “hurryitis," can listen properly. I asked Leschetizky for something about modern pieces of cheap furniture, no heat, and reached by coffee—wine i? usually included with every meal in to the musician it is doubly vitiating, as it militates “When I eat mushroom or tomato sauce I want piano composers. a dark, narrow and dirty flight of steps. The land¬ a Paris restaurant, even of the cheapest class)—would against concentration, against thoroughness, against to know that I am eating the one or the other. “I do not consider that the ‘secessionistic’ move¬ lady, a coarse, uncouth bourgeoise, asks an ex¬ come to about'four francs—eighty cents—a day or Some cooks there are who make concoctions which ment in music means as much for the solo instru¬ orbitant rental for her wretched quarters and does in the vicinity of twenty-five dollars per month; that valuable asset of reserve power, and, in general, are neither one thing nor another—and they do not ment as for the orchestra. One doesn’t find an not deign even to see that the towels and bedding this would bring the cost of room and meals to against the dignity of the art. It begets a nervous thirty-four or fi-ve dollars monthly. condition which precludes mental supremacy and satisfy anybody when they come on the table. artist like Ysaye, for instance, putting these ultra¬ are changed once in a fortnight. The heroic girl “Nothing could better apply to pianoforte study does not complain, however; she can stand a little Add to this sum the cost of tuition, laundry, tips physical accuracy, for it dissipates the ability to modern compositions on his programs. Since the than this comparison. A pianist must be an epicure discomfort, her sojourn abroad is to be short, for and incidentals and, of course, clothing, and one will hold the attention fixed on a given point sufficiently Grieg and the Tschaikowsky B flat minor piano —that is just the expression for it. He must taste, she intends to make it so by studying day and night, see that a musical education abroad is not to be long, and that is the root of technical or other concertos, which appeared at about the same time, taste; not eat all the time. Out of four hours’ study, burning the midnight oil of her little one candle- had for a mere song, as so many young women progress. there has been nothing so effective written for the power lamp while she shivers in the cold of her contemplating going to Europe to “finish” in music President King writes, “Few things more cer¬ one who goes about his work properly -will play instrument in this line. wretched room, neglecting health and, perhaps, for¬ are eager to believe. There are also the traveling tainly and thoroughly muddle the brain than hurry” perhaps only one-half of that time. The rest goes “Of the Russians, Rachmaninoff has written some getting all else in her desire, her aim to accom¬ expenses to be taken into account, the cost of books One can work with rapidity and accomplish much for pauses to think about what has gone before, and interesting things, but has hardly accomplished the plish what at home, living in comfort, she would and not infrequently many little extras to be pro¬ and yet not have that confusing sense of hurry to construct mentally the following passage. great things which his charming C sharp minor not dream of accomplishing. vided for, of which it will not be well to underesti¬ which destroys self-possession. It is not so much “This continual playing of a piece over and over Prelude seemed to promise. Of his two concertos I mate the number or outlay. The American girl being in a hurry as feeling in a hurry that con¬ again is not what I call study. When I want to prefer the first. Liadow and Arensky (the latter, DISILLUSION. who supposes then that she can complete her fuses the mind. The sane, normal poise must be learn a new piece I do not keep the notes in front alas, only lately dead) composed real piano music, musical education in Paris, Berlin, Munich or in of me on the music-rack; I throw them over this The meals “well served in a nearby student cafe, maintained even if one must needs work at an and Scriabine has written some excellent things. other European cities at an expenditure of a few back on the top of the piano, so that I have to get where abundance and variety may be had for a adagio speed to do it. Too great haste precludes Sinding’s compositions are pianistic but not any too up every time to look at them. After the image small fraction of a franc, mark or lira”—what of hundred dollars is going to discover tfiat she had accuracy, appreciation of detail and that conscious original in their ideas. The ‘Fruhlingsrauschen’ is of the passage to be memorized is well in mind I these establishments she has heard so often about? been grievously mistaken if she attempts to do it. control of the many points which one desires to well made in spite of the fact that it tastes of Of course, they exist, but the price of edibles at It is this very impression, this wrong and oft- impress with absolute fidelity on the sub-conscious sit down at the instrument and try to reproduce it— Wagner.” notes, touch, pedaling and all. them will be found to be far in excess of what she times serious impression of the cost of living and mind. Hurry, too great speed, is the bete noire oi Theodore Leschetizky. For technical purposes Leschetizky uses almost tuition abroad, that to-day is responsible for the lot “Perhaps it doesn’t go the first time. Then I get supposed. Disappointment again visits her, bring¬ the music teacher, the stumbling block of the stu¬ entirely Czerny with his pupils and I found that he ing to her mind this time the all-important ques¬ of many of our girls of moderate means who go dent. up and take another look. This time I make a saving of both their time and money. Of course, had very good reasons to give for preferring these across the water to pursue studies being a very more strenuous effort—to avoid the trouble of hav¬ the assistants are responsible to me. tion: “Have I enough money to carry me through, Naturally, rest is a subject which follows on those etudes to those of Clementi, Cramer and others. hard one. Before they have been in Europe a great ing to stand up once more! This I call intelligent “After pupils have once gotten this foundation shorten as I may my stay abroad by studying every of work and fatigue. Miss Bracket quaintly de¬ “I prefer Czerny because he writes in a more hour of the day and many hours of the night, and while they often learn that they could have accom¬ piano study. Learn a passage just once; afterwards, they branch off in every direction; each has his fluent, pianistic style than any of the others. One plished as much, if not more, in a well-known insti¬ clared, “Rest cannot be pasted onto one.” It must only repeat it. denying myself everything but the barest of neces¬ peculiarities and no one method will answer for all must learn how to walk straight before one attempts tution, under trained teachers, in America, at less come from an act of the will. The mind must abso¬ sities?” Her heart sinks when she figures up what “It is well to begin the study period in the morn¬ any more; the teaching must become individual. gymnastics. Clementi, Cramer and Kullak are expense and certainly less cost often in privations lutely refuse to do more work. It clears the trad it will cost her for lodgings and food, the poorest ing with a few technical exercises—enough to get The enforcement of strict rules cannot then be always putting obstacles in the way in their etudes. and possibly sacrifice. The ever-alluring belief, so for rest. Rest may mean sleep, it may mean taking the hands into good playing condition. Afterward, of one, the most scant of the other, and she turns insisted upon. It is just as in law. Not everyone All at once there comes a clumsy point in a passage universal in the minds of the young women students a long walk, it may mean reading a novel. What¬ to her little cheque book and finds how small are alternate technic and pieces, so that the mind re¬ who kills his fellow-man is hanged or guillotined or which gives you the same sort of feeling as when in music throughout our land, that they can never ever changes the occupation, recuperates the physi' mains fresh, which is not the case when one works electrocuted. her assets. cal or mental faculties, builds up the nerves—"® you get your walking-stick caught in between your Then there is the tuition, omnibus fare—she can hope to be styled “finished musicians” until they constantly at one or the other. In practicing exer¬ “There are always exceptions'. Often circum¬ is rest. Horace Bushnell, the great preacher, os' legs. walk except in the most inclement weather—and the have completed a musical course abroad, will con¬ cises for strengthening the fingers one must not stances arise which cause justice to yield, and just to say, “Let’s go sin a while,” meaning “Let ® “In Czerny, however, one has a clear road; there tips to concierge and waiters, for in Europe even tinue to prevail and send hundreds of’ our girls interrupt the work until the hand begins to feel the as we would not endure a dry, soulless justice, how escape from work and recuperate by exercise an are no complications in the figures. If I were to the poor must tip—the levy is made upon the purse across the water every year. strain. much more reason there is that we should not have nonsense.” Rut at the root of all rest is sufficient get up now and walk toward the door you see I of all who live except by waiting unon others. All “It is like trying out a race-horse; if you want to a dry, soulless art. There are many otherwise would have trouble, for there is a stool in the way. this must be taken into account. But the saddest sleep, “Nature’s sweet restorer,” “that shuts up S(,r see how fast and how far he can go, you must not excellent pianists who play so however—exactly If I were a clown from the circus I would probably' disappointment is yet to come and another delusion roxv’s eye.” As soon as the attention can no W stop him every moment. In practicing a trill you according to rule.” My advice to conductors of operatic performances jump over it; as I am not I shall have to go around melted away before the penetrating ravs of stern be held to the work in hand, that is a call fortes', will find that you cannot continue for much more may be summed up as follows: provided you are it to get out of the room. In Czerny there is never reality—the training, preparing or possibly “finish¬ thorough musicians, confine yourself exclusively to the a change of occupation. The secret of good wo' than a minute. By that time your fingers are well “UNRIPE” STUDENTS. is to keep fresh and eager to work, and with «" any stool in the way!” ing off,” before she can hope to pass successfully dramatic action, whether it be a “solo,” or 'an “ exercised; if you try to play longer your hand may I put the question of Americans coming abroad the required entrance examination for admission to semble;” in order to render the action clear distinT flagging attention. drop off!” One gets Leschetizky’s meaning immediately by to study. Did not many come before they were comparing the first study in the “Gradus ad Par- the conservatoire. and absolutely harmonious with the music If vo ’ . S° much is said nowadays about the mooted ques¬ ripe? Even if her studies in music have been pursued nassum” with number one of the Czerny “Art of complish this, you may rest assured that adquate “tem~ tion of the “Leschetizky Method” (some even say¬ “Ach Gott!” was the reply, “one is always ripe to q”ite far and she may be said to be “advanced.” Finger Dexterity,” or number twelve of the Cramer pi and execution will follow as a matter of course Know your limitations. The teacher cannot be tie ing that Leschetizky has no method) that I took begin! And how many of those who come to me there is still some work of preparation ahead of Wagner. 1 —• the opportunity to ask the master for his own views studies (Biilow edition), with number seven in the teacher0* an<* v’rtuoso *s Senera^y useless on the subject. have to commence all over! Happily there are same book of Czerny. The contrasted studies deal many good teachers in America nowadays—but with like technical problems. THE ETUDE THE ETUDE 229 228 fnrmer can always judge from the nature of the pas 1780, and despite fierce opposition and abuse from cer¬ the same Degree it signifies that ’tis all one , sage. As a rule, whenever two tied notes are written “Clementi, though I find him dry, is good for for which a single note could have been substituted, tain quarters, soon gained a sure and permanent foot¬ endurance and velocity. In Czerny, however, one be made as long as the wh°Ie NotfstS°hg°^”tCNote of hold in popular favor and soon spread its dominion this happens most frequently betvvixt th 1 icu]arly repetition is indicated.” A fine example of th,sis to£ lias plenty of chance for endurance and velocity found in the 5th and 6th measures of the Adagio , throughout Europe, wellnigh supplanting most other work, and, besides, there is always opportunity for one Bar and the first of the next wmc v other THE STORY OF THE WALTZ dances, probably because of the universality and called Syncopation, a Word also apphed m otu non troppo of Beethovens Pianoforte Sonata in Ab the study of interpretation. He himself laid par¬ Op i 10 Here the notes A in the treble, although strength of the element which its embodies. ticular stress on this in the study of his etudes, Cases.” In 1769, one John Arnold, an Ea Ang By EDWARD BAXTER PERRY amateur, published “The Complete Psalmodist th oairs and connected with curved lines, are not to be requiring them to be played repeatedly in different tied but to be repeated without “any actual silence be- styles, pianissimo, fortissimo, and, lastly, with “New Introduction” to which, he says, A Tye wn drawn over two or more notes, signifies, m Vocal Mu tween the two sounds.” Another example is to be ‘nuances.’ How the Most Fascinating of Dances Has Influenced The most distinctive characteristic of the waltz, as a sic, to sing as many notes as it comprehends to on found in the nth measure of Chopin’s Ballade in Ab, “Many passages which occur in more pretentious dance, is the complete isolation of the couples; and Syllable and with one Breath.” Evidently poor Ar^ in the repeated octaves of Eb in the upper part. the Great Composers works are not more beautiful than some of the this is as it should be, symbolizing its significance. nold, like many a more modern amateur, failed to We conclude with a word of warning anent the defi¬ Czerny studies. In Mendelssohn and Beethoven one In other dances, especially the older forms, the fig¬ tinguish between the tie and the slur. , n nitions of the tie or bind. As a teacher and examiner ures are executed by several couples, more or less col¬ finds such passages often. The first figure in the “One of Strauss's waltzes as far surpasses in charm, finish and real last movement of Mendelssohn’s G minor concerto One remarkable thing about the tie is tha of many years’ experience the writer has met wii lectively and iuterdependently. Partners are temporar¬ other signs have undergone considerable ana p good many of these definitions. Perhaps the m musical worth hundreds of the artificial compositions of his contem¬ is pure Czerny.” poraries as the tower of St. Stephens's surpasses the advertising columns of ily shifted, at times the evolutions are more complex manent modification this one has remained true o Going to the piano, Leschetizky played the figure. hoary and the most erroneous of them all is to the the‘Paris Boulevade.' "—Richard Wagner. and the social element more in evidence. . In the waltz, original shape. Only two attempts have ever been made “Now, if I play you the first Czerny etude in effect that the second note connected by a tie is ‘not each couple revolves in its own indpendent orbit, en¬ to depart from this, and neither has enjoyed anything book two of the School of Velocity, and add a played.” Here “not struck” is evidently meant. veloped in its peculiar, exclusive atmosphere of swift, more than the briefest popularity and the most hmited suitable counterpoint in the left hand, you can Sometimes an examinee will venture the as¬ graceful motion, sensuous music, intimate, mutual ab¬ publicity. To distinguish the tie from the slur, bir w. hardly tell which is the etude!” sertion that the second note is “not sounded.” This sorptions, as much alone for the moment, fn the midst Sterndale Bennet (1816-1875) employed the “rectilinear time “not repeated” is what was meant to have been some kind of drum, probably in the first instance a hol¬ The result was just as he had said. ____ ——1 to the Ingratiating music of of the whirling crowd, as if on a desert island. This bracket,” |-1 but this only temporarily, frorft his said. This error largely arises from a non-apprecia- riimi Lehar, whom many have called "the Strauss of the low log pounded with a club, this rhythm growing out is characteristic of the mood it is intended to express, “Liszt, who wrote in his own etudes the most Op. 33 to Op. 37. Eventually Bennett returned to the New Century.” This Is no flattery for any of the great tion of the sustaining power of the pianoforte. family of waltz writers might have been proud to have of, and demanded by the dance itself, and intended to and forms the most important element of fascination complicated figures of all for the piano, was a pupil orthodox curve. Dr. Riemann tacitly disputes Bennett s created the charming and Inspiriting melodies of Lehar. ■ guide, control and stimulate the dancers. in this dance. of Czerny and used his master’s studies to the very claim as a sign for the tie, by stating that it was used They possess the same characteristics which used to get into the veins of our grandfathers and send them spinning Little by little vocal cries were added in time with But in connection with this original, simple, concrete last for technical purposes.” by Ludwig Meinardus (1827-1896), the German com- around the ball rooms_s of old. With Lehar have come a the dance and expressing its mood, the cry of pain, or idea of the love-dance, many other subsidiary emotions ( To be continued in •* The Etude " for May) poser and critic. Thus it is doubtful whether the em- THE ETUDE ANNUAL PRIZE ESSAY „ of waltzer music lovers. “tKe waltzes d t compose a part of the pleasure, or desire; the shout of triumph or defiance; and suggestions naturally arise, associated with it and ployment of a separate sign for the tie was spontaneous CONTEST. serious music of th'-„ —J do add greatly to the the wail of teath-agony, the whoop of delirious frenzy. incident to it, as for example the ardent wooing of the on the part of each of these musicians, whether one One hundred and sixty dollars will be divided delight of music study. ..____ould literature be„„ without___ the enspiring sclntllating sketches of Laurence Stern. These were gradually developed, refined and combined THE TIE OR BIND. was indebted to the. other or to some other source into ten prizes in the following manner: man, the gentle tenderness or the witching coquetry or Sheridan, Charles Lamb, Robert Louis Stevenson and J. M. into increasingly expressive and beautiful melodic for the idea, or which of the two was really the Four prizes of twenty-five dollars for essays oi Barrie. We need the lighter music to give contrast to the playful mockery of the woman, the bitterness of misun¬ more serious music. From Chopin and Weber to Brahms and phrases, till the song evolved from the dance. derstanding, rebuff, and disappointment, the ecstasy-of BY ORLANDO A. MANSFIELD. MUS. DOC. primary inventor. from 2500 to 3000 words in length. Dvorak our great composers have had a very evident ad- The necessity for such a sign as the tie or bind is Six prizes of ten dollars each for essays of from The element of harmony was slowly added,.and mu¬ reunion after long parting, the fear and pain of im¬ Amongst the numerous peculiarities which exist in proven by the fact that there are many sound-du¬ 1000 to 1300 words each. sic as an independent art was born, with a body of pending separation, the anguish of a stolen farewell, musical ^notation and terminology one of the most in¬ rations which cannot be expressed by a single note; __ __n Strauss, Sr.,-- -- .... beauty and an immortal soul of emotional expression. the sudden, startling call “to arms,” in the midst of the Waldteufel, Lanner. Delibes. Lehar, Oscar Strauss, Ivano- Every good dance form, however, even if not in¬ gayety, the fateful, tragic message or ominous secret, teresting is the employment of signs and terms possess¬ others which cannot be expressed by, a dotted note; CONDITIONS. vicl, Millocker, Czibulka, Glllet. Victor Herbert and Engel- ing a dual or even a triple signification. The subject and others which, although capable of expression by a (Read carefully.) mann. The same dance music that was the favorite music tended to accompany an actual dance, and no matter imparted under cover of the jest and laughter of the of Louis XIV and Napoleon, is accessible to modern players how much it may be idealized, amplified and elaborated, ball-room. These and many more, of almost infinite of this article supplies us with a specific case of this simple or dotted note, would, by such expression, be and is no less charming in our drawing rooms than it was description,—one which is the more worthy of detailed denoted inaccurately as regards the rhythm of the 1. Anyone, whether subscriber or not, may com- in the roccoco ball rooms of tne 18th Century.] must remain true in the main to its physical heredity variety, are possible accessory elements, which may in¬ consideration because it has so often proved a stumbling measure. For instance, a sound of five or nine beats’ terweave themselves block to the young student, and has often placed an duration could not be expressed by any simple or 2. Any writer may send as many essays as he Evei for with the simple pat¬ additional tax upon the explanatory powers of the con¬ dotted note; and while a sound of seven beats’ dura¬ may care to submit. musical composition, tern of the waltz, as scientious teacher. tion can be expressed by a double dotted note, yet 3. Write only on one side of the sheet of paper. and there are many primarily conceived. The Tie or Bind (German, Bindebogen; French, Lia- such expression would often be inelegant or inac¬ 4. Send manuscript flat, not rolled. such, which is pri¬ Waltz music, orig¬ son; Italian, Fascia) is, as all our readers are probably curate, e. g., the example in six eighths shows the 5. Write legibly, or if possible have it typewritten. marily intended to ac¬ inally intended as an company or suggest aware, a curved line placed over or under two notes. absolute necessity for the tie. 6. Place name and address, the number of words accompaniment and As such it is identical with the slur over or under contained in the article and the words “Prize Essay” a certain definite rhythmic guide to the at the top of the first sheet. physical action and two notes. But whereas the slur connects two dif¬ dance, and concerned movement, is logically ferent notes, the tie only connects two notes of the 7. Enclose sufficient postage for return of manu¬ merely with the ex¬ script. developed from, and same pitch, two notes representing the same sound. pression of the one naturally grows out The curved line connecting more than two notes,—in 8. Essays must reach us before the first of May, simple idea, has 1909. If possible, a final judgment will be given of that movement this case generally termed a legato—can be quite eaily gradually evolved and distinguished from the tie on account of its being, as in the August issue. Every essay receives a cart¬ itself. expanded so as to in¬ ful reading, and this takes time. The human body, a rule, of much greater length. clude and utilize all How it came to pass that the same sign should be with its infinitely these secondary and used for such different significations as those which SUGGESTIONS. varied possibilities of Also, when syncopation is produced by placing a note at incidental sugges¬ are attached to the slur and the tie, it is difficult to 1. The essay must present some vital musical expression by means the end of a measure and prolonging it into the next, tions, till to-day the say. In all probability the tie was the older and the question in a practical, helpful, interesting manner. of attitudes, gestures the tie is the only correct expression of the effect best waltzes are no original application of the curved line. Its earliest use 2. The Etude goes to the largest musical audience and movements, may is said to have' been in Peri’s opera “Euridice,” pro¬ required, e. g., be said to have been longer strictly dance in the world. Remember in writing that your essay music, but complete, duced in 1600 for the marriage of Henry IV of France must hold the interest of this audience every second, the first artistic in¬ strument, and was elaborate art works, with Maria di Medici. Peri, as we know, was a mem¬ just as though you were talking to them. used to convey ideas, tone pictures of ball¬ ber of that galaxy of talent known to musical history 3. The essay must be within the comprehension as the Florentine Academy—a body which included emotions and impres¬ room scenes and of the majority of our readers. Essays upon ab¬ in its society such musical reformers as Bardi, Cac- sions through a uni¬ moods, with the struse philosophical, ethical, or so-called psycho¬ cini, Cavalieri, and Rinuccini. These “accomplished versal and highly de¬ waltz movement and logical questions are not desired. artists and gentlemen were bent upon freeing music veloped s i g n-1 a n- emotional motive as from the trammels of the ‘stilo osservato’ and bringing 4- Make your essay concise and to the point If guage, long before their principal theme about some better result from the union of instruments, you have ideas for a 1300-word essay, don’t try to speech was invented, of course, but with' poetry, and the human voice than had up to their time pad them out into a 3000-word essay. and ages before all the intricate com¬ been achieved.” To this illustrious body we owe the But, as the French proverb expresses it, “1 5- Write about one subject, and keep right to that modern fine arts were plexities of human change tout cela.” invention of the recitative, of the basso continuo or subject. A good anecdote, pertinent to the subject, even dreamed of by life and passions figured bass, of vocal ornaments, of instrumental ac¬ Here, perhaps, it may not be altogether o of plac is always desirable. Write as though you were the most visionary of vividly portrayed. companiments, and of “the first true opera that was to remind our younger readers that this tie trying to make the reader say, upon putting down prophets. ever placed upon the stage.” Little wonder, therefore, be distinguished from the slurred staccato, or me the paper, “There, I have gotten something from Men marched that at such a period—the awakening of Europe—and staccato, over two notes of the same pitch, by the f that that I can put to direct use in my lesson or bravely and proudly from such musical enthusiasts, new signs and terms that the slurred staccato always has a dot over the in my practice to-day.” Helpful, invigorating, orig¬ to battle, expressing should have proceeded. So then, if we cannot say that note of the two e. g., Sir W. S. Bennett, Op. 28, No inal, short essays are more in demand than long courage and defiance Among the 'light Peri was the inventor of the tie, we are safe in con¬ ones. Many writers feel competent to write short Viennese school of in every line and motion of their war-inspired and antecedents; that is, it must be based upon the cluding that the sign was a product of his age and arxCAf, whEngland,” gives an in¬ ing the romance, the poetry, the subtile glamour and Sometimes in the pianoforte works of Beethoven a savage devised the rhythm-marking “tom-tom” to ani¬ half-artificial tenderness, the exaggerated, flirtatious verted bracket as a sign for the tie. The effect of syn¬ fascination, of sex attraction, in its refined, idealistic, Chopin we meet with a curve, over or under two no mate the dancers and heighten the effect. but irresistible potency. spirit of the primitive waltz, at its first victorious copation was, of course, known to the early contrapunt¬ of similar pitch, which curve is not a tie but entrance into the social centers of Europe. ists, but Morley seems to have been the first to give it ern revival of the old clavichord grace knowna^l THE first OF THE ARTS. . T*le Strauss waltzes will always remain representa¬ elegant expression. Alexander Malcolm, in his “Trea¬ of w°rth is to be sought mainlv n the highest THE ORIGIN OF THE VALSE. tive types of their class, but as genuine music they are tise of Musick” (Edinburgh, 1721), says “You’ll find a Bebnng In this case, says Dr. Hardung, “The first n The dance was first of all the arts, for it is an art should be struck rather firmly, and the second mm^1CVhat is t0 say> »re music, dealing in I In spite of much controversy, there can be little Mark, like the Arch of a Circle drawn from one Note tent •‘deas’ conscious of no outward purpose, when properly considered. It was the primitive but valUVeery lght We'ght” 31,(1 have onIy very ephemeral lightly and smoothly, carefully avoiding any brelk^ doubt that it originated in Germany, as the name to another, comprehending Two or more Notes in mission1 S ™or,d> Preoccupied with its own p< accurate expression of life-experiences through motion. tween the two notes.” As to when this ? • waltz, derived from the German word walzen (to turn Even before their supremacy, Schubert and Von the same or different Degrees.Tf the notes are in anv 'vh,ch ls to° divine to need the justificat Dance music consisted originally of merely a marked or whirl) clearly indicates. tended, Mr. Franklin Taylor says, “AntxperienSed p rhythm, beaten out on some instrument of percussion. Weber had raised the waltz into the realm of real mu¬ truth i SC7e- Tllis- ir|deed, is the first princi It was introduced into the social life of Vienna in " " art of any kind.-John Sullivan Dtcight sic, developing and expanding its form, introducing into 231 THE ETUDE 230 THE ETUDE tations; and if this point is missed and he is permitted it is not strange that the young musicians idea of to give conventional uninspired performances he need “reinforce” as the English equivalent. *Y°babla the value of everything, including himself become, it the sugestive, descriptive, more profoundly emo¬ unnecessarily inflated, and before he should be never hope to play artistically. tional elements which gave to it a place among the dis¬ the best w'ay to explain it is to say that: r . thinkine of such things he puts a commercial value tinct and recognized musical art forms. short phrase what is to a single note, THE TOUCH REQUIRED. on himself out of all proportion to the service rend- HOW TO STUDY A NEW PIECE Among their productions in this form Weber’s “Invi¬ a sudden and rather short crescendo. he „ed Years before he is ready he enters the pro. “In studying a new piece, as soon as the style of tation to the Dance” stands as the most remarkable, Where even doctors disagree there ™ay From an Interview Given Exclusively to “The Etude fession” and thereafter he is the peer of any mem. the piece has been determined and the accuracy of world-famous and epoch-making example.* honest difference of opinion among hum dents. Clementi and the older authorities said ber of it. The result is that he can no longer be By ERNEST SCHELL1NG the notes secured, the pupil should consider the THE CHOPIN VALSES. adagio was the slowest of the tempi, then came grave taught in America and he hies him to Europe. all-important matter of touch. He should have been Owing to the elastic meaning of the word “pro. Then came Chopin, with his series of inimitable and afterward largo. Some moderns exactly mver previously instructed in the principles of the dif¬ order. Perhaps as good a working average as any is tne fessional” any one is at libt 'ty to attach it to him¬ piano-forte waltzes, which will always remain standard ferent kinds of touch used in pianoforte playing. I following from slowest to quicker: largo, grave, lento, [Editor's Note.—Ernest Schelllng was born in New estimate the amount of concentration required. They classic types of this form, embodying as they do not self after he has given a few lessons, and it is Jersey in 1875. Schelling's first musical training was re¬ am a firm believer in associating the appropriate adagio, andante. A good dissyllabic mnemonic wo something of a condescension for one professional ceived from his father and at the remarkable age of four expect results to come without effort and are invariably kind of touch with the passage studied from the only the fundamental ideal of the waltz, in all its se¬ disappointed. After the two first measures have been can be made of the first two letters of these words, to allow himself to be taught by another profes¬ and one-half years he made his debut as a performer at very beginning. If the passage calls for a staccato ductive grace and subtle tenderness and witchery, but Philadelphia Academy„ of_ Music ThereafterThe-•**-- U|his life was mastered take the next two measures and learn these also almost every possible shade and variety of mood, largo 1= lead-an, the largo and grave being somewhat sional in the same locality. remarkable for manyy changes and associations of almost touch do not waste your time as many do by prac¬ alike as to tempo. These words, however, should come Young musicians rush into the profession with sensational interest. — — ------•-- — thoroughly. Then go back and learn measures two and ticing it legato. Again, in a cantabile passage do which might conceivably be experienced by thj indi¬ Paris by his father, and entered the Paris three so that there may be no possibility of a break or vidual dancers under diverse conditions; from the to convey different characters and styles rather than the same extravagant recklessness that young com- where he studied for a time under Muthia not make the mistake of using a touch that would Chopin), with whom he remained for two : interruption between them. Next proceed in the same heart-breaking sadness in the cello theme, forming the simply metronomic uniformity. Largo—broad and posers rush into print, and often with the same s in Europe produce the wrong quality of tone. The wrists at age of eight he commenced making concert t<- way with the following four measures and do not stop opening and principal subject in the little waltz in A stately. Grave—heavy and solemn. Grave in tne disastrous results. which took .him to France, England, Austria i.— - all times should be in the .most supple possible Overture to the “Messiah” (Handel) would be J —- countries. At the age of ten he was taken to Stuttgart for until you have completed the piece. This kind of study minor, to the sparkling gayety and frolicsome abandon Another lesson we may learn from Beethoven Is further study and was placed under the educational guid¬ condition. There should never be any constraint of the joy-intoxicated debutante in the concert waltz 60 M. M„ and in the Sonata Pathetique (Beethoven) in his capacity for detail. As we listen to his ance of Prtickner and Percy Gotschius, the latter an Ameri¬ may take more time than the methods to which you at that point. When I resumed my musical studies N=6o, apparently twice as slow. Lento — relaxe , can born teacher who achieved wide distinction in Germany. in E flat major; from the manifold realistic as well as melodies they seem always to run on the line of Shortly^ thereafter | """j have become accustomed but it is by all means the most with Paderewski after a lapse of several years he emotional suggestions in the *waltz in A flat, founded sluggish. Adagio — leisurely, with ease and pace. the least resistance, but many of these melodies thorough and the most satisfact6ry. I found it indis¬ laid greatest emphasis upon this point. I feel that Andante = a moderate movement as when one goes wmo JSK and other --- upon Byron’s “Battle of Waterloo,” to the simple, naive were written and rewritten, some of them as many twelve he was taken to Basle, Switzerland, and Hans Huber pensable in the preparation of pieces for public per¬ the most valuable years for the development of delight in rhythmic motion and innocent coquetry ex¬ or walks. Handel in one chorus marked An¬ as eighteen times before they reached their perma¬ undertook to continue this already much varied training. formances. It demands the closest kind of study, and touch and tone are those which bind the natural dante Allegro, which means going or walking cheerfully Here a committee of gentlemen became interested in pressed'in the little waltzes in G flat and D flat major, nent form. Most musicians would be glad to be able Schelllng and seeing that nis general education was likely to this leads to artistic results and a higher perception of facility of the child hand with the acquired agility and the subtler, more exotic fascination of those in C or briskly. In Italy adagio, on account of its original to conceive a melody in any one of the forms in be neglected they assumed the responsibility of providing him the musical values of the composition being studied. of the adult. To my great misfortune I was not meaning of “comfortably easy,” approaches more with the means to this end. Here he studied various acade¬ sharp minor and B minor. which it came to Beethoven, but his sense of beauty mic subjects and savs that he was very greatly benefited. Take for instance the C Major Fantasie of Schumann, able to practice between the ages of twelve and eigh¬ These waltzes will always be found invaluable studies nearly to andante than it does in Germany. was so keen that nothing but the most perfect At the age of fifteen he went to study with Barth in Berlin, one of the most beautiful and yet one of the most diffi¬ teen. This was due to excessive study and extensive but the enormous strain of his work as a prodigy was com¬ for pupils of all grades above the second, for they in¬ melodic form would satisfy it. mencing to tell. He suffered from a form of neuritis that concert tours as a prodigy. These wrecked my clude almost every variety of style and degree of diffi¬ When once this had been evolved it became a per¬ had paralyzed his upper right arm and at the age of seven¬ teen he returned to America resolved that the career of a health and it was only by the hardest kind of prac¬ culty, and are the best introduction to what has been LESSONS FROM THE LIFE OF BEETHOVEN. fect expression of truth to him and nothing could virtuoso was out of the question. His brother, a professor tice in after life that I was able to regain the nat¬ aptly called “the true Chopinism of Chopin.” at the University of Pennsylvania, assisted him to decide induce him to change it. When Sontag begged that he might succeed in the field of literary endeavor and ural facility that had marked my playing in child¬ Schulhoff, Wieniawski, Rubinstein, Godard, and a him to change a vocal passage in the ninth sym¬ for a time his attention was turned to the preparation for hood. In fact I owe everything to the kind per¬ host of others have contributed liberally and ably to such work. In the meantime his health was restored and phony, the reply was “Nein und immer nein.” then fate stepped in. An accidental meeting with Pader¬ sistence and wonderful inspiration of M. Paderewski. this most popular form of idealized dance music, till it The lives of great men are a perpetual lesson to From this we should learn that infinite patience ewski, to whom Schelling's talent and possibilities became now' offers to the pianist the richest, most varied selec¬ humanity. The lesson is to be found not only in and attention to detail are necessary to a perfect at once apparent, led to an arrangement whereby Paderewski THE RIGHT TEMPO. tion of material for parlor or concert use of any of the became his teacher for three years, during which time the the works they produced, but in the way in which expression, no matter how gifted one may be. Also, Polish master had no other pupils. These three years were dance forms, with the possible exception of the Polon¬ “The right tempo is a very important matter for they battled against existing conditions and. rose that when we are convinced of the truth we should perhaps the most interesting of Mr. Schelling’s career. He aise. Its development may be said to have culmin¬ lived in Morges, Switzerland. S"~‘— 'T~ the student. First of all, he must be absolutely above their environment. The path of a genius is have the courage to stand by it. A lesson may also __„ knowing this able and ated with Mosrzkowski, whose four masterly waltzes day and the privilege of positive that his time is correct. There is noth¬ proverbially rocky and lined with thorns, and his be learned from some of Beethoven’s undesirable „_„„_—_it but make a deep and lasting impres¬ for the piano, all concert numbers of some magnitude, sion upon the young musician. It was also the hardest kind ing so barbarous in all piano-playing as a bad con¬ fight is usually against tremendous odds. qualities. of work. For two years he practised eight hours daily al¬ fairly surpass all previous productions in ornate com¬ The divine afflatus, the creative impulse, com¬ lowing himself only occasionally a day’s tramp through the ception of time. Even the inexperienced and un¬ An abnormal development of one faculty is __lerican tours plexity of construction, in technical brilliancy, in wealth monly known as genius, is oftentimes unnecessarily mountains. Since then he has made three J-'— *-- musical listener detects bad time. The student of musical and emotional content, and variety of fanci¬ usually at the expense of others, and Beethoven and beside has given ir __--*- _a hundred concerts in should consider this matter one of greatest im¬ modest in selecting a human tabernacle. She has was not an exception. His superb control of the Europe, North —J„ _ America. His new suite for ful suggestions. It is difficult to imagine their being little or no inclination toward “high society,’’ and is ___o has been enthusiastically received both portance and demand perfect time from himself. excelled by any subsequent writer. creative faculty was accompanied by an almost utter at home and abroad. Mr. Schelling's exceptional experience With some students this can only be cultivated unconscious of such a thing as rank. She loves to lack of control of every other. His temper was in and unusual number of teachers, including Mathias, Got¬ Just one word more concerning the subject matter hobnob with those entirely unhampered by worldly schius, Prttckner, Moszkowsld, Leschetizky, Huber, Barth and after much painful effort. The metronome is of of the waltz and its symbolic significance. a state of perpetual riot, and was likely to run Paderewski, make his observations upon “How to Study a assistance, as is counting, but these are not enough. possessions, and who have little else than the pres¬ amuck at any moment with most disastrous re¬ New Piece” of particular interest to Etude readers.] I repeat that it is openly and avowedly the love tige of her society to recommend them. Is it that The pupil must create a sense of time, he must have dance of modern civilization, based upon and express¬ sults. He would frequently indulge in the most PRELIMINARY STUDY. a sort of internal metronome which he must feel she sees there a more perfect channel for expres¬ violent hatred without cause or reason. There ing the mystery and magic of sex attraction. sion, or does she offer herself as a compensation In studying a new musical composition experience throbbing within all the time. could be but one result from this for anger and Certain people are inclined to sneer at this emotion for the lack of everything else. History shows that has revealed to me that the student can save much “Always begin your practice slowly arid gradu¬ and its use as an art subject. Yet the fact remains that hatred are inherently destructive. He alienated all the genius pays a tremendous price for the priv¬ time and get a better general idea of the composition ally advance the tempo. The worst possible thing love, with its corollary emotions, is and must remain those who could have been, and who desired to be ilege of blessing humanity and being worshiped by reading it over several times before going to the is to start practicing too fa.st. It invariably leads the oldest, most Universal and most potent factor in helpful to him, and his last years were spent prac¬ after he is gone. instrument. While this is difficult for very young to bad results and to lengthy delays. The right human existence, the motive power in most important tically without friends. Humanity still needs to be taught, and to learn tempo will come with time and you must have pa¬ human actions, the determining element in most human pupils to do before they have become accustomed to from the experience of others is both legitimate Many of us might extract considerable profit from tience until you can develop it. In the matter of experiences. This fundamental truth has been recog¬ mentally interpreting the notes into sounds without the and necessary. What are some 'of the lessons we this infirmity of Beethoven. The profession is ‘tempo rubato’ passages, which always invite dis¬ nized by all great authors from Shakespeare and Victor assistance of the instrument, it is, nevertheless, of ad¬ may learn from Beethoven? Born in poverty and highly seasoned with peppery individuals who aster upon the part of the student, the general idea Hugo down. Our musical critics may scoff if they vantage from the very start. It saves the pupil from knowing lack and want all through his youth, yet greatly reduce their income and their usefulness by ErNest Schelling, is that the right hand must be out of time with the choose, as indeed they sometimes do, at the idea that much unprofitable blundering. To take a piece right the will and disposition to learn never left him. reason of this same affliction. On the whole 1 am Chopin founded so colossal and dignified a work as to the keyboard without any preliminary consideration left. This is not always the case, as they some¬ His study was not always along conventional lines, not sure that its possessor should not receive sym¬ his *Sonata Op. 35 on what they are phased to call “so may perhaps be good practice for those who would cul¬ cult of all compositions to interpret properly. At times play in unison. The word simply implies for genius canot be bound by rules, but the les¬ pathy as he would in his fight against any other trivial a subject as a love story.” But a theme of such tivate ready sight reading, but it should be remembered first the whole work seems disunited and if studied ‘robbing the time,’ hut it is robbed after the same sons we may learn from his experience are that vital and universal interest to the race, which has been that even the most apt sight readers will usually take carelessly the necessary unity which should mark manner in which one ‘robs Peter to pay Paul,’ with a-determination to succeed, environment is a Every man has the right to profit by the ex¬ deemed worthy to serve as the motive in nearly all the the precaution of looking a new piece through at least this work can never be secured. But, if studied jvith that is, a ritard in one part of the measure must’be mere geographical incident, that the word failure perience of ev'ery other man. But in studying the great dramas and works of fiction since literature once to place themselves on guard for the more diffi¬ minute regard for details after the manner in which compensated for by an acceleration in another part is obsolete, and that the impossible is never in lives of the great departed, though their so-called cult or more complicated passages. By forming the I have suggested the whole composition becomes of the measure. If the right hand is to play at vari¬ began, may surely be legitimately utilized by the musi¬ focus. vices may be made to yield valuable lessons, their habit of reading away from the piano the pupil soon wonderfully compact and every part is linked to the ance with the left hand the latter remains as a kind cian, and nowhere does it find more facile or diversi¬ virtues and achievements are of paramount im¬ fied expression. At one time in Beethoven’s early youth he held becomes able to hear the music without making the other parts so that a beautiful unity must result. of anchor upon which the tempo of the entire meas¬ the position of conductor of rehearsals at the opera portance, for these only are worthy of emulation. sounds at the keyboard and this leads to a mental con¬ ure must depend. Chopin called the left hand the *3ee full description in volume of Descriptive Analyses in his native town for two years without salary of Piano Works, by Edw. Baxter Perry.—Ed. ception of the piece as a whole, which invariably pro¬ FORMAL DIVISIONS. chef d’orchestre and a very, good appellation this is. This at a time, do not forget, when he could play duces surprisingly good results. Take, for instance, his B flat minor Prelude. In his Bach from start to finish. It may be said with THE BEGINNER’S INSTRUMENT. “Many works have formal divisions, such as those the latter part of this wonderful composition the out exaggeration that he was a better musician at of the sonata, the suite, etc. Even the Liszt ‘Rhapso¬ SOME FOREIGN MUSICAL TERMS. THE TECHNICAL DEMANDS OF THE PIECE. regular rhythmic repetition in octaves in the bass that time than most people ever become, and yet BY DR HUGO RIEMANN. dies’ have movements of marked differences in tempo makes a rhythmic foundation which the most erratic he considered it worth while to sit at the piano dav “The next consideration should be the execution of and style. Here the secret is to study each division in BY WILLIAM BENBOW. the right notes. A careless prima vista reading often arid nervous right hand can not shake. f aad day °f> rehearsing chorus and principles . *s necessary that beginners in pianoforte play its relation to the whole. There must be an internal for the sake of se-unng a familiarity with the w’ ou a at once have a large, expensive instrumei leads tlie pupil to play notes quite different from those harmony between all the parts. Otherwise the interpre¬ It is not strange that the younger pupils are RHYTHMIC PECULIARITIES. operas of his day. Young American mus’eians actually in the piece. It is astonishing how often some tation will mar the great masterpiece. The difficulty is tripped up by foreign terms, especially when they JLSf ?Asf,it: *s a 2rcat mistake to supppose thal should learn a valuable lesson from this ed old worn-out instrument, possibly with ki pupils are deceived in this matter. Until you have to find the bearing of one movement upon another. “Rhythm is the basis of everything. Even the silent are abbreviated to one o>r two letters. This is all insured absolute accuracy in the matter of the notes you The world generally agrees that the" principal strin^gU ar actjon' or w‘th an incomplete number Even the themes or subj ects of the conventional sonata mountain boulders are but the monuments of some the more puzzling if the same letter is used in obstruction in the wav of creative an “Ilv--Pal are not in condition to regard the other details. The have a definite inter-relation. How to interpret these different combinations. Take, for example, the co.°f defect've tuning, is good enough, terrible rhythmic convulsion of the earth in past ages.’ is rampant commercialism. The air is full^f1^ failure to repeat an accidental chromatic alteration in themes and yet at the same time produce contrast and letter f. It is used in f, ff, mf, rfz, sf, fp and fz. nuntll ‘I 18 n0t necessary to seat the little A, B. There is a rhythm in the humming bird and there is the same bar, the neglect of a tie, or an enharmonic unity is difficult, It is this difference of interpretation The first three of these give no trouble, being used The papers are full of it. Gigantic business trans¬ wfitci- fu once at a concert grand (the advantage a rhythm in the movements of a giant locomotive. actions involving fabulous sums of money such as interval, with a tie are all common faults which mark that adds charm to the piano recitals of different virtu¬ frequently. Sf is more troublesome, as pupils per¬ at , ey ’would not in the least be able to appre We are all rhythmic in our speech, our walk, and careless' performances. After the piece has been read osos. There is no one right way and no one best way, sist in translating it “soft.” Some teachers have are rarely ever heard of in any other country are ’ „„i e?Se every Piaao that is played on for in our life more or less. How important then is Tne here an every day occurrence. We think as a whole and you have determined upon the notes so but rather an indefinite margin for personal opinion and study of the rhythmic peculiarities of the new piece. their pupils call it “sudden force,” the initials serving ethic u- °u ye.ars ,oses i'1 quality and gets worn 0 that there is no opportunity for inaccuracy from that as a mnemonic hint. Fp is another enigma which units We pay European artists three times as m«Sh and tuu lrnP°rtant difference between the p« the exhibition of artistic taste. If there was one best Every contributing accent which gives motion and as they get at home. This indicates orf ,much source you will find that the best way to proceed is to most solve by thinking, “f-loud, p-soft, therefore fp looked!. -bo.wed instruments should not be ov way, there are now machines which could record that characteristic swing to the piece must be carefully things. Either a total disregard for values or^ take a very small passage and study that passage first. is half way between, or equivalent to mf” instead rWe f U 1S„ therefore better to postpone the P way and there the whole matter would'end. But we want studied. It is rhythm which sways the audience. art appreciation three times as great as S / fn For the inexperienced student I should suggest two of “loud, then soft.” Rf occurs less frequently and to hear all the ways and consequently we go to the recit¬ Some performers are so gifted with the ability to inhabitants of Europe. In the interest^ °f Possessor of filSt-C,ass instrument until the hap measures or a phrase of similar length. Do not leave consequently it is harder to hold its meaning, al¬ als of different pianists. How can I express more em¬ invest their interpretations with a rhythmic charm national amityamitv the latter cart nf J|v+u-eSst of mter- stae-p -r t*ie same ^as 8°t beyond the learne these two measures until you are convinced that you though it helps if one can get the pupil to asso¬ phatically the necessity for the pianist being a man of that they seem to fairly invigorate their audiences .ho„« not be E absolute h! Ye mUSt “"questionably give even 1 have mastered them. This yill take a great amount of ciate the two letters in their place in the word culture, artistic sensibilities and of creative tendencies? with the spirit of motion. I cannot conceive of a Living ,n ,h,» superheated commereial Mao,phe„ action ,eg,nner an instrument that has regu concentration. Many pupils fail because they under¬ The student must be taught to think about his interpre¬ really great artist without this sense of rhythm and correc!etun?ngd ^ * COmp,ete set of s,ri° 233 232 THE ETUDE THE ETUDE i Iter cnita 10 me «««», ■ THE COMPOSER’S INSPIRATION. piece .. . whole. Nothing is so distressing to the , with the side hints of perspective. musician as a piece which does not seem * ,1 “Personally I believe in ‘pure music,’ that is music coherence and unity. It should be regarde in the field of pianoforte composition that is suffi¬ as the artist regards his work visually. The pat MOTHERS’ MISTAKES. THE ETUDE GALLERY OF CELEBRATED MUSICIANS cient unto itself and which does not require any stands off at some distance to look at his wor 1 Again, some mothers are thoughtless in maki™ of the other arts to enhance its beauty. However, order to see whether all parts of his painting har¬ careless remarks before their children. For in in the cases of some of our modern composers who monize. The pianist must do much the same thing. stance, a dear little girl was doing beautiful work portrait and biography by pasting in the book by means of the hinge on reverse of the picture. 5. Paste the pictures by means ol hinge on the fly have professedly drawn their musical inspiration He must listen to his work time and time again an with me. She had no idea that either sharps or from tales, great pictures or from nature, I can if it does not seem to ‘hang together’ he must uni y flats were difficult. Her mother saw a new piece see the desirability of investigating these sources all the parts until he can give a real interpretation which I had given her, and said, “That is pret|v in order to come closer to the composer’s idea. instead of a collection of disjointed sections. I his hard for a little girl. I never could play sharps’ Some of the works of Debussy demand this. Let demands grasp, insight and talent, three qualifica¬ The child came to me with a poorly prepared ]es. me play you his ‘Night in Granada,’ for instance. tions without which the pianist can not hope tor son, because she had lost faith in her teacher’s The work is most subtle and requires an apprecia¬ large success.” judgment, and did not think it worth while to do tion of Oriental life, and is indeed a kind of tonal the work assigned. I showed her that it was as dream picture of the old fortified palace of Moorish easy to play on a black key as a white one, if she Spain. I feel that in cases of this kind it helps the MOTHERS AND MUSIC. prepared her hand properly for the attack of the performer to have in mind the composer’s concep¬ key, and it could be no harder to go up a half step tion and in playing tb’s piece in public I always BY FANNIE E. HUGHEY. to a sharp than to go down the same distance to a follow this plan. flat. She was delighted, and found three or four sharps no more difficult than the natural key, STUDYING THE PHRASING. A mother can do for her child what no one else can do. She understands her child’s disposition bet¬ Difficulties are, after all, largely a matter of imaginal “Each phrase in a piece requires separate study. ter than anyone else: She is more sympathetic with tion, depending upon one’s viewpoint. I believe that the student should leave nothing un¬ his difficulties, perplexities, efforts and attainments. Another little girl left me very much interested done to learn how to phrase or rather to analyze a She is baby’s favorite companion and playfellow. in a new piece of music which I had selected be¬ piece so that all its constituent phrases become clear Her influence over him is stronger than that of any cause it would develop a technical point. Her to him. Each phrase must be studied with the same other friend, and she is, or ought to be, with him mother picked up the music and remarked care¬ deference to detail that the singer would give to an so much more than anyone else, that she can choose lessly, “I do not care much for that piece.’’ I could individual phrase. This is by no means an easy the best time for the music play. do nothing with the piece of music after that, and matter. More important still is the inter-relation Do not be in a hurry. Little minds are even more also felt the loss of confidence, on the part of the of the phrases. Every note in a work of musical delicate than little bodies. They tire quickly of a child, an obstacle thoughtlessly placed in the way art bears a certain relation to every other note. continuous effort. Change is essential if concen¬ of the child’s progress by the one who was most So it is with the phrases. Each phrase must be tration is to be developed. You can not hurry baby anxious for her advancement. played with reference to the work as a whole or when he is learning to balance himself on his feet. more particularly to the movement of which it is Other children arc allowed to do as they please Should you push him, he would fall; and you would a part. about practicing. There is no authority in the home, find it difficult to persuade him to try again, be¬ or else music is the particular point where it is MARKING THE FINGERING. cause of his lack of courage, resulting from his not exercised. A conscientious teacher will strag¬ “It seems hardly necessary to say anything about fright. He is even more easily discouraged in his gle to overcome this lack, and by his own person¬ the fingering when so much attention is being given mental efforts. MoHier must follow baby, even ality, tact, and all sorts of strategems and varying to the matter by the best teachers of the country, while she leads and guides his faltering footsteps plans and efforts, may finally succeed in getting the but certainly one of the most essential considerations in the physical, and still more in the mental, world. child to a point where he is beginning to improve in the study of a new piece is the study of the finger¬ Be patient. Never let the sensitive little heart as¬ perceptibly and gives promise of doing the teacher ing. A detailed study of this should be made and sociate aught but love and joy with music. He will some credit. Without warning or explanation, a it should be clearly understood that the fingering have sorrow enough as he grows older. Let music thank you for past hard work, or a civil good¬ should be adapted to fit the hand of the player. It always be a solace and pleasure. bye, the pupil leaves for some new teacher who is by no means necessary to accept the fingering Do not be discouraged, and do not discourage your wastes the child’s time to catch up the broken given in the book as ‘gospel.’ The wise student baby. Appreciation is always more stimulating threads, and then proceeds to show results on the will try many fingerings before deciding upon the than depreciation. It may be months before you see foundation laid with so much difficulty by the former one that suits him best. Students who go to these results, but the little mind is storing up ideas about teacher, and gains reputation on another’s work. pains are the ones who invariably succeed. Those high and low, long and short tones, definite and The injustice to tepcher and pupil by just such who take any thing that is presented to them with¬ relative pitch, and varying tone colors. Some time, unreasonable acts on the part of well-meaning, but out considering its advisability rarely attain lofty when you least expect it,, you will see the results of musical heights. thoughtless, parents is one of the greatest obstacles your patient, intelligent, efforts, and feel repaid for m the way of the best results of good teaching. “When a fingering has once been determined upon your. care. Common sense and intelligence on the part of it should never be changed. To change a fingering Mother’s work is by no means over when the parents would, nine times out of ten. do more for frequently means to waste many hours of practice. nursery music play is .finished and the little girl or This may be considered a mechanical method but the proper education of their children than all the boy is entrusted to a new teacher. Some mothers money they throw away on account of this lack. it is the method invariably employed by successful are able to carry on the instruction of their chil¬ artists. Why? Simply because one fingering close¬ dren through several grades, but there is some dan¬ ly adhered to establishes finger habits which give ger in doing so, however well equipped, musically ------.Olliers spend more than they coul freedom and certainty and permit the player to and pedagogically, they may be. ■■ afford on a braclet, locket or other trinket f< give more consideration to the other details of ar¬ If the lessons in the first grade can be given as tistic interpretation. c uld, and then stop the music lessons to save mom duets, which the mother can play with the pupil, o pay for it! I had one mother ask me to make “I oftimes find it expedient to adapt a more diffi¬ she has the best opportunity to keep in touch with cult fingering of some given passage for the rea¬ ^Tfct'°" ,n. ,r»y terms, one winter, because si the work of her child, and the companionship and ted to give a series of afternoon teas and ha son that the difficult fingering frequently leads to a sympathy of the mother is a wonderful stimulus to retrench somewhere to meet the extra expenst better interpretation of the composer’s meaning. I to the student. This plan also enables the mother know of innumerable passages in the piano classics to exercise a gentle, as well as intelligent, authority u '1S s°metimes come to me from other goo which illustrate this point. Moreover a fingering which is a great aid to the progress of the child . c.ers and when I begin to correct faults procee that seems difficult at first is often more simple than A half-hour lesson ,s too short for a teacher to do ,lwTr™ the. blame upon the former teacher, the conventional or arbitrary fingering employed always stop that at once and toll them I never blarr aTTT/T? y’ 1 Sh^',as t0 spend time making by the student, after the student has given sufficient a pupil do his work. The mother ought to take erallvfiTl “f'i T have provcd ‘he pupil. I get time to the new fingering. The required accent often that part of the training upon herself, or pay the teacher! " C3USe *° sympathize with d obliges the performer to employ a different fingering. teacher for longer lessons. Every minute is precious The stronger fingers are naturally better adapted to in a half-hour lesson. m cciuus take ?R<; °f strenU0Us business life few fathei the stronger accents. Otherwise it is best to use One class of mothers, in their anxiety for rapid for It t,1eir children or to he respond a similar fingering for similar passages. progress, will sit by the piano and nag a pupil ?mo motheTTi Thls throws a double duty on tl MEMORIZING. hating everything connected with music, raising a to othe’ Vt f.rccluently delegates her responsibilit barrier hard to break down. ,ngr a tionni ,rS' 1 • 11 any wond®r, then, that much educ; “I should like to add a few words with regard to The second type will supplement the teacher’s ture ve^r 1S '"■asted, and many people reach m; committing pieces to memory. There are three work with a different lesson, thus confusing thl canahfi. S 'T.h? y undisciplined and wholly h ways. I, By sight; that is, seeing the notes in your child, and spoiling both lessons. g the llnlrlV- m rtheir turn’ to do well for the net mind’s eye; 2, memorizing by ‘ear,’ the way which generation of children? comes to one most naturally; 3, memorizing by the The third set takes no interest in the work of th pupil, or in his practicing, and ignores all ff th of vouTKtller»S’ th

THE PURPOSE OF THE BIOGRAPHICAL PORTRAIT GALLERY sineers, conductors, pianists, violinists and orga THE STORY OF MUSICAL PRODIGIES This page is designed to furnish Music Lovers with portraits and concise biographies of the great compuat , a year, which could only be obtained other of the past and present. Each ETUDE reader thus secures seventy-two very valuable portrait-biograpmes a<.chaikowski Moszkowski, Gounod, Eames, D’Al How Some Very Remarkable Children Have Afterwards Become Great Musicians and How Others by purchasing numerous expensive books. The series started in February and has included Meyerbeer, i > desirjng to complete the series mat Have Been Injured by Excessive Work in Their Childhood Henselt, Rossini, Reinecke, Xaver Scharwenka, Clara Schumann, Sinding. Subscribers making scrap b0°f c ihI to accommodate a few, as the supply is lim ceive extra copies by forwarding the price of a single copy (15c) to the publisherof THE ETUDE. It is only posstble to ac-omm By. LOUIS C. ELSON

EDVARD GRIEG. PABLO de SARASATE. WOLFGANG AMADEUS MOZART. (Greeg) [Editob's Note.—The place of the prodigy In musical have been had he not been so shamefully neglected by (Sarra-sah'teh) (Mo'tzart) *■*-*— ”"*• “ people imagine. _In a ^ music teacher—George Reuter. Although Beethoven Grieg was born June 15, 1843. at Ber¬ ,^„t issue of The Etude (December, 1908). Sarasate was born in Pampeluna, Mozart was born at Salzburg, Janu¬ Held Zeisler speaks in very strong terms against the custom composed a fairly good two-voiced fugue when he was Spain, March io, 1844, and died at Biar¬ ary 27, 1756, and died in Vienna, Decem¬ gen, Norway, where he died, Septem¬ of exploiting young and tainted children and causing them to make extensive and exhausting concert tours at an age eleven years old he cannot be ranked as an infant phe¬ ritz, September 21, 1908. At the age ber S, 1791- He received all his musi¬ ber 4, 1907. His first instructor was his mother, a highly gifted musician. when every effort should be made to conserve their health nomenon. The early development of Mozart had a of twelve he already possessed some cal instruction from his father, at that and strength for the real musical work of after years.. In deckled effect in making Beethoven’s childhood un¬ ' The influence of Ole Bull, the violinist, some instance the prodigy survives the strain of the excessive proficiency on the violin, and on Janu¬ tim$ Master of Court Music. His work of their childhood and becomes famous in his after happy, for his dissipated father had read, with envy and ary i, 1856, he entered the Conservatoire remarkable genius evinced itself early to whom the lad became passionately years ns have the two well known pianists Josef Hoffman attached, was responsible for his being and Ernest Schelllng. Mr. Schelltng has stated that he be¬ avarice, the accounts of the golden harvest reaped by of Paris as a violin student. He jn life, and he was allowed to take les¬ lieves that his career as a prodigy was Injurious In the Leopold Mozart in his concert tours with the young became a favorite pupil of Alard, under sons on the clavier during his fourth sent to Leipsic, 1858. He studied theory extreme and came very near making his later work impos¬ and composition under Reinecke, sible. Ills first appearance was as a child of four at the Mozart and his sister, Maria Anna, and determined to whose tutorship he gained the first yqg,r. At six he was already a com¬ Philadelphia Academy of Music and thereafter for several Hauptmann, Richter and Rietz, and pi¬ tfirn his son into a similar money-getter. The conse¬ prizes. He entered Reber’s harmony poser, and was taken by his father to years he played continually In this country and Europe quence was that there was furious instruction, but of a class, but relinquished that study in anoforte playing under Moscheles and until his health was wrecked. It has been commonly stated the court of Vienna, where he was that Josef Hoffman was upon the point of a similar break¬ desultory sort, and it is a marvel that the young lad Ernest Schelling order to take up his career as a virtuoso. hailed with delight. From thence, after Wendel. The Mendelssohnian influ¬ down when wise musical advisors insisted upon a long rest. \ykS not driven into a hatred for music by the injudi¬ at the age of a1A years, when he made his debut at His consummate skill and attractive a btjlliant month or two in Paris, he ences of the Conservatory were not Probably the most famous of all prodigies was Carl FUtsch. The boy was a Hungarian and a pupil of Chopin. He was cious means employed to force him into early develop¬ the Philadelphia Academy of Music. personality speedily won him distinc¬ was^ taken to London. His success was too well suited to his romantic spirit, so wonderful that all contemporary critics who heard him ment. Visitors of the family have left graphic tion in Paris and the French provinces, instantaneous, and he remained there and it was not till his return to Nor¬ were amazed. Of him Liszt is quoted ns saying, “When he starts playing I will shut up my shop.” Owing to over¬ accounts of the young Beethoven (a child of five or six brasses, not playing in the written key, caused the work and endeared him to the hearts of his for fifteen months. After further con¬ way that his true genius asserted it¬ work and excessive study the boy contracted tuberculosis to sound in two different keys at the same time. The fellow-countrymen. But Sarasate was tinental tours, father and son—and self. Here his friendship with Nor- and died at the age of fifteen. Many similar examples could years) sitting in tears at the keyboard of the spinet. be given and all point to the danger that almost invariably But no amount of spurring could force this healthy discord may be imagined. a nomad by instinct, and sought a daughter, for his sister was almost as - draak, a young Norwegian composer, attends the exploiting of the prodigy. Mr. Elson writes upon gen jus to a premature ripening. wider field. He played all over Europe remarkable a prodigy as Wolfgang— did much to imbue him with the na¬ the subject with his customary Insight grasp and ability FEW GREAT MUSICIANS PRODIGIES. and the article is one which nil thoughtful teachers and Schubert is probably the composer who brings us and in North and South America. He Were again in Salzburg. In 1769 tional spirit of Norway. Gade, to students should preserve.] nearest the fount of absolute inspiration. While Studying the above list carefully, we find that, with made a second visit to America in Mozart was taken to Italy, and here whom Grieg often went for advice, the exception of Liszt and Mozart, the tenderest child¬ 1889, in company with D’Albert. In all again good fortune attended him. At used to complain that his music was Away back in the tenth century there existed, at the Beethoven revised and altered, and changed and im¬ his wanderings he achieved brilliant Mi^an, when only fourteen, Mozart “too Norwegian,” which, of course de¬ court of Charles the Bold, king of France, a pipe- proved his original thoughts, Schubert almost always hood of the masters of music has not generally been rushed his first draft of his ideas to his publisher, without phenomenal. A love of music has been present (some¬ success. Flexibility of tone was his was commissioned to write an opera. lighted Grieg. The sympathetic ap¬ organ. If was a very different instrument from the chief characteristic, and, while not lack¬ After four years, a return was made to preciation of Liszt, whom he twice church organ of to-day. Its keyboard did not extend change. He was the nearest to what is called “a natural times not even that) and sometimes a degree of ambi¬ to two octaves, and each key was about five inches ing in the warmth and fire his Spanish Sllzburg, and from this time on Mozart visited in Rome, and the growing ap- musician” that can be found among the great masters. tion, but it was in the years of adolescence that the blood warranted, he will always be was unlucky. A second visit to Paris j, preciation of the outside world con¬ broad and six or seven inches long. Each key had to be Yet it may give food for thought when we find that real worth of the musical gift began to reveal itself. remembered as the chief exponent of proved a failure, but “Idomeneo,” an vinced him that he was right. A suc¬ pressed down about a dozen inches be¬ Sometimes, indeed, the greatest triumphs liquid melody. As a composer for the fore the pipe would speak. The player Optra produced in Munich in 1781, was cessful performance of his A Minor and masterpieces were reserved for old violin, he wrote much that was well pushed it down with his clenched fist. successful. The following year he was * Piano Concerto at a Gcwandhaus con¬ age. Haydn’s best symphonies came calculated to display his ability. His Yet this cumbrous organ was played with in Vienna, where he married. At this cert, under his direction in Leipsic, after sixty, Handel’s great oratorios four books of Spanish dances are considerable effect by a youngster of time he formed a great friendship with 1879, and his concert tours firmly es¬ after fifty, Verdi’s chief masterpieces among the most popular violin solos in nine years old, whose fingering, or rather H#ydn. In 1786 “The Marriage of tablished him as a composer. As a still later. A musical refutation of the existence. Sarasate possessed two Figaro” was produced, and a year later “fisting,” was the wonder of the court. composer of larger works he is best dictum of Doctor Osier. Stradivari violins, one of which, dated This is the earliest “musical prodigy” of “Don Giovanni.” Ill-health and mis¬ known perhaps by the incidental music It may be noticed also with musical 1724. was presented to him by Queen fortune were breaking him down, but which there is any historical record. prodigies that sometimes the early Isabella of Spain. to Isben’s “Peer Gynt,” from which nothing of it is shown in “The Magic Since that time, however, there has promise was not entirely kept. Mendels¬ (The Etude Gallery.) Flute,” 1790. (The Etude Gallery.) the familiar suite is derived. (The Etude Gallery.) been a long procession of precocious sohn at seventeen was greater than any juveniles who have astounded the world master had been at that age; but Men¬ with their early musical efforts. In this delssohn at thirty-five was not the equal PIETRO MASCAGNI. connection, it * is interesting to pass of the great tonal masters at the same TERESA CARRENO. (Mas-kahn-ye.) DUDLEY BUCK. rapidly in review the childhood of some epoch of life. (Ka-ray-nyo) Dudley Buck was born of good New Mascagni was born at Leghorn, of the great composers. Not all of them The promise of very early develop¬ Mme. Carreno was born in Caracas, December 7, 1863. Originally intended England stock at Hartford, Conn., developed early; some of them were by ment is far more often broken. Every¬ Venezuela, December 22, 1853, and re¬ MINUET COMPOSED for the law, he studied music unknown March 10, 1839. He was originally no means musical prodigies. Schumann one who has ,been closely connected with ceived her first music lessons from her to his father at the Instituto Luigi intended for a commercial career, but a and Wagner, for example, were more our art for any length of time may recall father, at one time a Minister of Fi¬ even he was not a child prodigy. He wrote wonder¬ Cherubini under Alfredo Soffredini. His flute and a book on thorough-bass prominent in early literary endeavors than in musi¬ instances of children of wonderful musical attain¬ nance. Quite early, however, she was fully in his youth, but his childhood, while it showed father’s discovery would have put a proved his undoing. At sixteen he cal production. ments, who became only routine musicians in later brought to New York, where she stud¬ much intuition in musical study, was not of a char¬ stop to this but for the intervention of owned a piano, a rare asset in those Bach was thoroughly musical in his childhood, yet years. Maurice Dengremont burst upon the violin ied under L. M. Gottschalk. She also acter to astonish the world. an uncle with whom the lad went to days. A few lessons enabled him to not phenomenal, for his brother, a good organist, was world, years ago, as a star of the first magnitude— live. Some small successes with his studied in Europe under Mathias, and take a church position. At the age of obliged to withhold certain advanced compositions Rubinstein. Her first public appearance LISZT’S YOUTHFUL ATTAINMENTS. a child wonder. But he grew smaller as he grew compositions led to reconciliation with nineteen he succeeded in persuading his from him in his younger years. The keen desire of larger and finally his skill at billiards overtopped his father, and he returned home on was . made at the age of nine at a parents to permit him to take up the the lad to play them led him to surreptitiously:copy Franz Liszt may be accorded a high rank in the list chanty concert at the Academy of his brilliancy as a musician. the death of his uncle, and was allowed study of music definitely. He went to them by moonlight, for he had not a candle in his of prodigies. That he was able to astonish Beethoven Brahms, whose entire career was the reverse of a Music in New York. She subsequently room, and thus lay the foundation for subsequent to continue his studies in peace. Count Leipsic studying at the Conservatory, (who detested prodigies) by his piano performance as child prodigy, is a good example of what we mean. It toured the States. Later she gave up blindness. A good proof of ambition, although con¬ de Larderal, a wealthy amateur, im¬ under Hauptmann, Richter and Rietz, a child proves very much, although the frequently-told was not a bit less wonderful for him, a youth, to trans¬ pressed with a setting of a transla¬ piano playing for a time and adopted veying the suggestion that Bach was not a “prodigy.” a t!fory’ and for P‘ano under Plaidy tale of the master giving the child a kiss and predicting pose the piano part of the Kreutzer Sonata (accom¬ tion of Schiller’s “Ode to Joy,” paid the opera stage. Her first appearance The brother has been roundly abused by most musi¬ and Moscheles. After three years in that he would grow up to make the world understand panying Remenyi) from memory, or to bring noble his expenses at the Conservatory at in this capacity was made in the part cal historians, but probably was judicious enough TWwuy’ he Spent a ycar in *Paris- Beethoven is very apocryphal. Certain it is that Liszt sonatas which sounded like “veiled symphonies” to Milan. Mascagni, however, found the of,™e Q«een ^ “Les Huguenots,” Buck then returned to Hartford, where in his action. which she took up at four days’ notice at thirteen years of age was able to astound Paris and Schumann, than it would have been to have excited a routine irksome, took French leave of he established himself as a teacher and Handel, although much is made of his studying the to oblige Mapleson. In 1875 she be¬ went from conquest to conquest from that early begin¬ gaping public by imitating great things without under¬ his professors, and became the con¬ rgamst. Fifteen years of concert- spinet in secret, and of his astonishing the Duke of came a member of a company under the ning. standing them, ten years earlier. ductor of a traveling Opera Company. organ recitals followed. In 1869 he Saxe-Weissenfels by his playing at seven years of age, From then on he led a wandering life direction of Maurice Strakosch. The It has been recently discovered that Chopin com¬ does not enter the ranks of actual prodigies. THE NEW PRODIGY. of obscurity and poverty. He at last company included Brignoli and Taeli- If™ >t0 9hicago as organist at St. posed a polonaise at nine years of age. The work, how¬ married and settled down at Cerig- apietra. The latter subsequently be- Si ’• .l 4st many vaIuable manii- THE MOST REMARKABLE PRODIGY. ever, shows no very remarkable signs of genius, and it It will be noticed also that the tendency to-day is nola, near Foggia, where he earned a fr?mMrM CSband aTfter her reparation Bosfntm The oFe' He then removed to may be remembered that in his days of younger child¬ to avoid startling exhibitions of precocity. There is . . ' In lg75 he acted as assistant Mozart, however, has always been considered the precarious livelihood by teaching piano, hood Chopin had a dislike for the piano. always a great temptation to exhibit a wonder-child, but EugeneZu nJD Albert,A1KUr fromr In 1892whom &he she married part¬ Theodore Thomas at the most remarkable of early geniuses. From his very and managing the municipal school of Mendelssohn was not a child prodigy, although he that exhibition almost always works harm to the true music. A prize competition, instituted ed three years afterwards. While tour the W Ml'Sic Festival and a's° a‘ infancy he was either attracted or repelled by musical was certainly a musical wonder in his youth. There is development of the highest artistic ideal. The best by the publisher, Sonzogno, in 1889 Z)VeMZUeIar-With T^iapietra’s com¬ Park N SevCS ,°f COncerts in Central sounds. He loved the spinet and when a mere babe teachers to-day hold back their pupils until they are was won by Mascagni with "Cavalleria pany, Mme Carreno directed the per¬ hnml’ *ew Jork- Mr. Buck made his sought to strike consonances upon it. The trumpet, on no composer in the entire list of great tone masters Rusticana.” The work was produced formances for three weeks, during a ortranist" .B£°°klyn’ where he was the other hand, filled him with terror, and he ran away who at the age of seventeen produced such master¬ artists—which no child can entirely be. Among the m Rome, 1890, and the composer at quarrel between the regular conductor conduct .H,°ly Trinity Church, and screaming with fright if it was sounded in his presence pieces as Mendelssohn’s Octette for strings, or his musical wonders of the present we find a Mischa once became famous. Honors were and the singers. In 1889, however, she he r^at * le ^P°H° Club. In 1903 during his childhood. Probably Mozart was the “Midsummer-Night’s Dream” overture. One can cite Elman, of seventeen years of age, a Germaine Arnaud, showered upon him, and the King of resumed the- concert stage, and ap¬ Munich^ a"d has since lived in youngest of all composers, for he created his first com¬ many works composed by the great masters in their of the same age, but the young phenomenon who has Italy presented him with the Order of peared as a pianist. From that time a I!!’ Dresden and Brooklyn. As position when he was but five years old. The above youth, but never a well-rounded composition that over¬ to be lifted upon the piano stool and whose feet can¬ the Crown of Italy. Other operas fol¬ sh" ha™6 Steafn^ increased, until now success ferr has Written with 8reat was this earliest work. tops or equals their later endeavors, as was done in the not reach the pedals, is fortunately absent. This is a far she has come to be regarded as unques¬ lowed, but none have achieved great duced the orchestra, has pro¬ He had played spinet music even when he was four case of these two “Mendelssohnian numbers. more normal state of things. A youth who has been SUCCeSS. (The Etude Gallery.) tionably among the front rank of the of admir m cabtatas> and a great deal years of age. The concert tours which he made in his Ambition over-vaulting itself is sometimes found in pianists of to-day. (The Etude Galler carefully trained from childhood, in music, who has the W CJ]Urch music- ^ ^ by childhood are well known to all students of musical the childhood of the great masters. The child Dvorak history. avoided the conceit which often comes from premature r™«mLrPeT,blV- ,h" writing a polka for orchestra, before studying instru¬ public triumphs, may be a well-poised artist at seven¬ Haydn was not a wonder-child although he might mentation, is a case in point. The result was that the teen or eighteen. 1

THE ETUDE 236 THE ETUDE that the least interesting comes first, in order that When the young Hofmann was taken from the field En? thoroughly tasted all the joys and sorrows of the interest may be sustained to the end. of his juvenile triumphs in piano-playing, in improvisa¬ Parisian Bohemian life he became at one bound most , 8. Do not repeat difficult passages innumerable tion, in composition, all the world thought that a second celebrated in the World’s Exposition of. 1900. Bales¬ TEN PRACTICE RULES times in succession. After having worked over them Mozart was to come. He was taken from the concert trieri’s large picture “Beethoven’s Kreutzer Sonata,” The following Sets of Rules have been compiled by some of the most distinguished pianists and a reasonable amount of time, lay the piece aside and commonly known as “Beethoven,” which through platform and began an earnest course of study in the Teachers in America. This valuable symposium will be continued in the May issue. Among the proceed to something else. highest branches. He has became famous; he is a Photography and various reproductions has become contributors will be J, de Zielinski, W. H. Sherwood, Amy Fay, A. Lambert, Emil Liebling 9. In the interpretation of a composition, first of great musician; but he is certainly not as phenomenal widely known, received in the Italian section the most all determine the “ground mood,” then gradually as he was at eight years of age. favorable place, where it could not possibly be over¬ and Leopold Winkler. work out the minor details. Richard Strauss is another example of the later looked Thanks to this circumstance, the unknown 10. Besides practicing the' regular lesson, do an¬ prodigy. He had, to be sure, played piano from his painter and his work became known in a short time. alyzing, memorizing, sight reading and reviewing. fourth year, he had composed a “Schneider Polka" and Etude readers receive this notable work as a supple¬ MRS. FANNIE BLOOMFIELD-&EISLER. any of these qualities to a later date they are much a Christmas song at six, but he went steadily on, until ment to this issue of The Etude. more difficult' to acquire. sixteen, with a solid classical education in music. At Judged from an artistic standpoint, the “Beethoven" (Renowned virtuoso and teacher. Pupil of Leschetlzky.) 9. Always listen while you are playing. Music is eighteen Professor Giehrl said of him that his knowl¬ picture is a work which credits the artist with creative intended to be heard. If you dp not listen to your It is not possible to formulate ten all-compre¬ edge of musical forms was something “gerade zu Ver- powers of a high order. Even without these romantic own playing it is very probable that other people blueffendes”—"altogether too staggering"—for the and sentimental personages, the picture would alone hensive rules that could be applied in every case, but the following suggestions will be found valuable will not care to listen to it either. musicians who knew him. So that his prodigyship came fascinate one by its inspiration, the harmony of lines, 10. Never attempt to play anything in public that in youth and not in childhood. to many students: colors, light and shade. That artistic Paris appreci¬ you have just finished studying. When ■ you are 1. Concentrate during ates his real talent is proved by the fact that three times through working upon a piece, put it away to be THE PRODIGY SHOULD NOT BE EXPLOITED. every second of your prac¬ he has been particularly honored at the Expositions. musically digested, then after some time repeat the (Pianist, teacher, conductor and organizer of Important tice. To concentrate means It is the prodigy who is kept longest in the traces Moreover, several museums of Paris, Italy and Ger¬ same process, and again the third time, when your musical societies. Pupil of Jaell and Liszt.) to bring all your thinking who wins the greatest and the most lasting results. many have acquired his paintings. piece will have become a part of yourself. This is the lesson that we can glean from even such an powers to bear upon one I’ll not give you ten rules, but here are three: Considering that Balestrieri was twenty-seven years Make sure that the piano seat is a firm, stout chair, outline sketch of the history of musical prodigies as is old when he painted his “Beethoven,” and that he stands central point with the great¬ est possible intensity. With- as firm and steady as the pianoforte itself, and it presented in this paper. The fugue that Beethoven to-day in all the freshness and vigor of his creative o u t such concentration should have a straight wrote at eleven, the quartette for strings that Strauss period, one may hope that he has not yet reached the wrote at seventeen, the fughettas that Weber published nothing can be accom¬ back that the player may zenith of his artistic powers. when he was under twelve years of age, are land¬ plished during the practice lean against when not play¬ marks in the development of the suppressed prodigy period. One hour of con¬ FRANCIS L. YORK. ing. The movable, rickety into a real master. centrated thinking is worth (Teacher, w and director of a large Music School.) things called pianoforte The public will always shower its wildest enthusias- MUSICAL MEMORIZING AND A GOOD EAR weeks of thoughtless prac¬ seats and stools are a men¬ 1. Have a regular : for practice and let noth- ism upon the abnormal; an almost impossible high note tice. It is safe to say that ace to the health and al¬ ing interfere with it. from the throat of a soprano or a tenor, a series of BY H. FISHER. years are being wasted by together obnoxious. superhuman skips upon the violin, a display df 'unex¬ 2. Take a good firm, free position at the piano, students in this country Be sure that more light pected virtuosity from a child-pianist, will always create There are some students to whom the memoriz¬ _ who fail to get the most one in which the pedals a greater furore than a r.tusicianly and masterly per¬ Bloohfield-Zeislee out 0f their practice be¬ can be reached by the feet, shines on the music page ing of the music presents little or no difficulty, than on the player’s eyes. formance or composition by a "grownup.” .Time, how¬ and they are said to have a “good ear” for music. cause . they do. not know how to concentrate. A and the whole extent of the Keep constantly in mind ever, takes its revenge; the phenomenon lasts but for a They are frequently, very unsatisfactory as pupils. famous thinker has said: “The evidence of superior keyboard by the hands little while, but the artist stays permanently; the aston¬ the fact that training the Their ear is so keen that they become impatient genius is the power of intellectual concentration.” without effort or loss of ishment diminishes by degrees, the more earnest revela¬ fingers is easier than train¬ of the drudgery of painstaking practice. If they can 2. Divide ycur practice time into periods of not equilibrium. tion grows continually. The twentieth century seems persuade anybody to play over their new piece they more than two hours. You will find .it impossible to 3. Practice systematical¬ ing the senses, i. e., that to be emancipating itself from the reign of the juvenile are delighted. Without any further trouble on' their qqncentrate properly if you attempt to practice more ly, taking technique, the former is only a means prodigy, not so much because of a change of public studies, pieces, etc., in a ual side of the nature has caught up with the emotional own part, they can reproduce the salient features than two hours at a time. Do not have an arbitrary heart as because of increased wisdom on the part of definite order. and then give to the world, not a child prodigy, but a of the music in a manner most surprising program of practice work, for this course is liable parents and teachers. 4. Relax all the muscles worker and a master in the field of true art. to those who are most familiar with this phenome¬ to make your; work monotonous. For one who prac¬ It may be fitting to end this sketch with a few words except those necessarily in as regards the tests to determine the presence of a truly non, but the critical and trained observation of the tices four hours (and that is enough for almost any musical nature in the very young. It is not in the mere teacher easily discovers their performance is slovenly student), one hour for purely technical work, one and unfinished. hour for Bach, and two hours for pieces, is to be 5. Concentrate the mind loving of tunes, for that fondness for melody is more "BEETHOVEN’S KREUTZER SONATA” on the exact thing to be The author, when asked to play over the new piece recommended. widely spread about than many imagine. Every done and to that, end prac¬ by such a pupil has frequently replied, “When you 3. In commencing your practice, play over your peasant child in Hungary and Bohemia has it, every Balestrieri’s Famous Painting Described. tice but one thing at a time, have tried to work it out yourself, and have got to piece once or twice before beginning to memorize. Gypsy infant seems to exhibit it, and many children in i. e., fingering, legato. playjt fairly well, I shall be pleased to play it for Then, after working through the entire composition, all nations possess this much of musical faculty. BY EDITH L. WINN. melody, etc.' i you.” Such trying over may be very beneficial to a pick out the more difficult passages for special at¬ 6. Practice slowly forever, but at rare intervals play pupil who is blessed with a good ear, especially in the tention and reiteration. E. R. KROEGER. When summing up the success of this young Italian the composition as if for an audience. directions of style and expression, if it is treated who has won such fame in Paris, the art centre of the 4. Always practice slowly at first. This is simply 7j Always practice rhythmically, with strongly (Teacher, composer, 1 r and writer.) as supplementary to the pupil’s own exertions. Af¬ another way of telling the pupil to concentrate. whole world, one cannot escape the thought that the marked accent. It may safely be said that the reason why so many style of painting so much condemned and ridiculed by ter the above disparaging remarks, it is only fair Even after you have played your piece at the re¬ 8. Have a' perfectly clear mental impression of pianoforte students achieve so little is that they the art critics has taken its revenge—I mean the anec¬ to say that the ideal pupil is one who has a fine quired speed and with reasonable confidence that it the work to:be done. practice incorrectly. Wasted time brings poor re¬ dote, or the “story-telling” picture, so' much reviled ear, and a quick retentive memory, if these are ac¬ is correct never fail to go back now and then and 9. Try always to make a good, firm, musical tone, sults. There is too little Nothing has been so cruelly ridiculed and condemned companied with the painstaking accuracy of the true play it at the speed at which you learned it. This free from either harshness or flabbiness. concentration given to the as the anecdote. It has made no 4iffCrence in what is a practice which many virtuosos follow. Pieces 10. Practice musically, not mechanically. Mere mastery of the work in sphere of life the anecdote moved—if historical, as by that they have played time and time again before repetition is not practice. Delaroches and Piloty, it was thrown disdainfully aside to a student who has great facility in memorizin enthusiastic audiences are re-studied by playing them hand. The brain is hardly- with as much impatience as the Tyrolekn stories of is: Constantly revise your work, looking out ft very slowly. This is the only real way to undo mis¬ used and the fingers move Defregger, the Lower Rhenish tales of Vautiers, or the minute errors, try to control your repugnance I takes that are bound to creep into one’s perform¬ in a desultory way on the Iundts of Elsass. A picture is neither good ndr bad the dry details of musical theory, and above all, r ance when pieces are constantly played in a rapid keys. The following rules, because it tells you a story. Of that repeated proofs member that a facile musical memory is a “goc tempo. if carefully carried out, will have been given by the Italian master, Lionello Bale- servant, but a bad master.” 5] Do not attempt to practice your whole pieqe lead to successful results, at first. Take a small section or even a phrase. If even though the student ■ mu i.y-live years oia,. was born j you take a longer section than say sixteen bars, you will JOHN J. HATTSTAEDT. lack talent: Sienna, and became a pupil of the Art School of Naple find it difficult to avoid mistakes. Of course, when (Teacher and director of a large American music school.) 1. Always practice new studying under Domenico Morelli. Later on he ded the piece is mastered you should have all these sec- material with separate 1. Practice with repose. Never allow yourself to cated to the memory of that master a painting tender] majority of pianists arc not sufficiently e tibns so unified so that you can play the entire com¬ hands, no matter how easy be hurried on account of lack of time. preserved in the celebrated artist’s studio, represent™ ture Tt -We- lnformed in other departments of < position smoothly and without a break. the passage; never take 2. Observe every single note, play slow, distinct, the last moments of Morrelli. His course .of study con well inf 13 :mpe?t,ve nowadays for a pianist to 6. First memorize mentally the section you have se¬ up new work with both pleted, the young artist was strongly-drawn to th well-informed and interested in matters outside lected for study, and then practice it. If you do hands together until each norous and musical. E. R. Kroeger Metropolis of art—Paris, which is to-day more tha of Daintinir Sh°V d knOW sometl'ing of the allied i not know it well enough to practice it from memory, hand masters its part. The 3. Concentrate, think, ob¬ even in .the eighteenth century the center of Europe teacher cl?’ *jUlPture’ poetry and dramatic art. 1 you have not grasped its musical content, but are number of times neces¬ artistic tvorld. Although it is extremely difficult t serve, pause and reflect. sary depends upon the difficulties involved. Cer¬ FUGHETTA COMPOSED BY WEBER WHEN A BOY. ual alonl U l therefore aim at training the intelle playing mechanically. push your way to the front in Paris, just because it Do not let your mind tainly not less than six; often twenty, forty, sixty Classic lberW! h th,C emotional- The reading of 7; Occasionally memorize backwards, that is, take the center Of a great number of artists, it is possibl wander, even when prac¬ times or more are essential to cover the ground in Even absolute pitch does not mean as much in this never d iera Urt’ the IearninS of foreign langna the last few measures and learn them thoroughly, for the once-recognized and acknowledged artist i ticing finger exercises. a satisfactory manner. connection as many suppose, for the present writer has any harm to a Pianist! All these Thi then take the preceding measures and continue in Paris to wm applause and fame from the whole world make him a cosmopolitan. 4. Practice in the morn¬ 2. No matter how fast the tempo indicated, always found this sure Identification of. tolled,, Ca species of this way until the whole is mastered. Even after so it comes to pass that every year thousands of Spar ing, if possible. Do not practice slowly at first. Each finger should be care¬ musical memory) absent from some highly gifted finer hrea^L elSj’ let Us aim at musical culture—"! you have played the piece many times, this process ish, Italian, American, and also German and Entrlb practice when physically fully raised and lowered in order to drill distances musical natures and present in some musical medioc- ann, a‘h and sP>rit of musical knowledge” (,w often compels a concentration that is beneficial. artists, crowd along the banks of the Seine, all trvin or mentally exhausted. between the intervals. The brain thus receives dis¬ or° theref t0 Matthew Arnold), Let piano instru 8. When studying, remember that practice is to wm their spurs. The Germans and English usual] 5. Divide and sub-divide. tinct impressions of individual notes instead of con¬ It is rather in the preference of harmony to simple to infu=e and ^ f°r?et the object of their callinj simply a means of cultivating habits. If you play return home after a year or two, very few ofThe Do a great deal of one fused impressions of notes in groups. melody; in the enjoyment of a contrapuntal structure; enthusiast d dlsseJT1,nate musical interest, love 2 correctly from the start you will form good habits; lingering in Paris, while the Spaniards and Italian hand practice. * 3. The above rules are sometimes carried out, but in the appreciation of the effects of dissonance in a physical atf -t?6* tbem discover the mental 2 if you play carelessly and faultily your playing will also a large number of Americans, delight in extend? 6. Do not practice too are rendered, ineffective by not practicing small pas¬ musical work; it is in tests such as these that the very latent nnw nbutes of their pupils, call into life 1 grow continually worse. Consequently, play so their stay, finally settling there indefinhely hav n long at one time. Divide sages at a time. Frequently a student states with young musician must be sought. And when he is found their second home. y navin to what th/Sl?f SOUl’ enabIe thcm to give express: slowly and correctly from the start that you may the practice time into pride, that he has done one line each hand separately found let all thought of display, public or private, be put say musical? have~f°r everybody has something insure the right fingering, phrasing, tone, touch To that ,class °* foreigners who have become s Joan J. Hattstasot smaller periods .not ex¬ ten times. He fails to realize that that is too much. out of sight. Train the divine gift until the intellect- give to thlffi eLenyb°dy has mdidivunlity. Let th (staccato, legato, portamento, etc.), pedaling and thoroughly immured in Paris as never to think of re ceeding an hour each. For example: take the first Etude of Heller’s opus them. r fel ow men whatever they have dynamic effects. If you postpone the attainment of 7. Arrange order of practice in such a manner 46- The majority of students are prone to take the 239 238 THE ETUDE THE ETUDE SOME AIDS TO MEMORIZING. The technical exercises should be of two kinds—one first right-hand passage for the entire two measures, your precious sixty—to purely mechanical work on kind for velocity, endurance and strength in general, BY ALEXANDER HENNEMAN. and go over it several times. Now, accurate drilling an Etude. besides covering the special weakness of the individual can only be had when the passage is taken in groups When it comes to repertoire, your time is so pupil, and should include scales and arpeggios for a of five notes: the first four and one more to make To try to memorize a composition by merely playing limited that the most general rules are all that goodly part of time daily. The second group of the connection; the second four and one more, and it over from cover to cover is a waste of time, and you need—and yet, if you will absolutely observe technical exercises should be for tone production, and so on until the entire run is mastered. In more them your progress will be steady, though neces¬ never leads to safe and positive results. The har¬ this is a subject much less understood than the other. difficult work, such as Chopin’s Etude in C sharp sarily slow. monic and melodic structure of the composition minor, opus to, number four, the same process Exceedingly slow forms of exercises in which listening should be understood; running arpeggios reduced Practice a small section at a time, and devote plays the major part are absolutely essential, and ii should be carried out. A scale passage should not much time to each hand alone, thoroughly master to simple chords; solid chords changed into arpeg¬ be interrupted, so the first figure in Czerny’s your present teacher does not know any system cover¬ the reading, counting and fingering as you go ing these, you hdd better get another teacher. gio forms. Velocity Study No. i should be practiced as a whole. along and do not touch the next passage until you The different harmonies should be played one Last of all, the daily study of Etudes and pieces. The first of the Clementi-Tausig “Gradus ad Par- have finally and fully decided all the questions of INTERVALS. There are five varieties of intervals, the major, the after the other not as they appear in their figura¬ Mason says “Etudes are pieces constructed to illustrate nassum” should be practiced nine notes at a time, touch and phrasing. perfect, the minor, the augmented and the dimin¬ tion and rhythm, but divested of everything and keyboard difficulties” and they should be practiced The study of music theory acquaints the student with adding constantly until completed. Always make’ Do not waste time by reading the whole piece ished; and each is to be learned independently. Let produced in primal chord forms. largely in a mechanical way, i. e., with a variety of the connection with the first note of the new group. through at a speed which entails stumbling in any that body of law by observing which the composer us begin with the major intervals. In a major interval When the composition is sufficiently mastered for In this way hesitation and uncertainty will be of these essential details—but, go so slowly, and study touches and accents, and, for a major portion of the is enabled to give concrete expression to his ideas. the upper tone is in the major scale of the lower tone. the pupil to play from memory, the next step is to avoided. In the third of the “Gradus” a group of time, at an excessively’slow rate of movement. one section so persistently that you master diffi¬ A classic composition (for instance, a movement With this rule alone the student can separate all four notes and one more should be practiced. In culties absolutely as you go along. Pieces, as differentiated from Etudes, have “signifi¬ from a Mozart sonata) may be analyzed on its PLANT “MILESTONES.” the twenty-first, a group of six notes and one more intervals into two classes:- (1) those that are major If, however, you are a student of another class, cance and beauty,” and not only should they be prac¬ technical side for the application of the laws of is to be taken. In polyphonic compositions such (2) those that are not major. Study of the follow¬ Have the pupil begin the introduction, playing i. c., if you devote practically all of your time to ticed first from the Etude standpoint, and in all the de¬ harmony, melody, form and counterpoint. Without as Bach’s "Inventions” and “Preludes and Fugues” ing will show us that to name these intervals cor¬ only a few measures, then the beginning of the com¬ music study, then indeed is it possible to give you tail indicated in the first rules given in this article, but accurate and exhaustive study of these subjects no the larger part of the time may be given to the rectly we must know the major scales of c f eb g b d position, playing just enough measures to prove that ten rules—and in fact one might multiply by ten, they should be studied as well from the purely musical one can comprehend fully the meaning of the com¬ joining of the two hands, but only after each hand for each of these tones is in turn the lower .tone of he knows the melody, harmony, time and rhythm. and still have advice to spare. standpoint, and no one composition should ever be aban¬ poser We may grasp the beauty of the idea more has mastered its part. the interval and is taken as the basis of measure- Usually up to four measures suffices to prove this. The first three of the rules will not be strictly doned until it has been mastered in every possible way. or less intuitively, but even this fleeting and in¬ 4- When taking up something new it is advisable Continue twelve or sixteen bars further on and so pianistic, but nonc-the-less necessary, however. tangible quality of a composer’s work is rendered to use a clear, firm touch at first. Afterward, the proceed in this manner to the end of the piece. more concrete by an intimate knowledge of the man¬ indicated dynamic marks may be followed. It is x. Take care of your health. You cannot be a good When this is possible, commence measures at hap¬ ner in which he proceeds to give “body and expres¬ recommended that scales and arpeggios be practiced pianist unless you have strength and vitality. There¬ hazard anywhere in the composition, skipping about with varying degrees of light and shade in order fore learn to conserve and build these. sion” to his thought. at random, the pupil taking them up, playing enough to make them more interesting than is the case Find out necessary and available relaxations and Two lines of study give the student a degree of bars to prove that he can start at that place and PERLEE V. JERVIS. mastery in the subject of music theory: (i) music when they are practiced with one touch throughout. use them carefully as relaxations—never dissipate. go on. If a slip occurs the error is found and itself, which is the living embodiment of the laws 5. Never use the pedal until the technical diffi¬ Observe hygiene carefully, and, though it may be (Pianist and teacher. Pupil of Dr. William Mason.) corrected, and the work goes on as before. underlying the language of the art, (2) text-books, Analysis: First determine the number-name of culties are conquered. Then use it sparingly. It possible for you to practice many hours a day, Hugo Oik the concert-master of the St. Louis avoid doing too much consecutively. Intersperse i. Practice regularly. Ten grains of medicine taken which serve as a guide, which point the way and each: (1) a sixth, (2) a third, (3) a seventh, (4) a is a singular but true statement to make, that there Symphony Society has an excellent plan for train¬ your half hours of practice with a few minutes of t once will not effect a cure as quickly as if divided make easy the steps in the development. A few is not a European edition of standard music with sixth, (5) a third, (6) a seventh. Next we must dis¬ ing control and concentration. After being able mental relaxation or exercise or reading. nto ten doses of one grain each, given every two of the first principles will be taken up in this series the proper pedal indications. Indeed, most pedal cover the specific name of each interval. This is to play a composition from memory without becom¬ 2. Keep up your general education. Read, good hours. Just so with practice: of articles in the intention to show that some es¬ notation is as it should not be. Some American done as follows: Of the first interval C up to A ing distracted he voluntarily distracts himself while books, attend good plays, hear good sermons, visit art do not expect progress if you sential principles are easy to learn and may be con¬ editions are correctly notated, but even they, are but we inquire if the upper tone A is in the major scale playing it. Going about the room from object to few>. When the pedal plays so important a part in galleries. Learn to be broad. Rest assured, that good practice fifteen minutes one stantly applied. of the lower tone C. A is the sixth degree, we find, day, nothing the next, and object he says, “this is a chair, this is a carpet, here sustaining and in “color effects,” it is strange that pianists are more than piano-players. They are familiar of the major scale from C; hence this interval is a with art and literature also. three hours the third day to INTERVALS IN MUSIC. is a book, here is another book,” and so on, at the editors of international reputation care little or major sixth. same time playing his piece from memory. This 3. Hear good music continually. Count the. day make up. nothing about accurate pedal markings. They are The interval is expressed in melody, horizontally Of the second interval F up to A we inquire if assures concentration and control, paradoxical as lost unless you can hear some other music than your 2. Systematically. Divide particular enough about phrasing and fingering, but from tone to tone; in harmony, vertically from the the upper tone A is in the major scale of the lower it may seem; for in reality he is bringing in dis¬ a pianist may phrase correctly with his hands and own. Study Opera, Oratorio, Orchestra. Listen, to the practice hour into periods, lowest tone to the chord tones above, in order. The tone F. We find that A is the 3rd degree of the turbing thoughts yet training himself for the con¬ spoil it altogether by incorrect pedal phrasing. A Song Recitals, Violin Playing and Chorus Work. so much time for technical essential facts to be learned about intervals are: major scale of F; hence this interval is a major cert stage, where one never knows what dis¬ teacher should take the utmost pains to explain to Piano playing to be thoroughly good must have in it work, so much for the new (1) their names, (2) what intervals are most gen¬ third. turbances may arise from the audience or within a student the points of correct pedaling, and, if some hint of every other kind of music. piece, so much for review, erally employed in melody, (3) what intervals Of this third interval Eb up to D we inquire if one's own mind to upset the memory. necessary, give him for careful study one of the It has been my habit to tell classes in pedagogy that are employed in harmony. In this chapter we will the upper tone D is in the major scale of Eb. It is, I have adopted a similar plan for pianists. Plac¬ few “Pedal Methods" which are now published. they must always remember that music study is three¬ 3- Intelligently. Learn discuss the first of these, and explain how intervals fold, i. e., Musical, Theoretical and Technical. Every from your teacher what you hence this interval is a major seventh. ing a title page of some composition before them, are named. . . Of the fourth interval G up to Eb we inquire if I have them read the words that are printed in large lesson has something of each of these in it. are to do, the reason for it, The expression major seventh, for instance, indi¬ the upper tone Eb is in the major scale of the lower type. They speak one word at a time, and are not With this in view, I should give as my next rule: and how to do it; often prac¬ cates that the interval has two names: (1) major, tone G. We find that it is not. E (not Eb) is the forced in any way to read a word until ready. This 4. Spend some time each day, or at least three tice counts for naught be¬ and (2) seventh. This is true of all intervals. The sixth degree of the major scale from G. Hence I sometimes vary by asking questions which can be times a week^ in ear-training. The ways of doing this cause lacking in these essen¬ first name major is called the variety,, kind or this interval is not major. answered by “yes” or “no.” After such a severe are many. You must find the way best suited to your¬ tials. m specific name. The second is called the numerical Of the fifth interval B up to D we inquire if the training it becomes easy to keep the mind on the self. 4. Carefully. Practice that includes mistakes i< name. Hence, of all intervals we must learn: (1) upper tone D is in the major scale of the lower tone composition alone when before the public. I have found that so many good pianists are poor worthless, as in so far as it establishes a habit it how to name them specifically, (2) how to name B. We find that the 3rd degree of the major scale I find that all this interests the pupils for they readers. In fact, they are so thoroughly justified in is one of falsity. Name aloud each note, the linger them numerically. from B is D# not D. Hence this interval is not see definite results and gain an assurance over them¬ being such if only the purely pianistic study is taken that is to play it, and the touch to be used: then, Both processes underlying the correct acquire¬ selves and control of the work in hand that is into consideration, that I should say next: and not till then, play it; “be sure you’re right, then ment of this knowledge are simple. We will take major. CHARLES E. WATT. Of the sixth interval Db up to C we inquire if thoroughly satisfying and interesting. Public ap¬ 5. Spend some fifteen minutes to one hour each day go ahead;” do this always and you will never make up first the subject of numerical names. As a rule mistakes. the upper tone C is in the major scale of the lower pearance has few terrors after such a training, and (Teacher, pianist, lecturer and editor.) m sight reading. If you can read with some one else intervals extend from the prime to the ninth. Hence tone Db. We find that C is the seventh degree of the repertoire so gained ‘'sticks.” and thus become proficient in ensemble at the same 5. Slowly. Hands separate, then hands together; you we have varieties of the prime, the 2d, the 3d, the , ^ am Asked to frame ten rules for governing prac¬ time you will do well. the major scale from Db. Hence this interval is a can secure perfect control of finger, wrist and arm in 4th, the 5th, the 6th, the 7th, the 8th, and the 9th. tice, but find myself at the necessity of giving con¬ At all stages of the musical progress a student is no other way. major seventh. siderable explanation, if my rules are to count for As an interval consists of two tones, a lower and so apt to be without anything that he is ready to 6. Thoughtfully. In the best practice mental action an upper tone, the rule for ascertaining the numeri¬ Apply this rule to the following intervals, and to a any real service. large number of your own writing, and to many THE VALUE OF VARIETY. play, being so engrossed with his “new work” that always precedes muscular action; thinking a play- cal name is simple. Count the alphabetic degrees To begin with there are he unconsciously neglects the old; therefore that you can select from the music pages, You will mg movement correctly is often half the battle, from the> lower to the upper pitch both included. In such varying classes of stu¬ be able to name every interval in music correctly BY M. C. CARRINGTON. 6. Spend a half hour a day—no less, in keeping ub list.’ Th°rouZhly- The object of practice is to estab- applying this rule to harmonic progressions count dents, and all of them can¬ repertoire. a ‘ as to its number-name and to distinguish all major iisii sub-conscious action, or automatic movements; from below, thus [ (c d e f equals a fourth). In not possibly study accord¬ It has been proven conclusively that any one can intervals that occur. There is no teacher who will not feel a glow of niAM^aifU°n ^ . t*1*s making many repetitions, ing to an ideal schedule. memorize, if he will but take the time to do it analyt¬ applying the rule to melodic progression count, in real delight and inspiration if a pupil, when told The child who is still in section e. Plece into very short sections, play every the same manner, from the lower tone, whether the that the lesson hour is at an end, seems really sur¬ ically and scientifically. It is also a thoroughly estab¬ I B I B I Pjfj C I C I G# I D# I G'j F# I C# II school, the busy housewife, lished fact, that the power to commit will grow with then HoWK 1 CuCh hantl al0ne n,any times Slowly, lower tone be the first or second tone of the interval. prised that the time has flown so quickly and is who likes to take pianoforte the performance of the act, that I should next insist • telocitv thC fpeed' finaI>y make a dash for Applications: (1) Turn to the music pages of this I C | F I T# | Eb| E I B I C# I A I G | D || reluctant to leave. lessons, and the working 7. Give a liberal time each day in memorising Not reoetition ^lS daily and make many, many issue and ascertain the numerical name of many To attain such a pleasant state of affairs variety girl, who has only her repetitions of this formula. merely to “p aying oyer” what you can easily remember intervals that are used harmonically (that is, in is of all things the most important, and a wise evenings, cannot possibly concemrate^ti Inhlblt. every extraneous thought, and but to actual, analytical memorizing. f chords, whether of two or more tones), (2) select In the next lesson we will take up the four remain¬ teacher will guard against monotony as the dead¬ give time enough to cover To carry out the idea of three kinds of study as noted with the i . h® mil’.d mtenscly on your work; work a song and find the numerical name of each interval ing varieties of intervals. liest enemy of interest. a thoroughly comprehensive This series of articles will treat of topics within above, I should say, know what the terms used in your will succeed t^enati?n *° C°"quer: bclievc tha» yOU from tone to tone. While this is not difficult, it For instance, should a pupil dislike scales and schedule of practice, but 0 Critimll' the. "ght mental attitude is everything, the general subject of Music Theory, using that exercises, surprise her by omitting all such and sub¬ they should certainly have studies mean, and from the beginning take up special is an amazing truth that beginners, especially you would t L,Sten cons‘antly, criticise yourself as term in its broadest sense. stituting some gay, lilting piece of a grade suffi¬ one in mind at least and adults, fail at times to count accurately even from do a thilt SOm*on* clse- ^ not be satisfied if you Each article will be a practical lesson, available ciently easy to be read with ease by the student. approximate it as nearly as Chakles E. Watt This would give us then : do it bettfr w’ th6re U always someo"e who can for class or individual study. From time to ' time, Make the lesson as charming as you possibly can possible. To ascertain the specific name of an interval is 8. Devote time each week to the study of Theorv to attain ;t Wave perfection your ideal and strive Review Questions will appear Which will aim to and tell her, when she expresses, as she no doubt Supposing, however, that you have but one hour somewhat more complex, and consequently a trifle in some aspect of the subject. y io. MusicaJlv* V^r Wil1, but that does not matter unify the lessons. will, her enjoyment and appreciation that as she a day, or possibly an hour and a half—I have but less easy to do with accuracy without considerable a few words of advice for you, and the rules already To most pupils, however, the eieht rules tiful tone sturdy f.ndeavor ahva>’s to produce a beau- The writer will answer concrete queries and sug¬ has been given a little holiday the teacher’s reward feel the cnmr^ t-.-e exPress,°n and pedaling, try to practice; but anyone can accomplish this who can very well known seem to me sufficient. will bq in the nature of extraneous things, and only the gest material for further study, if an addressed must be a very fine lesson next time. thoroughly earnest, thoroughly capable student wm thought as beaLt-ftl.°n and render the composer’s keep clearly in mind the underlying principle. As stamped envelope accompanies the letter of inquiry. Avoid any fixed routine. Begin a lesson some¬ No matter how short the regular practice time, we use the sequence of numerals from one to nine you should give about one-fourth of it to technical’ understand their value, but every one will undersUnd your ear; listen, iLen^Hst^h16’ n°thing Address “Theory Department, The Etude,” Phila¬ times with scales, sometimes with pieces. If the as the basis of measurement for the numerical name delphia, Pa. work—that is, exercises, scales, arpeggios, in reg¬ we^ shotddC1add^le W 16n 1 Say ** ** our next S scholar looks jaded or worried, fix her wandering ular rotation and in continually advancing tables of the intervals, so we must use a definite measure attention and awaken her interest by bringing for¬ Besides this you should persistently practice Etudes 9. Practice technic and Etudes, daily and (as a yardstick) to determine the specific name of ward some novelty or referring to some past the interval. This measure is the major scale. Music as an independent art is still in its infancy, Give at least five minutes, (preferably more) out of pieces mUCk tiWe ^ d0y thc st”dy of new pleasure. Let her play something, new or old, that 10 Hence, to be able to measure accurately all inter¬ yet grand and magnificent, the Pythian Apollo of you are sure she can do well—and then compliment vals, one must know accurately all the major scales. her on it. ( O be Continued in •• The Etude" for May) THE ETUDE 341 240 THE ETUDE VOCAL NUMBERS. particularly well if taken: at.a rather good pace; dotted half-note equals seventy-two would be about ngm. Three songs will be foynd in this issue, (w, Note the long crescendo, also very effective, if w “Maiden's Wish” is one of his 'seventeen Polish soJ NOCTURNE IN E FLAT perhaps the best known. This song is much used i.' Self-Help Notes on Etude managed. This piece will afford excellent study in s y ADAM GEIBEL and in rapid finger-work. While not one of his more recitals and is a favorite with Mme. Sembrich. h ” Music recent work?, it is a typical example of the method ot invariably well received. this very popular French composer. Thtjrlow Lieurance’s “Prayer” is a simple and unaf By P. W. OREM fected sacred song with which a good singer can do BERCEUSE-0 ZAPF. much. When well rendered, with careful diction and true but unexaggerated expression, with a touch of This is an interesting number, entirely out of the THE CHASE—J. RHEINBERGER. ppthbS, songs of this type never fail to be appreciated usual line of “cradle-songs.” The themes are tehd®£ by congregations. and characteristic and the harmonic treatment is rich This is one of the most celebrated of all “hunting Armitage’s “If I Were King” is a concert song in pieces.” Pieces of this type are usually based .upon and varied. . While the melody should be predominant the English style. We have included this number in throughout, the inner and accompanying voices must be the characteristic rhythm and intervals of the • flour¬ response to many requests for a man’s song. It is well ishes played upon the French cor du.chasse (hunting clearly brought out in order that the general effect, be written, not difficult to sing, and the accompaniment is horn). Although the “hunting piece” has appealed not obscured. The damper pedal also must be used effective and characteristic. For a lower voice this more particularly to the muse of various modern com¬ with discretion, both as an aid to legato playing and to song may be had in the key of C. It should be sung posers, the type is a very old one. Among the greater reinforce the harmonic, background. Although not in a bold, enthusiastic manner. composers who have written such pieces with decided technically difficult, this piece will require good musical success are Schumann and Mendelssohn. Stephen taste and understanding for its successful rendition. Heller, a lesser light, showed a great fondness for this form. Among the older composers may be mentioned . PUSSY’S LULLABY-L. A. BUGBEE. HOW LISZT PLAYED CHOPIN. Dussek. In fact, it would be possible to prepare a This is a first-grade piece, with text suitable to be I had conceived ever since I had studied the life very interesting program devoted to “hunting music,” either played or sung, or both together. We have printed and works of Chopin, the greatest desire to hear him old and new. Joseph Rheinberger (1839-igoi) is bet¬ a number of pieces of this type in The Etude from time ter known as an organist and theorist, .but he was a played by Liszt; indeed the numbers of those still liT. to time, finding that they were in demand with element¬ voluminous composer in all forms. A few of his piano ing who have had this privilege must be very limited ary. teachers. “Pussy’s Lullaby” is an excellent exam¬ pieces have gained much popularity among good play¬ I ventured to say, “Chopin always' maintained that you ers, in particular his “Chase” and his “Ballade.” “The ple. It is easy to play, tuneful, with an amusing text, were the most perfect exponent of his works. I can¬ Chase” furnishes splendid study in chord and octave and'will surely prove popular with young pupils. More¬ not say how grateful I should be to hear, were it only over, it furnishes good teaching material. This piece playing. It must be played steadily at a brisk rate of a fugitive passage of Chopin’s touched by your hind” might also be used for kindergarten . work. speed. The arm must be held easily, the wrist loosely “Wfth all the pleasure in the world,” replied the im¬ but well controlled. This makes a splendid concert or mortal pianist; and again I sat down by the grand exhibition piece. ALSATIAN DANCE—F. THOME. piano, and humming to him a phrase of Op. 37 I This is a characteristic waltz movement in which the begged that it might be that. NOCTURNE IN E FLAT—ADAM GEIBEL. left hand has the melody throughout. Note the curious The most recent composition of this popular com¬ “I will play that, and another after it.” (The second effect in the accompaniment created by the continued I was Op. 48.) poser and one of the best things he has ever written accent .falling on the third beat. Bring out the bass for. piano solo. This piece demands taste, style and melody strongly in a ra'ther ponderous manner. This It is useless for me to attempt a description of a elegance in performance, as do all similar works. The is a peasant dance. Subordinate the right-hand ac¬ performance every phrase of which will be implanted term “nocturne" or “night piece” has been much in companiment somewhat, using a .“pressure touch.” A in my memory, and on my heart, as long as I live. vogue since John Field (1782-1837) employed it as a good recital number for a third-grade student. Again, in that room, with its long bright window designation for certain compositions of dreamy and opening out into the summer-land, we sat i:> deep se¬ expressive character and somewhat indefinite lyric SUMMER DAYS ARE COMING—H. J. STORER. clusion; not a sound but the magic notes falling at form. Interesting as are the nocturnes of Field, they This is an instructive as well as a very pleasing num¬ first like a soft shower of pearls or liquid drops from are quite overshadowed by those of Chopin, who a fountain-blown spray falling hither and thither, and adapted the type and made it his own. Since Chopin ber taken, from a new - set of characteristic teaching changing into rainbow tints in its passage, as the har¬ practically all modern composers have tried their hands pieces by a well-known American writer. In this num¬ at this form, with varying success. The celebrated 5th ber both hands have plenty to do and a certain degree monic progression kept changing and tossing the fugi- Nocturne of Leybach is an illustration Of the treatment of independence is required. This piece should he dve fragments of melody with which that exquisite of this form by a popular drawing-room composer. Mr. played clearly and neatly and at a moderately lively Nocturne opens, until it settles into the calm, happy Gfeibel’s work is more than a drawing-room piece. It pace. A very useful number, good for recital work. dream which seems to rock the listener to sleep with is a refined and expressive bit of writing, containing the deep and perfect benison of ineffable rest; then out THE BLACKSMITH (FOUR HANDS)— thematic and harmonic material of an interesting and of the dream through a few bars, like the uneasy con¬ F. L. EYER. . appealing character. The form is carefully developed, sciousness of a slowly awakening sleeper, and again the the interest of the piece being well sustained to the This is the composer’s own duet arrangement of a interlude, the blown rain of double pearls-until once very close. To properly play this piece will require a very popular piano piece. As a four-hand number the more the heavenly dream is resumed. fine singing touch and nimble finger-work for the orna¬ characteristic passages are much enhanced, gaining in I drew my chair gently nearer. I almost held my mental passages. The piece must not be hurried. Note sonority and in imitative quality. The clang of the reath, not to miss a note. There was a strange, con¬ the dynamic contrasts. anvil the cheerful song.of the smith, the whizzing of centrated anticipation about Liszt’s playing, unlike any¬ the bellows, and the stroke of the hour, marking the .SHEPHERD’S MORNING SONG— cessation of labor, are all indicated. thing I had ever heard—not for a moment could the ear F. P. ATHERTON. cease listening; each note seemed prophetic of the This i5 another new work by a popular American MINUET FROM “BERENICE” (PIPE ORGAN )- next, each yielded in importance to the next; one felt writer. It is in the nature of a “song without words ” -• G. F.'HANDEL.' a in the soul of the player the whole Nocturne east- The themes, although of simple yet very melodious no/^ *ue beginning—as one and indivisible, like a A rarely, beautiful number, less known, but worthv character, are rather elaborately harmonized. This will f • j f ln, ieart of a poet. The playing of the bars necessitate careful handling in order to bring out the to rank with the celebrated.“Largo” and other popular P-Rnnr? bG ?°ne t.hrou»h seriatim; but there were proper effects. This piece should be taken at a mod¬ Handel numbers., .Handel’s melodies of this tyo^ are all diatonic, simple in construction, but most express! one °f j higher state of intuition, in which erate pace and with a lilting swing, the middle section the V df read. tIloughts without words, and possess rather more deliberately than the first portion. Note mken 6 °Pera Bfenif” from which this minuet is kevs ^ , m.USIC* without the intervention of bars and well the “bugle call” with its “echo” effect. Pupils of taken was composed and produced in 1737 Jt rv of the numerous operas of this period, now all orach* fade .u-Strl,ngS; ad the mere elements seemed to the third grade should thoroughly enjoy playing this fade nothing but perception remained. number and derive much benefit from its study. !dln M°St °f Handel’s worl« are we ] adapted for organ transcription; this minuet is no ex sense of time vanished; all was as it were realized IDLENESS—C. E. BRILLHART. Pre!ei!?0rneno that momcnt the Present-thc eternal This is a very clever little lyric by an American com¬ WW. "stI Best, ftit Whas hametf Swith °it sympathetiche great En ^treatmentlish organist] Tt noticing"0, Past.’,no Fu'^- Yet I could no. help poser new to our readers. In this piece the right hand dence hf thh ,i1Cldent; ‘he perfect, effortless indepen- carries two voices. Of these, the lower voice may be ^ b^ii master’« ft, C bnSers> mere obedient ministers of the regarded as the leading one. The upper voice, while smps of B^ tone. The ^stratL^t^t^ S in tu??'1,;,the con>Plete trance of the player- sustained, should be slightly subordinated. It will be matter a'!-3 world, and reducing the world of noted that in this voice the grace notes are in each case and I haH hlm t0 ,tlle flimsiest of unreal shadows; tied to the principal notes. The grace note is to be IRIS (VIOLIN AND PIANO)-PIERRE RENARD master wfc-'TV0 notice the unconscious habits of the struck on the count, the lower principal note following This piece, which has proven a great success - ner m; Z u l’aVe already Passed into historic man- immediately after. The upper principal note (tied to Piano solo, is equally well adapted for the violin %u* ng gTit L •Il^iples’ Iike Cardinal Newman’s s.oop- the grace note) is to be sustained, not struck again. arrangement is the composer’s own Whil J tn The Emmanuer! ! ald' Sttha,f closinS of the eyes, or Victor The effect is a very pretty one. The middle section ment is that of a slow waltz it ffiust h ‘ , eJmOVe' finger and tutOSl °J tbe head' So 1 noticed the first of the piece (in C major) still has the right hand car¬ much freedom, capriciously but with P .yed w*h or 'he fine- UI?b drawn together to emphasize a note, rying the two voices, but without the grace notes In violinist must seek to produce I wfm rST' The ner wifh g d°,ublcd up- or lifted in a peculiar man- this section the lower voice is still the leading one. A the middle section the repeated sixteenth ”d.tone: ln things in wMnWu SWCep in the middle of a phntsv- capital teaching or recital piece. violin part be p„yJ 1 the master it n' 'vh° are determined to be like FASCINATION—P. WACHS. The piano part m this piece is more than ! ’ghtneSS' the peculiar .J!6 bke -blm’ though in nothing else; also This is a brilliant concert waltz, of moderate diffi¬ compamment and will prove interesting hi thTh T somethino- i;i,PerCUSS1.on resonance, since reduced to culty. The principal theme of this piece will sound °f a good player. Note carefully all tlT H hands caressing touch * u-C!?nCe by Rubinstein, and the marks of expression. tbe COItlposer’s the piano L]bJ ™hl,ch seemed to draw the soul of

the keyboard —W■f7* -ft.p T*Haweis. before the finger reached THE ETUDE 243 242 THE ETUDE 245 244 THE ETUDE THE ETUDE THE BLACKSMITH THE BLACKSMITH

Allegro M. M. J • ISO SECONDO FRANK L. EVER, Op. 17

I k THE ETUDE 247 SJ4S THE ETUDE

strikes 248 THE ETUD E THE ETUDE 249

To Miss Elsa Dietrich IDLENESS CHARLES E. BRILLHART, Op. 15 Lento m.m. J=69

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SHEPHERD’S MORNING SONG THE ETUDE 251

h THE ETUDE THE ETUDE 253 SUMMER DAYS ARE COMING H. J. STORER S cherz andoM. m. J=leo 2J»4 the etude THE CHASE DIE JAGD

I

J THE ETUDE 257

ALSATIAN DANCE DANSE ALSACIENNE

Tempo di Valse m.m. J.=66 FRANCIS THOME

L THE ETUDE 259 THE ETUDE IRIS

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Poco animato

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THE MAIDEN’S WISH

L THE ETUDE 265 264 the etude development of their strength. You can easily il¬ lustrate this for yourself. If you raise your wrist a little above the level, hold the fingers in the correct PUSSY’S LULLABY rounded position, and make the natural stroke of a finger without changing its curve, you will find that L. A. BUGBEE it will strike the key at an inward angle, and have a tendency to glance off under the hand. Bending them out a little so as to permit them to strike down MEMORIZING. directly upon the key, you will find that there very “Will yon please explain the correct way In which quickly develops a tendency to punch with the hand, to memorize music? I have always memorized by weeks preparing a piece for concert or church per¬ a harsh tone results, and velocity is impossible. placing in my mind the exact position of each note, formance, that I do not piny it with the feeling Next, depress the wrist a little below the level of not as it appears on the page, but on the key¬ and expression that I ought, not even as much as board. It is not a sure way for me, for I soon when I first took it up. In other words it becomes the keyboard. This position is taught by some, but cease to think of my notes and depend upon habit, tiresome to me on repetition. It seems a great pity and when my hands refuse to follow in the same such is the case, for when a person plays a number it is likely to result more in a clawing of the keys routine, I am lost and cannot resort to memory, for like Mendelssohn's Second Organ Sonata, for than an actual stroke, interferes with their freedom I have in reality forgotten. It is not at all difficult example, he ought to play It with all-the feeling for me to memorize poetry or prose, music being possible, particularly the slow movement. I would of action, and with the development of their great¬ the only thing that troubles me. Therefore it like to ask if there is not some way In which I can est strength. With the hands held in this position, seems to me to be because of misdirected efforts. overcome this fault, and regain the original feeling.” Will you kindly give me information?” a true finger motion will result in the finger You are evidently a victim to the habit of first striking the key at an angle, at the same time It is difficult to give an exact analysis of the var¬ impressions, constantly thirsting for novelty, dis¬ the finger will have a tendency to slide toward the ious mental processes empoyed in memorizing. contented unless presented with something new. name-board of the piano; the opposite effect to that Some players say that they first form in their minds It is a very easy habit to fall into, and a difficult one produced by the high position of the hand. an exact mental photograph of the page of music to climb out of. It is the bane of American stu¬ Whether the hand be large or small, the most they wish to memorize, and that they reproduce dents through and through. The only way you favorable position for a free and easy finger action this whenever they play the music, just as if they can overcome the habit is to fight it vigorously. is the level hand and wrist. The stool should be were reading the page again. Others say that this Spend a great deal of time on your old pieces. so adjusted that the elbow will be nearly on a line process is incomprehensible to them, and that the Study to find new beauties and impressions in them, with the keyboard. effort to reproduce and project before the mind’s and to make them manifest. Select a repertoire For the stiff knuckles place the fingers, in curved, vision an image of the printed page only results of pieces, commit them to memory, and keep them playing position, on the edge of the keyboard or in confusion and failure. These latter say that they constantly in practice, working with every renewed table. Holding the fingers firmly in position, forci¬ learn the sound of the music, and that their fingers interest and attention to find new points in inter¬ bly depress and raise the knuckles, oscillating them more or less unconsciously find their way to the pretation. If you are to play in public, do not im¬ up and down for some time. This practiced every correct keys'. That there is truth in this latter state¬ mediately begin to search for something new to day will help to loosen them. Many students, es¬ ment is witnessed by the efforts of those who, learn for the occasion. Rather, fake something pecially adults, find it impossible to raise the fingers without the ability to read notes and who have had that you have already worked upon, perhaps a year above the knuckle level. This, however, need not no teaching, play by ear with a fair amount of or two previously, something that you can play with interfere with good playing. It is the downward correctness. absolute ease and certainty of technique. You will stroke that coufits, and there is ample freedom for It will be impossible here to enter into a psycho¬ find that getting it ready for an occasion will renew this even though the finger cannot rise above the logical consideration of the various kinds of mem¬ your interest in it, and the fact that you have set¬ level of the back of the hand. It is only necessary ory, with their complicated inter-relationships. All tled definitely upon it to the exclusion of every¬ to see that the hand is held high enough to per-1 memorizing is an intellectual process, although more thing else will make it seem new to you. mit of this free play. or less specialized. For example, committing the It is a fact that exacting practice upon a com¬ The phrase you have quoted doubtless means, printed page would be visual memory, while the position for a number of weeks is apt to tempo¬ other process would be more related to auricular in the case of rhythm, that a person is able to per¬ rarily wear it out, and it will go “stale,” as the ex¬ ceive and apprehend the time values of notes, and memory. My own opinion is that auricular memory pression is. It should then be dropped for a few is the more reliable for piano playing, although, their inter-relationship. The same applies to an in¬ weeks, or, perhaps, months, as the case may be, terval, which is the difference in pitch betwen two as' I have hinted, one cannot be entirely disasso¬ and then taken up again; when a fluent technic ciated from the other. But one’s memory of music tones. The statement may have reference to a stu¬ can quickly be acquired the pieces assume a much dent acquiring the ability to recognize at sight the lasts often for years after the visual image of the greater interest than ever before. All the great vir¬ musical meaning of a passage, correctly conceiving printed page has faded from the mind. tuosi work in this way, throughout their careers. in his mind the values of the notes and the melodic One of the leading grand opera singers told me They learn the standard piano literature during their that she learned her roles and committed them to student years, which cover a longer period of time and harmonic intervals, and interpreting them in memory without going near a piano, and that the than most people imagine, and every program for their correct relationship to one another. The ma¬ first time she heard the accompaniment was when every concert tour that they make, as long as jority of players can only conceive this after they she went to the first rehearsal at the opera house. they are before the public, contains a large pro¬ have heard it played, in other words, practically There must be some process besides visual memory portion of these compositions. Invariably, if you learned it by ear. To hear a piece of music men¬ in a case like this. In other words, musicianship. study these, programs, you will find a comparatively tally, before hearing it played, is a feat of musi¬ The story is told of Von Buelow that the manuscript small number of new pieces. For your own good, cianship not possessed by many. Most players are of a new composition was handed him as he was learn from this that your success depends upon what content to puzzle put their music at the keyboard. about to take the train for a concert date in a you make of the music to which you have given They are not likely to' become accurate musicians, neighboring city. He studied it in the cars, and a great deal of study, and which you have taken up however, until they can correctly translate their played it for the first time, without notes, at his for practice a number of times. To overcome the music into imaginary tones, simply by means of recital in the evening. Musicianship enabled him fault you mention, then, return more frequently to hear every note and harmony as distinctly as if the eye, and wholly without reference to its audible to your old pieces for public use, take up fewer presentation. This ability, however, most musi¬ he were at the keyboard, and hence it was a com¬ new ones for practice, and use these latter more cians have to acquire by self-study, as it is taught bination of auricular and visual memory, coupled for the purpose of advancing your technical skill, but little. It follows as a natural result of every with intellectual processes, that made this possible. and do not use them in public until you have studied good course in ear training, a branch of study Hence it is musicianship you should strive to at¬ them two or three times. To the impatient stu¬ tain and memorize from the standpoint of musician- dent this seems like a good deal of work, but re¬ that is gradually coming more and more into vogue. ship. After having mastered your piece techni¬ member that those who make a success of their CONSERVATORY OR PRIVATE TEACHER. cally, then analyse it into its component parts of profesion are in the habit of pursuing just such motives', phrases, sections and periods. Master it severe methods of study. Your trouble is largely “As a constant reader of The Etude, I should value your opinion on a subject of great importance thoroughly from a structural standpoint. Learn a malady of mental processes, and to overcome it to me, and as there must he other students similarly each phrase by conceiving its musical effect in the you will need to change your habit of thought, not situated, perhaps you would consider the subject worthy of discussion in the Round Table. I have mind, and if posible without the use of the piano. only so far as' music is concerned, but more been a student of a very fine private teacher, and In applying to the keyboard, work at it consciously than likely along other lines as well. Take certain am wishing to take a final course preparatory to becoming a teacher myself; the following question until playing the piece becomes practically an un¬ poems, selections from Browning preferably, because presents itself: conscious process. Your playing will not sound ar¬ they require more mental effort in their compre¬ “Does the young teacher, possessed of a certificate as such from a conservatory of reputation, have tistically spontaneous until you have eliminated hension, and re-read them frequently and with greater prestige in a community than one who has the element of conscious effort. You must play close attention, and you will find that it will be ex¬ been a private pupil of a reputable teacher? It is impossible to obtain an unbiased opinion here, and from memory in the same way. So long as you cellent training for the mind along the line in I appeal to you for help.” are painfully striving to recall a visual image of which you find your difficulty. Above all, if you the printed page, your memory will be likely to fail wish to accomplish distinguished results, do not Your question places me in a very hard, not to say you. Your music must become so much a part of shrink from your tasks, but attack them boldly and amusing, dilemma. An unbiased answer to such a ques¬ _* yourself that you become unconsciously absorbed persistently. tion is difficult for the reason that it is almost impos¬ in it. But you canno't memorize in this way without sible to be unbiased. For example, I am a private musicianship. Without it you must be content to POSITION OF HAND. teacher, and I also teach in one of the leading conser¬ / harm is nigh. vatories. Now if I say that it is better to study in a Sleep, sleep, dear - ie remain on the level of parrot repetition. If yon “What position is best for a pupil with small sleep, We the have a sincere desire to possess the kind of musi¬ hands, high or low wrist, and why? Also for a conservatory, I shall myself be very angry with myself watch will kpejJ—|— pupil with large hands ? What is the best position cianship that will make all this possible to you, and for stiff knuckles, and good exercises for this diffl- for interfering with my own business, and my private pupils may leave me and come to the conservatory to are willing to give it serious study, purchase a copy “What is meant by the phrase, ‘recognition by the °.f “The Theory of Interpretation,” by A. J. Good- pupil of rhythmic and lntervalic values ?’ ” study with me. If I say that it is better to study with Heh, and earnestly set yourself to master it. Not a private teacher, the conservatory will be very angry m«ely to read it. but to make its contents your The level wrist is generally accepted as most con¬ and discharge me, and my conservatory pupils will 0wn, and in a thoroughly practical way. ducive to the free action of the fingers, and the then be obliged to come and study with me privately. THE ETUDE 267 THE ETUDE 266 How would it do for me to tell some¬ of still another collection which is MacDowell’s Doris: Who? the spring of 1906) a music teacher came BACH FOR PIANO STUDENTS. Nelson: Curtis. to our school and told us it was the one thing about keyboard instruments? So you see that, whatever way I answer, I am bound contribution to the list of collections of Bach’s more hundred and fiftieth anniversary of the Mary: Just the thing. Tell us. to get into trouble either with myself or the conserva¬ elementary works. Last, but by no means least, is Curtis: Oh pshaw! You don’t want birth of the most wonderful child that Helen: Once upon a time tliere were tory. When I was in college, the president in his BY T. L. RICKABY. a collection of twelve of the preludes from the IDEAS FOR CLUB me to sing. Anyway I can’t, because no pianos in the world— psychology class used to make frequent use of a very clavier, which a prominent publisher offers; a book Mary has hurt her hand and can’t play ever lived. He was born the 27th day Nelson: Sometimes I wish there old stofy in illustration of mental indecision. It was of A very much in earnest youth came to me recently that every teacher should use, because many of them WORKERS my accompaniment, and there is no of January, 1756, in Salzburg, Austria, the mule that stood half way between two hay stacks, for lessons and informed me that he wished to study can be played long before a pupil is ready for the one else here who can. and his name was Wolfgang Amadeus weren’t any now. Bach’s compositions exclusively. When asked for and starved to death trying to make up his mind which fugues. Surely here is material enough—in a great Mary: Dear me! I wish I did have Mozart. When he was three years old Mary: Hush, Nelson! a reason he said: “I attended the X-University last to eat from. If you wait to get this question settled, variety of form—all of it interesting, and, even from Conducted by MRS. J. OLIVER both hands in good order. Don’t you he was found standing on tip-toe at the Helen: Oh! you’d have to practice year, but could not qualify for the Conservatory you may be in danger of losing your musical education the viewpoint of the average pupil, “pretty” enough want to join, Ardis? harpsichord picking out a tune his sis¬ just the same, young man, for there of Music because I had not done any Bach. I in¬ Preu Secretary of National Federation in a somewhat similar manner. to make practice a pleasure; and ranging from Women’s Musical Clubs Doris: But do you know anything ter was learning. His father gave him was an instrument with keys like the tend going to the same institution next year and But joking aside, it is well to consider the question, music quite easy to that quite difficult, and without about music Ardis? lessons when he was four years old, piano and music written for it like oiir wish to prepare myself to pass the entrance exami¬ because it is asked very frequently. In the first place, drawing on the fugues at all. Ardis: Well, I’ve only taken a few' and when he was six he composed music to-day. The instrument most nation, which requires a considerable knowledge of you would better study the community in which you lessons and of course I can’t play a big some little pieces. By the time he was in use when the piano was invented was his compositions.” the early study of bach. how WE FORMED OUR MUSIC expect to work. Broadly considered, there are two piece; but I do know quite a good deal. ten years old he was known all over called a harpsichord. Haydn, Mozart As we cannot add one cubit to our stature by tak¬ n CLUB. vaguely divided classes in every community. The One would hardly think it necessary at the present Mary: Tell us what you know, Europe as a famous harpsichord player and Beethoven all played the harpsi¬ ing thought,, neither can we successfully possess (A Dialogue Recital) first may be said to be the musically uninformed class. Ardis. and as a composer of music. He died chord. ourselves of the benefits of the great Cantor’s mu¬ time, when piano playing has reached such a high Although by no means necessarily uninformed along Ardis: Well, I know how to play in 1791, when he was only 35 years, old, Doris: Yes, I know. That’s how I sic by merely making up our minds to “wade in. plane, to emphasize the necessity of the early and BY ELLEN HOLLY. other lines, they have little interest in the trend of mu¬ a little song my teacher sings to me in and he had composed a great quantity knew about Mozart’s harpsichord. I The hands and fingers must have had considerable systematic study of Bach’s piano music. The great¬ sical affair. They are unfamiliar with the distinguished several different keys, and I’m learning of music. All kinds of music—church preparation along such lines as strength, inde¬ est musicians have acknowledged their indebtedness [Editor's Note.—Some months ago we go to the same school Helen goes to. names of the day, with the possible exception of how to make my fingers sing—and oh, music.called masses, song, symphonies, pendence, nimbleness and a few other qualities. to it. In his “Rules” Schumann advises young mu¬ niihllshed In The Etude a recital in dialogue Helen; Now, there is a great differ¬ such names as Paderewski and Patti, and are absolutely form which met with such immediate approv- I know a musical conundrum. Want to sonatas and operas. His three most This preparation my visitor did not seem to have sicians to make Bach their daily bread, and the iilthat we were pleased to receive the follow- ence between the mechanism of a harpsi¬ devoid of reasonable conclusions on any musical mat¬ hear it? famous operas, which are still played had and so he left to think over a few suggestions same composer, in a letter speaking of the relation ine manuscript describing a highly successful chord and that of the piano. You ters. Such people are often much impressed by the recital given prior to the publication of the Helen: Yes indeed: ask it and we’ll to-day, are “Don Giovanni, “The Magic that I had made. of German musicians to Bach, says: “They were article mentioned. The writer is a practical know when you strike the key of a fact that Miss G. Clef has been to the city and gradu¬ all try to guess it. Flute” and “The Marriage of Figaro.” The incident set me thinking on Bach’s composi¬ all thoroughly familiar with Bach, and I myself teacher who has won .tontinued success by piano the other end of the key inside ated at "the conservatory.” As to whether her musical leeitlmate means and much original lnvent- Ardis: What grows shorter every In a museum at Salzburg there are tions generally. I have taught for thirty-five years, make daily confession to that lofty spirit, aspiring veness. In this recital the dialogue de¬ the piano moves a hammer, which education may have been of any value or not they have many relics of this wonderful child, and have always used them, but never so much as to purify and strengthen myself through him.” In scribes how the children formed a musical time something is added to if. strikes a wire and produces a tone, and no way of determining, but merely accepted it as a club and the pieces played are related to the and when I go to Germany I’m going at present. Further, I am beginning to introduce spite of all this they are not used to the extent (Silence.) the harder the key is struck the harder matter of course, especially if it has been obtained dialogue. The dialogue may be shortened them much earlier in a pupil’s progress than ever they deserve, and these few paragraphs of mine are or changed to suit the teacher’s needs as may Helen: (Repeats.) “What grows there purposely to see the harpsichord the hammer strikes and the louder the away from home. the pieces. The added charm of a simple shorter every time' something is added Mozart used to play on. before. Bach wrote little that is really easy. Yet offered as a slight addition to the already large play greatly enhances the Interest of both tone produced. In a harpsichord the The second class is made up of the musical connois¬ the great advance that is being made in the acquire¬ (although none too large) amount of written matter the pupils and the audience at a recital of to it?” Helen: I wonder if those pieces he end of the key inside the instrument seurs, and people of considerable general culture. With ment of technic in even young children renders it relative to the great Cantor and all his works. .mine Dunils. Children are born actors and pushes up a quill, which picks the wire such people the first question will not be, At what con¬ of their own accord delight in getting up possible to use many little pieces of Bach in much That any conservatory should place so much im¬ little dialogues and plays. It will pay the that produces the tone, something as a servatory have you studied? but, With whom have you lower grades than was ever dreamed of twenty portance on Bach’s compositions as the one men¬ teacher to adapt this idea to her work.] mandolin wire is picked. But striking studied? If you have studied at a conservatory, they years ago. tioned at the beginning of this article is a healthy Scene: A room in Helen’s home. the key with more or less force did not will ask—With whom at the conservatory? With this Now, when we speak of Bach, the majority of and encouraging sign. That all such institutions There is a small blackboard or chart alter the manner in which the quill class, the person with whom you have studied will musicians naturally think of his preludes and fugues, should pay a little more attention to Bach and a of blank paper, some chalk or black be the guarantee of the excellence of your study; with picked the string, and so it was impos¬ his inventions and suites. But, in point of fact, very crayon and a piano. the other class, the fact that you have studied some¬ little less to graduating concertos and diamond sible to make loud and soft tones, A few indeed of the forty-eight fugues are ever used where will generally suffice (if away from home all medals is something to be devoutly wished. Some Characters. man in Italy named Cristofori set to and then only by the artist or advanced performer. the more important in their eyes, even though you may time ago an eminent singer, after prolonged study Doris: Seven to eight years. work to make an instrument upon His suites are never taken in their entirety, but have been able to avail yourself of infinitely better in Europe, and many distinctly artistic triumphs Ardis: Same age. which one could play loudly or softly. usually in selections. His three-part “Inventions” teaching at home). abroad, said she attributed her ultimate success to Helen: Slightly older. In the year 1711 he completed his first are rarely if ever used, as they are as difficult as If you are going to pursue your course of study the strict discipline she underwent in the faithful Mary: The oldest child present. instrument, and he was so eager that many of the fugues without being so interesting. study of the classics—Bach and Handel—under the She has her right arm done up in a every one should know that it could in your home city, and you are hesitating between con¬ The average teacher is unaware of the fact that servatory and private instruction, I can only say, study instruction of the eminent American teacher, Pro¬ sling. play loud and soft, he called it a “Loud- there are quite a number of separate pieces pub¬ your community and observe conditions among the peo¬ fessor Paine—a most weighty consideration, indi¬ Nelson: Boy about ten or twelve soft.” These words in Italian are lished, which will give the necessary Bach disci¬ ple from whom you expect to draw your patronage, cating as it does the kind of teaching that can be years. Forte-piano. Later the terms were re¬ pline, and will at the same time do what the suites and govern yourself accordingly. had on this side of the Atlantic, in spots. Curtis: Same age or a little older. versed and it was called a Piano-forte, and fugues alone might not do, viz.: develop a taste Personally, whatever of excellence there is in my Joseph: Older boy, who enters, later and now, of course, we cut it short and Meanwhile the most important consideration of all is and a genuine liking for this wonderful music, which this: In the long run your success in procuring busi¬ own playing is due to such Bach study I did as a when called. call it just piano. ought to be played for the pleasure it gives rather student and have continued since to do. I had in¬ ness will depend upon your own personality, and the than from a sense of duty. Doris: And is that why the word eventual progress made by your pupils. In a few years tended to stop here, but what Elbert Hubbard calls Curtis: Then let’s begin to-day and piano in the music means to play softly a “Discerning Woman,” who reads over whatever see if we really can form a music-club. the fact that you have studied with Leschetizky, or at CATALOGUES. and forte means loud? the Tonic-Dominant Conservatory in New York or Bos¬ I write, assures me that there is no excellence what¬ Doris: May I join? Helen: Surely. There were other ton, will have been forgotten, and you will be rated I will digress here to state that the really up-to- ever in my playing! Well, then, all its shortcomings, Curtis: Why of course not! You’re smaller instruments than the harpsi¬ date teacher makes a study—a special study—oi entirely by your own standing in the community. Let whatever it lacks in brilliancy, clearness and in¬ too little—and you don’t know any¬ chord, called the Virginal and the Spinet. music catalogues. If any reader of these remark: us hope that your own influence will become such that telligence, may truthfully be attributed to my neglect thing about music. They are the same instrument, but it was has not yet taken up this branch of musical learning students will consider that it will give them prestige to of Bach as a student, and my neglect of him since. Doris: (Impetuously.) You are very called Virginal in England and the Spinet let him delay no longer in doing so. The pub much mistaken, Curtis Alexander! I’ve study with you. Of course when you first begin your The deduction is the same: students, if you wish in Italy. fishers will be glad to furnish the text books, anc taken music lessons a year, and I know teaching, borrowed lustre will be invaluable to you. But to play well, study Bach; teachers, if you wish to Mary: That is very interesting, and you should not rely on it too much nor too long. A the knowledge gained will prove a very valuabli do all your duty by your pupils, do not fail to give a lot about music 1 asset in all future work. Besides being useful, i I think it ought to make Helen a certain amount of dignified and self-confident assump¬ Bach like some people vote—early and often. Helen: Yes she does, Curtis; she member. tion, not affected and pretentious self-assertion, will do is quite an interesting pursuit to discover so mam has a book of duets and she can play A picture of one of the instruments in the Metropolitan Museum of Curtis: I think so, too. Aren’t we get¬ you more good than mere reference to supposed au¬ compositions and composers that no one seems t< either the primo or the secondo part. Art, New York. This is one of two existing pianos ting on finely? If Peter Pan were here thorities, no matter how great. Immediately take the hear of; so many extracts from and arrangement: A HOME MUSICALE. Curtis: (Bowing as if apologizing). of the maker, Bartolommeo Cristofori. he’d say “We’re the wonderfullest club ground that you are yourself an authority in that of almost every conceivable composition for even Oh - I didn’t know that. We that ever was 1” Now, Nelson, it’s your which you profess to teach. You will be perfectly imaginable combination of instruments, or voices, o shall be delighted to have you join our BY M. C. CARRINGTON. Nelson: Must be a trick—nothing composed when he was six years old turn. right in this, if your training has been first-class, if both. Not the least important feature will be ’th. music club, Miss Doris. sound like baby talk? could grow shorter when anything was Nelson: At our school, on Washing¬ you have profited by your instruction, if you have made discovery of numberless separate numbers from th, To the average teacher no greater problem f Mary: We ought to decide just Doris: No, they don’t; they’re real added to it. ton’s Birthday—I mean on the day be¬ yourself master or mistress (as the case may be) of classics that the average teacher and pupil only see sents itself than that of interesting the older meml what is necessary in order to be eli¬ in large collections. I have sometimes had diffi Curtis: I give it up. fore—we had George Washington’s pic¬ your subject, and feel confident that you have the of her students’ families in any pupils save those 1 gible to this club. Mary: Can’t you play them for us? culty in persuading clerks in music stores to orde Nelson: So do I. ture on the wall and right beside it intelligence to impart it to others and train them cor¬ advanced and capable of brilliant playing. Doris: What’s “eligible,” Nelson? certain compositions so positive they were tha Mary: So do I. Doris: Maybe I can play one. the picture of Joseph Haydn, the musi¬ rectly. If you assume a suppliant attitude toward your The mother often sympathizes with the str Nelson: Why, eligible is-why, such items were “not published separately.” Th Helen: So do I. [Doris plays No. 1 or No. 2 from cian, and sort of connecting the two were people, they will rate you accordingly, and look upon it ghng student and praises her improvement, but it is to write so any one can read it, catalogues of the leading publishers—not to men Doris: So do I. “Three Melodies,” by W. A. Mozart.] big figures 1—7—3—2, because they as an act of condescension on their part that they send lather seldom notices his children’s music—excep don’t you know. tion some that are not leaders—should be in th Ardis: (Going to the blackboard) Curtis: Doris is all right, if she is were both born in the year 1732. Then your their pupils. You should rather try to make request that the piano be silent when he is in Curtis Oh no, no, it isn’t that at library of every teacher. There will be a much bet draws “ How long is that note? little. one of the big boys told us stories them feel that they are fortunate to be able to find a house. Public recitals rarely show a student at all. You are thinking of another word, ter chance of his getting what he wants if he know All: Four beats. Mary: And she is certainly admitted about George Washington and one of place in your class, and that when they come to you best, therefore I suggest a home musicale. boy. they are in the best possible hands. Therefore study exactly just where to get it. Ardis: (Adding a stem) “gj.” Now to the music club. Now, Helen, will the big girls told us stories about Arrange with the mother to persuade the fai Nelson: What does it mean then? the methods of other teachers along all lines, not There are many of the most interesting and use how long is it? you sing or play or tell us something? Joseph Haydn. I had aeard most of and other relatives, perhaps, to stay at home sc Curtis: Eligible means-you alone music; observe in what way their manners are ful pieces from the suites which may be had seoa All: Two beats. Helen: Well, I guess I’ll tell you the stories about Washington, but it a “rdaY hfternoon. Then, having prepared with y Ml them what it means, Mary. offensive, and strive to avoid it in your own work. Take rately, such as those called “Bourree,” “Gavotte Ardis: (filling it in) “ V’ Now how something I learned about music in a was all new about Haydn. He was a pupil a short, pleasant program, call informally Mary: To be eligible to a club is note also of what makes them a success, and then try Loure, “Sarabanda.” “Gigue,” “Air,” and so on u long? class that was formed at our school. smart boy, too, but he cut up and to be fitted for it, to be able to do yourself to be perfectly natural, earnest, faithful and t0 „„‘‘Preambule” “Fantasia,” “Toccata,” “Over “ "°me anc* tactfully introduce the various pie All: One beat. In this class we learned about things played tricks more than Mozart did, conscientious, and above all take an interest in every ture, Presto,” etc., from other sources, all edite Be sure to have gay, tuneful duets ready an< what is required of a member. Now Ardis: (adds a fine) “And now? in music before we played at all our¬ supposing we decide that to be eligible seems to me. When he was very one of your pupils, and do not forget that you must by such eminent musicians as Saint-Saens, Buelbv P Tt,a httl® y°urse,f in your best style. All: Half a beat. selves. We used to listen to the young, almost a baby, he used to make Ihe pupil plays much better at such an infor ■or this club, one must be able to sing push yourself to the front. Try, however, to do it Joseffy, Tours, Phillip, Hoffman, Foote and Pai Ardis: (adds another fine) “J\” And teacher play and tell her what meter believe play violin with two sticks of recital, with the teacher’s familiar presence near or to play or to tell some interesting in a dignified way. sons. One or two of the two-part inventions ma she was playing. Then we tapped all wood, and we had a little boy from the be had separately, but the whole collection can b an either in the usual class recital or when c and instructive fact about music. now? All: Quarter of a beat. kinds' of rhythm, and that wasn’t so kindergarten make this tableau. The purchased for twenty-five cents, and as they ar pany calls and she is tremblingly forced to “l Curtis: That’s about it—don’t you easy, either. We had music games, too. I Love to see youthful artists strive for the new something pretty.” say so, Helen? Ardis: Didn’t I add something every children from the first primary, who and unknown. Beethoven, who thus strove to his dying use tLm aVT^able,it ’s better to get them afi an time and didn’t it grow shorter? Mary: But, Helen, you have only are just learning their letters, sang use them. Then there is a little album of Bach' The home circle will realize how the child Helen: Yes, I think that’s it—and day, is a sublime pattern of human greatness in that re¬ Nelson: That’s a fine conundrum told us about your class; you haven’t their a b c’s to a tune that is taken Lighter Compositions” edited by Kullak A unti l improved and how really well she can play, and at s have Mary be the judge and try spect ; but bear in mind that the orchards Mozart and and Ardis is eligible, isn’t she, Mary? given us any special musical informa- from one of Haydn’s symphonies. Bet work is entitled “Ten Easy Instructive Pieces ” a„ ail of us here to-day to see if we may Haydn, too, are richly laden with fruit.—Schumann. *!?e,r interest and approval lend to her is edited by Faelton. “Six Little Pieces” is the till “a members. Mary: Certainly. Now let’s hear you never knew that that tune, a. b, c, benefit enc*eavor *s °f remarkable and las Helen: Um—yes—well, I certainly d, e, f, g (singing the tune), came from Nelson: That will be fun. I know Doris. did learn a lot of things in that class. some one here who can sing. Doris: One day last winter (this was a Haydn symphony. We learned, too, 269 268 THE ETUDE THE ETUDE selected as her own field of endeavor Never sing quite as loud as possible. Even if your preliminary Preparation down at night, when reading aloud, and that Haydn composed the Austrian NOTICE TO CLUB DIRECTORS a smaller place which is but four or five In your singing introduce as many has been such as to lift you entirely out when walking, practice this mode of Hymn, and that he always loved it very AND TEACHERS. hours distant from a great music center “diminuendos,” “crescendos,” etc., etc., of the class of inefficient novices, you breathing, and soon it will become much. I never knew that before, but In this town her talents (backed up as is consistent with the proper inter¬ We want to know how you have been will yet have to prove your worth m perfectly natural. By this manner of I won’t forget it now. by commonsense business methods and pretation of the words. Young sing¬ most successful in your club work. any new field, and the length ot tim_ Voice Department breathing the breath is kept under Ardis: It will be easy to remember an unalterable determination to work) ers do not, as a rule, pay sufficient heed Will you not lend a helping hand to required for this is infinitely greater in complete control. When singing dp what year Haydn was born, because your fellow-teachers by sending us brought her recognition at once, and to them, hence their singing is unex- the city than in the town. not, as a rule, inhale all the air pos¬ every one knows when George Wash¬ in two years she was so well established pressive. some little account of how you organ¬ The country is still full of places in sible, but control that which you have. ington was born. ized your musical club, your constitu¬ that she had a finely furnished studio Practice every day when well, but which there is no really able teacher, Always breathe through the nose, un¬ Nelson: Yes, and another thing tion and by-laws, and what methods in the down town district (a thing be¬ Editor for April, Mr. J. Harry Wheeler no more than half an hour at one time. and if you wisely select a location with less you are singing or speaking. makes it easy to connect* the two names When you sing on trial for a posi¬ you have employed in your work with enough opportunities to ensure you a fore unknown in the town), had bought Editor for May, Mr. Arthur L. Manchester There is frequently a great obstacle in your mind. Washington was called most success? We want the informa¬ and paid for a new grand piano, she tion, always be gracious. Personality broad enough field you will thus be re- to effectual action of the respiratory “The Father of his Country,” and Haydn tion, not with a view to publishing the lieved of the intolerable competition of had enough clear profit after the sec¬ muscles. It is that of tight dressing, counts for much. was called “The Father of the Sym¬ letters in The Etude, but to furnish us ond year to spend her summer vaca¬ Never become conceited. Conceit the city. The cheaper cost of living thus, compressing the parts brought phony.” with material that will be of value to tion abroad. Nor did she lack “op¬ will ensure you returns much more into play in inhalation and exhalation. begets enemies and loses friends. Mary: Can’t you play something for us in helping your colleagues through¬ A FEW QUESTIONS AND HINTS certain and adequate. Unquestionably, portunities” to hear music, though she not think for a moment of attempt¬ In such cases effective singing is en¬ Study the reading of prose and po¬ us that was written by Haydn? out the country. We desire to do all ABOUT'DEBUTS AND STUDY you ought to study in the great cen¬ made them herself, for by her push ing to attain success in grand opera. tirely impossible, and its deleterious etry with a teacher. It will prove of Nelson: Yes; I can play this Alle¬ we can to assist others. Won’t you IN EUROPE. ters,” for several years. Much travel and determination she induced several If you can answer affirmatively, you effects upon the health are terrible. great value to you in singing. gretto. [Plays from “Short Pieces” by assist us in doing it? abroad or in America will help to make artists to appear in her town each sea¬ Why do you go to Europe for study? may, perhaps, prove successful as an The eminent Monsieur Henriguez, of Be sure you give attention to the Haydn.] operatic artist. you ready for responsible work. When son, and also made it “pay” them to do Do you think you will find better Paris, in a lecture, referred to the case accent of important words; this is par¬ Curtis: T h a t’s good, Nelson. so. So successful was her own work After all has been said that can be ticularly essential in oratorio recitative. Another member enrolled; eh, Mary? you have your foundation well laid, teachers in Europe than in America? of a young lady who had compressed that she felt able at any time to take said in favor of European study, still Many otherwise excellent oratorio Helen: I suppose you haven’t prac¬ and you are able to maintain a high Of all whom you think of who have the waist tightly. These were his the afternoon train into the city, hear the fact remains that every require¬ singers fail in this respect. Recitative ticed a bit since you hurt your hand, standard even though you must do it been to Europe for study, how many words: “She had fainted; meanwhile any great artist or opera performance ment to form an artist can be obtained is musical declamation. have you, Mary? alone, then find your small city—and at have become great, or even become a deadly pallor had overspread her she chose, and then to go back to her in America as well as, or better than, in In singing, express the sentiment of Mary: I did think I was going to BY CHARLES E. WATT. a stroke free yourself from the is- known? face. A minute later a physician took work next day revived and strength¬ the words as though they were your have quite a vacation, but I found I sufferable torment and competitive Have you ever thought of the morals Europe, with the exception of the lan¬ charge of the case. ‘Help me unhook ened and able to hold up the high guage, and even that can be easily was mistaken. I walked round to my For the past dozen years it has been grind of the city, and assure yourself of life there? Gan you find any home the stays,’ he cried. All attempts to standard she had set. gained here. In regard to opera, how¬ Attend good concerts, vocal or in¬ teacher’s house with my hand all bound my opinion that the young musician a suitable income and good companion¬ life there, as in America? Can you get a finger under the steel and satin In this case we may see the answer to ever, unfortunately, in America, there strumental; you will thus gain many up so pathetically ready to explain how can do much better in a small place ship for life. get into the better families there ? Can cOrset proved unavailable, so the doc¬ than in the large city. I have watched the “atmosphere” fallacy, for it is a are found but few opportunities for ap¬ points in expression. I would have to stop my lessons, but “Yes,” you may say, “that is all fine you think of any good protecting in¬ tor called for his instrument case, and enough cases in both environments to matter of fact that the city is just as pearances, while in Italy every small If you hear no one sing but your¬ she said: “Here is a good chance for enough, but it means a shutting one¬ fluence there? JVhere are you going with a quick dash of the knife cut open unalterably confirm this opinion. deficient in this respect as is the coun¬ town has its opera, but many of them the corset. At that moment a respira¬ self, you will never become a vocal your -left hand to catch up to your right self off from the musical atmosphere to reside? Will you live in a boarding It is very true that there are some try town. The “musical atmosphere” are so poor they would disgrace any tory motion seemed to vibrate through artist. in scale-work” (children giggle), “and and the golden oportunities of the city.” house, where in nearly every case the I will give you a little piece written natures that inevitably turn to the city is manufactured by the individual, and country village in America. So one the body, the .diaphragm rose per¬ Many excellent operatic and concert As I said at the beginning of this life is “free and easy?” Do you think for the left hand alone.” and some musicians there are who carried around with him wherever he may readily see how easy it is to dibut ceptibly, and the breath was expelled singers are poor oratorio singers. Ora- paper there are some musical people you would do better by securing a Nelson: That was a good joke on could not “live” elsewhere. It is equal¬ may be. Many people live in Chicago in grand opera in Italy. A little voice, with a little cry, a sound that was , torio singing must be a special study. who could not exist without this con¬ room, and live by yourself? You you. Weren’t you kind of sorry? ly true that this list includes most of and New York who never hear any mu¬ lots of money, and the thing is done. interpreted as an exclamation of Change the color of your tones when stant supply of “atmosphere” and op¬ would very likely be lonely, and in¬ Mary: Oh, a little—at first; but you the great artists and the best known sic, and who do not know or care that In conclusion, if one feels confident relief. The physician saw at once the sentiment of the words change. portunity, but after all the majority of duced to invite in your friends, which don’t know how much there is to do teachers. In one case out of ten thous¬ in each city there is a wealth of oppor¬ that all the demands of an operatic that his office would avail nothing. Change your facial expression when young musicians do not take advan¬ would probably lead to a Bohemian with your head alone until you take and, the young person reading this ar¬ tunity. These are neither poor nor un¬ career can be met, as superior voice, The compressor had done its work. the sentiment of the poetry changes. tage of these benefits even when they life, and that would be worse than all. lessons with one arm in a sling. It ticle may be destined for one of these educated people. They are merely dramatic ability, perfect health, endur¬ This young woman, the doctor said, Learn to beat time with your hand are studying in the city, and could live To those who understand the allure¬ has been real fun to play this left-hand great positions in the city. very comfortably with one tenth of people of all classes who do not know ance, after full preparation gained in had died of heart failure, induced by methodically. Do not thump with your ments and the temptations of the stu¬ piece; it’s hard to bring out the melody T.o the very talented, and the un¬ the so-called opportunities.” I knew a and do not care. America, it would be advisable to go compression of the breathing organs. foot or pat with your hand. dent’s life abroad, it seems marvelous¬ and keep the accompanying chords as usually ambitious, I have nothing. to girl (and she may stand merely as an abroad to study repertoire and the The heart had failed to send up the Always read over the words carefully ly strange that parents should send they should be, all with one hand. say, except to wish them opportunities example of many others) who came languages, and gain experience by tour¬ proper supply of blood to her brain, before singing them. their daughters into a European city, Nelson: Show us how you do it. to try their mettle, knowing full well from a small town to study in Chicago, HOW LONG SHALL I PRACTICE? ing Europe. Then, if one is truly great, and that ended it. The autopsy proved Spend fifteen minutes daily reading inexperienced and unprotected, and [Mary plays “Long, Long Ago,” ar¬ that only the most remarkable com¬ and, although she was faithful in her one’s fame will spread throughout that the lungs of the unfortunate young poetry aloud, paying careful attention where they are constantly surrounded ranged by Kohler for the left hand.] bination of adverse environment can lessons and study, she nevertheless al¬ Europe and America, leading to wealth, woman had been thrust upward, where¬ to articulation and the accentuation of crush them, but to the rank and file BY ALICE L. CROC HER. by a large number who have not the Curtis: You certainly made the lowed months at a time to go by with¬ happiness, and satisfaction that at last, by the motions of the diaphragm had important words. of young musicians and teachers—to slightest regard for morality or honor. melody sing—didn’t she, Nelson? I out availing herself of the chances that through toils and tribulations, the goal been obstructed, while the liver, stom¬ A good voice does not mean a good those who want to “make a living,” see how the pedal holds the tones that were offered her on every hand to hear Students often ask, “How long shall The young woman who, starts out has been won. ach, and vascular glands were crowded singer. and want to make it with reasonable make the singing part of it, and then music in its best aspects. I practice?” This is not easily an¬ for study in Europe, with high stand¬ out of all proportions and much fur¬ Never sing in the open air—espe¬ ease, let me strongly reiterate that you played everything else lightly and swered, since students are not all alike. ards thinks all will be well with her, ther to the rear than their functions cially at night. there is a much better field for them Through a mistaken conscientious¬ LEARN TO BREATHE PROP¬ staccato-like, didn’t you? ness _ she gave all her Sundays to sing¬ no matter how it has been with others. called for. At the same time other When you sing in public, do not hold in the small city than in the large Some can endure four, six to ten hours ERLY. Helen: Oh, there goes Joe Strong! ing in a little ill-balanced, poorly man¬ Ah! she does not know what is in store internal organs were pressed out of your music sheet; have your words and a day, while others, not endowed by Breathing is so much of a factor in Run to the window and whistle to him, aged chorus choir at a neighboring for her. A correspondent of the Bos¬ position in a downward direction, all music committed to memory. The most appealing phases of musi¬ nature with as strong constitutions, singing that without a correct and boys, quick! Let’s get him to join. church, where the standard of excel¬ ton Transcript says: “The American of which had a tendency to prevent cal life in the city, and those which are can devote only two or three. In practical knowledge of it no vocal suc¬ Boys: Hey, Joe! lence was no greater than that in her girl, unprotected on every side by a the normal and equable circulation of urged most often as the reason for de¬ cess can be attained. One should ac¬ Joe: Hullo, what’s up? home town, and thus deprived herself either case it is the quality, and not mother or a mother’s representative, is the blood and limit the evolution of siring to reside there, are these: quire the ability to inhale and exhale TO THE STUDENT. Helen: We want you to join our of the golden opportunities to hear the the quantity, that counts. Better a few sure to ‘fall among thieves,’ who will power.” club. (1) The superior “musical atmos¬ the air, learn to hold the breath, learn From time to time one sees adver¬ great masses in the Catholic churches, hours of careful study than hours of rob her of her health, her happiness, In singing, especially music requiring phere”, of the city, (2) the “greater op¬ to emit it slowly, and learn to emit it tisements reading, “Voice lessons by (Enter Joe.) the fine ritualistic music of the Episco¬ careless or indifferent practice. and every moral principle.” much energy, the heart sends out much portunities” for hearing good music, forcefully. There is no difficulty in Joe: What kind of a club is it? pal churches, the beautiful artistic solo Concentration is the great requisite This may seem a little strong, but more blood to the lungs than when one Helen: It’s a music club and Mary and (3) the “better prices” supposedly surely she will be thrown among many gaining this. It does not require To attempt cultivating the voice by and quartette singing at miscellaneous of correct study; it is impossible to ac¬ iS in a state of repose, and the heart is the judge to decide who is fitted to paid there. To deal with these in re¬ unreliable and unprincipled persons. months of study. mail would be as absurd as to at¬ verse ohder—let it be said at once that services, to say nothing of repeated op¬ complish anything unless the mind is must have room for its natural func¬ be a member. She might escape them, but it would Diaphragmatic, or abdominal, breath¬ tempt to teach painting by mail. In the better prices of the city are very portunities to hear the whole or part of tion, which it cannot have when com¬ Doris: I’m a member. working with the fingers. he a hard fight. Why run the risk, ing, as it is often termed, is that sanc¬ the first place, no two voices are pre¬ largely a matter of imagination. Very the standard oratorios on Sunday pressed and trembling in a band of Ardis: So am I. Excess in practicing causes fatigue, especially when as good or better in¬ tioned by physicians all over the world, cisely the same—they are as different true the great teachers live in the evenings. Her attitude toward pupils’ steel. Mary: We all know Joe plays piano and when exhausted the student can struction could be had at home? and endorsed and exemplified by the as are the leaves on the trees, each city, and equaly certain they re¬ concerts was the same—it “took too well, so he won’t have to be “judged”— much time,” and “cost too much car not study so well as when his nerves, Perhaps one may have an ambition greatest vocal artists. It is sometimes voice requiring special treatment, ceive big pay. But leaving out of con¬ HINTS TO STUDENTS. and really I must go now, it is getting fare; and as for the Continual stream mind and muscles are fresh. German to make a debut in grand opera. This said that, for singing, the superior cos¬ which could not be done by mail. For late. sideration all the modifying factors tal, or chest, breathing is the better Take your lessons regularly or you example: At the present time the (and close analysis would show a dis- of artists recitals with which the city students often practice from seven tq can easily be done, but the real musi¬ Helen: Oh, please don’t go—Curtis m which she was staying is blessed, cal world knows that the announce¬ mode. This assuredly is an error, and will not advance. You will lose your tremolo is largely in vogue. It is ruin¬ hasn’t been tested yet. couragingly long list of these), it yet nine hours a day, sometimes prolong¬ ffiey might as well have occurred in ment of a European debut means abso¬ is not accepted by the most famous interest, and so will your teacher his. ous to the voice, and many otherwise Mary: That’s so; maybe Joe will remains to be asked—“What has this ing their study far into the night. singers. By the following exercises If you miss a lesson, make it up or good opera singers, at an early time in price to do with you?” Surely you Berlin for all the good they did her lutely nothing. It does not carry the play his accompaniment so he can Much is required by the German one may gain a perfect and practical pay for it. Sending word you will not life, are compelled to relinquish their must know that these great teachers because, as she said, she “simply could’ slightest weight with musicians. It de¬ sing. masters, who are severe, and quite un¬ control of the respiratory muscles: be at the next lesson is of no account operatic career, in consequence of this have had a wonderful training, that ot afford them. ’ She was of course pends entirely upon what kind of a ddbut Helen: Oh, that will be fine. I have limited in their demands. If I were to - First place the hand upon the abdo¬ to a teacher, for if twenty were on the terrible habit. If once this pernicious they are certainly most highly talented unusually negligent, but a careful 't is. If in some little town, it counts the song that you sang in school the men and move the abdomen backward waiting list, no person would care to practice is acquired, it is next to ail and cultured and that in the majority watching of the young students of the answer the question, “How long should 'or nothing. There are hundreds of other day. [Gets the music and hands and forward without breathing. Do this take just ONE lesson. . impossibility to eradicate it; no letter it to Joe.] of cases they adopted the cities of their city has long ago convinced me that a student practice?” I should say: such debutantes every year, the major¬ present residence when really good they appreciate but very little the spe¬ "Practice as much as you can, but not ity of whom are never heard of again, several times. Now place one hand Never take a long, exhausting walk could do it. If you would save" your Joe: [Looking it over] I’ll try it. upon the chest and one upon the abdo¬ before a lesson. voice and keep it firm into old age, Come on, Curtis. musicians were not so plentiful as now. cial opportunities” outside their per¬ too long at one time; and have your h the singer is really great, the debut men, and take a long breath through Do not keep late hours. refrain from indulging in the destruc¬ [“Winter,” by T. L. Rickaby, Op. You must be very sure that your tal¬ sonal lessons, and that they would not mind ever concentrated on your work.” *'11 be made in a first-class opera ent is a great one, and that your study pine for these in the smaller city ouse, as “La Scala” or “San Carlo.” the mouth, moving the abdomen out¬ Sing the arias and songs your tive tremolo. Again: One frequently 17, No. 1, or any song suitable for a ward, and holding it outward and still teacher gives you; he knows what you hears tones produced by forcing the child.] has been exhaustive, before you think Besides they can have them in the In regard to an operatic career, con- for several seconds, then exhale the air should sing. air into the upper part of the nose, of competing with them. Even sup¬ f ® ,'weH- Do not be misled by your Helen: Now we are a full-fledged smaller city, if they will, and I cannot In many respects Wagner resembles Do not attempt to be a society per¬ posing that you are qualified to the last ®bition and wishes, or the praise and gently, allowing the abdomen to move emitting a buzzsaw-like sound, horribly music club. Isn’t it great? better illustrate what I mean by this Napoleon III. Like him he always had son and study music at the same time. degree to do so, will it pay you as well advice of those who do not realize the inward slowly. Do not permit the coarse, unrefined, and thoroughly un¬ Mary: It is time to adjourn our first than to cite the case of another young chest to move. Repeat the exercise. If you get discouraged, it is often as to choose the smaller place? faith in his work, notwithstanding the ac(luirements necessary to constitute an musical. This excruciating nosy tone meeting, so good-bye, Helen. an evidence of your appreciation of The “beginner” at teaching starts in haTthe ?V aCqUaintance' This girl most adverse circumstances. All the operatic artist. Have you been emi- Now sit on the edge of the chair, lean could never receive remedial treatment Doris: Come walk to the corner had the advantage of study abroad back, place one hand upon the abdo¬ your work; the self-satisfied pupil ac¬ by mail. with us, Helen. Never mind your hat; the city on exactly the same plane as in means which could help him toward the ently successful as a concert singer? men and one upon the chest and inhale complishes but little. There are many other faults, such as we didn’t wear any. the country—in fact, if there is a “bet¬ co».tatoveA go*od general ed“«tion! goal of his aspirations he has employed y-°U met w‘t*1 success as an ora- and exhale the air, moving the abdo¬ Do not change teachers if you have protruding the chin, curling inward the ter” price it is paid in the small city with an energy which no musician has ..10 ®lnger? Have you held a good (Children go off the platform.) men as before, viz., outward for in¬ a good one, thinking you will gain by under lip, the rigidity of the muscles rather than in the large. f“Ur.ch Position? Have you been of- found « the difficulty of iff’« ,h" possessed before him to the same de- halation and inward for exhalation. studying with several. It would prove tca many musical engagements? If under the chin, the curling of the Sree.—Ferdinand Hiller. Repeat this exercise. When yoti he a fallacy. u are obliged to reply negatively, do tongue at the base or tip, thinness of 271 THE ETUDE THE ETUDE 270 the public have had one or more of these INVALUABLE TO SINGERS piano gives out sweet tones, but little but it is useless -without work. Patti, in of hard study on two continents behind „o w specialize him as competes! THE OVEEWEIOHTED VOICE.^ power. Take off the mute, take off the faults, but they have have been remedied, an interview, says, “In singing, as in her present-day success. BROWN’S tone in certain parts of the voice, and soft pedal, and those instruments gain and these artists are now meeting with to deal with the physiology of the No one not intimate y everything else, practice makes perfect. Take the one matter of memorizing. extreme fullness in other parts, also throat, or place voices and develop voice culture can form any tdea ot tn freedom and force. So it is with the voice. success, and so can you. Do not be dis¬ Bronchial Troches the facial expression, etc., etc.—these Those who wish to become great singers Look at the many pages of difficult A preparation of superior merit for allaying Hoarseness and them correctly. immense harm done to ymces byj1^ Allow the lips to spread, and the tones couraged. _ must practice untiringly. Hard work is _ t -t -i—» nf —k-nefit in Lung Troubles, and many other faults could not be cor¬ recitative, aria and ensemble numbers Bronchitis and Asthma. Many of < most eminent opera ing to themtnem an exaggerate- ^ , will brighten,uiignucii, theyiuv being no longerj.'-'iigci iiahandi- the principal factor of all success. Genius rected by letter writing. Ah, no! there Invariably the pupil is pleased capped by the roUnded lips. There which the prima donna has to get “by Absolutely free from opiates or any harmful ingredient. is but one way: The pupil must be in singers unhesitatingly assert their TAKE CARE OF THE BODY. and voice count for nothing without it. Sold everywhere those who sing with the mouth made heart,” to say nothing of a multitude _ _ _ the presence of the teacher. ability to cultivate voices. - The voice is the most delicate musical Young women with operatic aspirations $1.00 per box. In your aim to learn how to culti- this true of soprano slln®e/’s: vertical; this position tends to send the of details as to the “business” of the The vocal student seems to be a tar¬ instrument in the world. To keep it in come to my performances, and after they JOHN L BROWN & SON vate voices, do not believe that you can everythingeveryinitig else, that-- which is . vibrations back into the pharynx, and if have heard me, exclaim, ‘How easily play. And yet young lady students ob¬ get for all charlatan, money-getting ated is detrimental, and when it relate, good condition requires constant care. Boston, Mass. do so by reading articles upon the sub- .. ■■ this position of the lips is maintained on Mme. Patti sings 1 It is no trouble to be ject to appearing in public to sing one men and women. Any way, any to the muscles and nerves of the body, Very many young singers are thoughtless scheme, is not too base if it enable ject, for, while many articles are ex¬ ne muscics ouu — -- tnethe highnigu tones,tunes, piut-uumjparticularly iuin theure femaleicmaie a prima donna if the gift for it is born in little song “without my music.” IB positively harmful. The we vojce, it will cause great weariness, and in regard to it. them to attain their detestable pur¬ cellent and helpful, more of them are The motor nerves give strength to the one 1’ Ah 1 they do not know the weary What about learning to sing intelli¬ unreliable and misleading, and fre¬ schooled teacher will never attempt to loss of- several... of the upper tones. There gently in German, French and Italian, poses. It is just as bad, or perhaps outdo or thwart nature, but endeavor muscles. There can be no firm voice with years I spent in study and practice of the worse, in Europe as in America. The quently written by persons totally, tin- seems to be a tendency among young most arduous character. I tell you there as well as in English? Here is work to properly develop it. The pupi is w exvv ^ — vacuum weak nerves. Late hours weakens the European teacher examines your voice known. Moreover, unfortunately, it is teachets to give color t is no royal road to becoming a great to do, real work, and lots of it. The completely helpless, and cannot le ^ £rst iesson. it surely would be much nerves, and so do care and worry. and tells you it is wonderfully beauti¬ seldom that any two articles are in singer.” This is the testimony of the .grand opera singer who makes a gen¬ Frank J. agreement. The only safe course is to ofOI injuriousmjunuua teaching except-- ^ better to develop the voice first, which These conditions bring on loss of appetite, ful, and that you bid fair to become and the body becomes debilitated. If the most famous singer in the world. Should uine success has to have a good voice follow out the method of your chosen experience. To make the point clear,” °ar could never be done by muffling the tone, one of the grandest among the galaxy it not be worth something to the aspiring of course, but over and above that she teacher. perhaps I may be excused for relating, when the lips are rounded. body is weak, the voice will be. Excess¬ Benedict of vocal artists. He tells you he will ive smoking causes inflammation of the student? Surely it should be. Do not has to do a lot of actually hard work, bring you out in “Faust,” “Lucia,” etc., The greatest difficulties the young by way of illustration, two cases which ^ would be like attempting to build pharynx, the bronchi and L.rynx, hence expect your musical edifice to stand if and do it herself, for no one else can VOICE and he may do this, in a small town, if voice teacher. has... to--- contend with are came underJ- — observation, and , stremrthstrength bvby liftintrlifting a oin.pin. One ™could the muscles controlling the vocal cords are built upon the sand, but build upon a rock, you are willing to pay for the privilege the defects of voices, which are often there are many, many such. never reach the natural limits of the do it for her. The more thorough the very serious. The knowledge neces- A young lady came to the studio for upperb weakened, the result being a hoarse, weak have a firm foundation, then, if by study preparation, other things being equal, CULTURE of appearing, and receive no remunera¬ with rounded, protruding lips. you develop a beautiful voice, your career sary to enable one to eliminate these voice examination; at its conclusion TIlere j voice. If the nerves controlling the mus¬ the greater the success. Voice, musi¬ tion for the entire season. He tells There is not a woman upon the operatic will be constantly upward and onward, 1700 Broadway difficulties can be gained by consulta- she asked, “Is my voice contralto? 5.,^ « cles of respiration are weakened, as they cianship, the capacity for hard study, a you that you will be a grand success. stage who gives a round formation tc and your life full of joy and happiness. You will apparently be so, if you pay tion with one’s teacher, and also by “Certainly not,” was the reply; y°uv bps when singing the higher tones. The may be by lifting too much or by good memory, and talent for “play act¬ New York City well the "claqueurs” (men who are listening to lessons given to his most tones are all assumed and artificial. jjpg are always lateral, showing the upper too much bodily exercise, singing is im¬ ing,” here are some of the things neces¬ hired to applaud). He tells you that faulty pupils, as from such pupils one she then stated that she had been out teeth> When the voice has been de_ possible. Any excess that tends to weaken sary to success in grand opera. “Musical Possibilities of the Average Voice” you will be heralded in the papers. may learn the remedies for certain with a traveling grand opera company, veloped> then the singer may give to it the motor nerves weakens the whole DO NOT BE DISCOURAGED. The oratorio soloist needs thorough Price, 25 cts. body, hence a weak voice. Catarrh, the This is true if you pay liberally the' faults. singing the leading soprano roles; that any sbiacjing 0f tone desired, the sentiment The remark is sometimes made by preparation, too. This field is not over¬ When you feel that you comprehend she had recently placed herself under Qf the words governing tllc color This singer’s greatest enemy, causes inflamma¬ “How Beautiful Voices are Made” press agent who will call upon you. governing tl one who has tried m vain to sing, “I crowded in this country. There is yet the method for voice development and ^ voice teacher, who told her that tion, and inflammation causes weakness of Price, 25 cts. That which the agent writes may be may often be done by rounding the lips, seem to have a voice, but I cannot room for a number of oratorio soloists translated into English and placed in its correct placement, also the remedies her voice was contralto, and had been the laryngeal muscles, resulting in loss of (In preparation) “Twenty Lessons inVoice Culture” ■■BH—- - . , , , ,• , --r — „ ., . ■ , thusiixus uiuuuuuuproducing a moremuic aumuicsombre tone,tunc, ;ai sing in tune;” “I cannot imitate the who can be trusted to deliver a recita¬ the American papers. Those unac¬ necessary to eliminate. obstructions to teaching her the contralto roles in the sweri ^ depth of emoti vocal power; it also causes vocal fatigue Price, $1.00 different sounds made. I cannot sing tive in a noble, dignified style, to sing quainted with these tricks are led to purity of tone, then the work of teach- same operas in which she had been • • • and hoarseness after singing a short time. pathetic or tender feelings. One should a scale correctly, but I know the instant with emotional color without becoming believe that you are indeed a great ing may safely be begun, after which s;nging the soprano roles, with the re- No matter how strong the voice may bear in mind, however, that the rounded I produce the wrong pitch.” Good! Now “sloppy” and turning pathos into SONG RECITALS success, an artist of whom all Europe the great teacher, experience, will con- stdt that her voice had begun to fail, naturally be, unless the body is in the best position of the lips is only for the time is the time for the teacher to give en¬ bathos. Style, good style in oratorio, is proud, and the flattery of your tinually add to your ability as an in- and her health also; that she had lost : . , ,; assumed to or0(1l... , of condition, and the mind at peace, the with informal talks upon interpretation and use couragement. You can sing. Yes, be¬ is a most essential element. And the teacher may imbue you with the same structor. If you love your work, and twenty-five pounds and could no longer g’ itabie to exoress the nresent senti- voice will be feeble. Rich desserts should of the voice in the songs rendered. Of special o express the present se cause you know the instant the pitch is oratorio soloist needs to keep time. idea—but when you return to your na¬ are faithful and conscientious, you will s;ng with any satisfaction, be avoided; plain, hearty food is better interest to singers and students. ment. It will be found that a natural, incorrect. Already we have the key That seems like a very commonplace tive land the insincerity of it all will reap a rich reward in the advancement she began lessons, and it was found for the singer. Taking care of the body Composers’ programs for schools and clubs. to the whole matter. It is simply that remark, of course. But nevertheless gradually dawn upon you. This is and success of your appreciative pupils. is taking care of the voice. Schubert, Schumann, Brahms, Strauss. the .vocal cords do not respond to the there is need that the subject of time¬ the experience of nine-tenths of those ful soprano _ voice. Had this young than would be possible with a rounded dictates of the mind. In every case, keeping be brought to the attention of Prospectus mailed free upon application. who go to Europe for operatic study. woman continued the contralto study formatj0n if the person possesses a voice of suf¬ The fact is, unfortunately, nearly SINGING FOR NOTHING. aspirants for honors on the oratorio her voice would have been utterly ficient compass and power, he can sing. every woman who possesses a better Literary clubs, churches, fairs, social ruined> and probabiy ber health as well, As the tones of the male voice are BEGINNING AT THE WRONG platform. The soloist in an oratorio The trouble necessitates the gaining voice than the average singer, and who gatherings, etc., etc., as a rule, with Again, a young lady came to the studio mainly produced in the chest register, END. cannot take the many liberties which muscular control of the laryngeal in a measure has been successful, as¬ the coolest assurance, ask and expect and stated that ber lessons bad been it is not absolutely necessary that the lips Many persons. take lessons in voice are taken by some concert soloists. pires for grand opera, failing to realize young singers to sing for their orgam- such that ber healtb had become mucb should be in a lateral position when sing¬ culture who have never devoted an hour muscles involved. This can be done by She must begin to sing at the right that a voice for grand opera must be zations without payment, and yet many impaired> and her voice nearly gone. ing the high tones, as is the case in the to the study of musical notation or sight exercising the voice in a variety of time, and stop when the music requires great, grand, powerful; that one must of these clubs etc., are composed After giving her a few lessons she female voice, but the lips should always reading. The result is, after years of voice ways, until the nerves gain sufficient her voice to cease, or she may spoil strength to govern the action of . the have much natural dramatic ability and largely of wealthy persons. In the was informed that her beaitb and voice be relaxed. The point is, one should be study, when the voice has become beauti¬ thd ensemble, annoy the conductor and Send 2 cent rtamp for my booklet, “ MODERN VOCALISM,- possess a strong, robust, enduring blandest manner the singer is told the enabled to sing his entire compass with the ful, they apply for a position in a church muscles, when they will involuntarily prevent herself receiving a return en¬ lips spread, for by this means he could obey the dictates of the mind. All this body. „ » ri 1 • t • t . me Idbl Wda lilt Vt-JILC lied Liricll L IlcLU • , .« ... quartet, and are overwhelmed with gagement under his direction. The Before considering for a moment the 5 of influence, which might prove becn such that the throat and bronchi give to the voice its greatest power chagrin and disappointment when the or¬ can be gained very easily, but the im¬ quartet of soloists, the orchestra and carrying quality. provement will come slowly, but sure¬ FOUR NEW SONGS By J. S. FEARIS feasibility of European study for grand of great advantage to you, and the had become terribly inflamed. Alas! ganist says, “Your voice is just what we the chorus rarely, in these days, have opera be true and conscientious with experience would prove of immense £ waS t0Q late for remedy. The inflam_ There are several faults which prevent desire, but you are worth absolutely noth¬ ly, day by day, until finally there will more than one opportunity for re¬ not be the slightest deviation from the yourself, remembering that of the value.’ But influence and experience mation had t down th h the the voice from giving out its full strength; ing, because you cannot read.” This may hearsal together, and under such cir¬ Departed Days—Low voice only ’' *. . !‘'go■;::: $0;“ exact pitch. There is no reason why many who go to Europe every year never pay the weekly board bill. Some bronch; to the j and so^n she prominent among them is that of draw¬ he a position worth a thousand dollars a cumstances the soloist with a defective untilVaster only 8ent t0 &ny address for Offer good for study not more than one in a thou¬ of these organizations even have the died with consumption and al de. niging the lowerlow, lip over the lower one having this difficulty may not, by year, lost on account of failure in reading or undeveloped sense of rhythm is J. S. FEARIS, 720 Berwyn Ave., Chicago, Ill. sand ever becomes famous. conceit to suggest to the singer that bjjit A11 this was due to exaggera- Trhls, al™ays causes a downward pulling music. In order, then, to gain a church perseverance and patience, become an bound to make trouble for herself and it confers a favor upon him by he ^ o{ volume and h forcing8,! of of the larynx. This is easily remedied position, she finds that she must go back excellent singer; but in cases where the all concerned. A systematic study of ^uest to sing for them but the the ist especially that of the ^by endeavoring... to show the top of the to the very beginning and devote prob¬ individual cannot distinguish any dif¬ sight singing would obviate this. Yet HOW MAY I LEARN TO BECOME presentation of even a ten-dollar bill r . -r. -. ’ , . eat- lower teeth, and keeping the lower lip ference between two sounds, the case sight singing is about the last subject A VOICE TEACHER? Ur mnrP rtr.rtlr.l Stem, chest' Thls Procedure of voice treat¬ ably an entire year to the study r. * read¬ Essentials of Scientific Voice Training the s°fr and passive. It is not necessary, how- ing music, all of which might have been is hopeless. In one instance it is mus¬ which the ordinary vocal student Study with ONE well-known suc¬ enurenes go so tar as to mrorm tne - _ c°mPass .- ever cular weakness, in the other imperfec¬ show the lower teeth when this acquired in childhood. Nearly every stu¬ wishes to study. cessful teacher. Tell him your object singer that it is his duty to sing in the :tP f e X°1Ce’ hoarseness and £ j’ d tion of the auditory nerves. So one may obtain same by sending two-cent stamp to >es not exist. Another fault is dent of singing begins at the wrong end. No attempt is made in this article and gain permission to hear him give church regularly without pay; That his Jf** ° entne system, resulting, tault does need not feel that he cannot sing, no DR. B. FRANK WALTERS, JR. making tense the muscles directly under The voice teacher has no time or incli¬ to enumerate exhaustively the subjects lessons. It is an easy matter to learn voice is God’s gift and should be used “ ,Seen’ “ the .rm"atl°n voice, matter how far, at first, he may be 171 8 C&x*Wo!'7S preparation P- the chin. This is the case sometimes nation to teach the rudiments of music. which should be studied in making ^**'1 who are the better teachers in any city. freely in His services. This argument ^Id^L “ the death of the in‘ from the true pitch, if he only knows it. throughout the entire compass of the This would be very expensive to the preparation for the various fields of Such teachers have dignified standing is especially pressed if the singer be voice, but generally only on certain high a member of the church. Yes, Goda asd: sidering and remembering this t . - pupil, for instruction in musical notation effort. The desire is to emphasize a and firm reputation. ., , .. ... TT - . destructive mode of voice treitmonr tones. This contraction causes the tone few of them. Reliable teachers in this country and could be had for much less than lessons vivacity, and en- tongue Is anothcr serious impediment t" mony, and the German, French and Ital- Madame Sembrich, one of the world’s face her audience free from bondage to or a beautiful studio; they give no evi¬ only means of income. So is singing ' __ power and good tone quality. It draws an languages. Of course, if one intends greatest sopranos, began her piano the printed page presents a better ap¬ dence of knowledge. the vocation of the singer, and his only up the larynx, resulting in a throaty, un¬ °nly to sing in church, and do oratorio lessons at home at four years of age. pearance and has more power over her In illustration, a famous organist, to means of income. THE LIPS IN SINGING. musical tone. Still another fault is push¬ singing, these languages are not really Soon after she took up the study of the hearers than does the singer who, be¬ ing the chin out when singing. This EDITH HAINES-KUESTER increase his income, one day suddenly It, indeed, seems a bold act for these There are many different theories ir essential, but for operatic or concert ap¬ violin with her father. \(ery early in cause of imperfect memorizing, or for presented himself to the public as a organizations to ask a singer to sing regard to the position of the mouth dnr throws the whole vocal machinery out of pearances they are indispensable. These life she appeared at public concerts any cause, is obliged to hold her music = COACHING ===== voice teacher. He at once placed upon gratuitously when one has spent years ing the process of voice devIL?!' gear, m,uand ^causesscs thelne lonestones 10to TTsound a ter studies, of course, could be taken as a pianist and violinist. When she in her hands and refer to it from time Sludio. 203 W. 108th Street, New York was about sixteen years of age, in his studio walls a variety of impressive of hard study and paid out large sums There are those who round S £ f^earny and throaty. Sometimes all the ong with voice lessons, bu' the more to time. Deportment, with regard to _ . „ Style Repertoire SUMMER Vienna, her serious study of singing pictures illustrative of the vocal or¬ of money to enable oneself to become protrude them somewhat for ?n’ !d faalts referred to are found in one person, w ij i°f ttlese in youth the better it the manner of entering upon and with¬ French, German and English Diction. RATES gans. This man, although a good a desirable singer. vowels, while there are’ ^ u a^d th,e teacher who has t0 contend jjO °e> besides being a great saving of was begun, while her other studies drawing from the platform, and per¬ musician, was a perfect charlatan in re¬ Unless the singer could see, directly change the lips for everv vowel A • ° does n0‘ find his life “a bed nf rc were also kept up. Later she passed sonal. carriage when before the audi¬ gard to the culture of the voice, he or indirectly, a monetary value by sing- there are those who form Afain’ Wlth a good method it is not . “jlng the years of vocal study 1 two years in solid study of voice pro¬ ence is another neglected subject which knowing absolutely nothing pertaining ing, he would seem to be fully justified as one would when smiling th llps a^°.ut matter to cultivate and developdevelo; a voice, n hear as much music as possil duction and repertoire with the late has a good deal to do with the success to the subject. in stating that he did not sing in public being raised, with no oressnr 6 Upper ,'p when is free from faults, but when full should be considered as a part-of Francesco Lamperti, of Milan, and or otherwise of a concert singer. To Do not choose a teacher because he without compensation. Surely, if a singer upper teeth. It will be iaanA Uh°n l °f obstructions, which may have existed mculum of one’s studies. No teae then made her debut. learn her music thoroughly, to train sings finely, or plays the piano or vio¬ is good enough to sing for these lips are rounded that the WhCn the for years> work only, and patience and Miss Farrar, whose rise to promi¬ herself to walk and look her best, to lin skillfully. While these qualifica¬ organizations, he is good enough to be very little carrying noJer1006 possesses Perseverance on the part of the teacher course^6 W^3t may be gained by t nence in grand opera has by some been cultivate a gracious, winning manner-^ tions are not against the teacher, they paid for it. upon tbe v;0];n or tb , ’ , e 1T|tite and pupil, can ever eradicate them. Some iTis thought to be almost meteoric, has this is part of the proper preparation P upon a of the most prominent singers now before artist-18 a° easy task to become a t' Ambition is necessary to sue nevertheless more than a dozen years of a concert singer for her work. ,rP1SS“°n THE ETUDE wae“ ad“S THE ETUDE 273 THE ETUDE 272 ern» will not come to the organ, then upon the services of the house of God, ago. Everywhere we hear organs RECITAL programs. St the organ go to the great com- ic result's. Again, duets may be ef¬ and especially the Sunday morning whose f is like the crash of a thunder¬ osers. To the works of the composers fectively rendered by four voices in¬ BY J. H. ROGERS. service, and the hearing of beautiful bolt coming through the roof! .Were j Church Organs | stead of two; trios by six instead of amed above, and the eminent composers sacred music, than you can cultivate a it not well to change this for instru¬ three. A troublesome quartet may De „f organ music of a later day (Rhein- rose bush over which you have placed ments really musical? A VERY noticeable change in the make¬ berger, .Merkel, Guilmant, Widor, etc.), “¥TTEE have been awarded the con- easily conquered by selecting eight up of recital programs is more and a heavy box which shuts out all the ¥1/1/ tract for twelve organs for the— _ ORGAN DEPARTMENT the8 organist must add the available sunshine. I know that in my case, as new Masonic Temple .New York singers, four of whom have only mod¬ more in evidence with each succeeding works in modern orchestral music. City. (One large three manual erately good voices, but are excellent season. There was a time when the soon as I took the position where I and eleven two manual organs.) Bv the great development in quality ORGAN IN LITERATURE. This contract was awarded us after readers and accurate in. time, these conscientious organist felt that his one was compelled to do the Sunday work and power of the string stops especial¬ the most rigid investigation of our will combine and steady the harmonic mission in life was to awaken popular I ceased to have that sense of soul sat¬ A few reviews of some standard work, both tonally and mechanically. Editor for April, MR. JAMES H. ROGERS ly as well as by the remarkable prog¬ We invite careful examination of our structure, and hold the better voices interest in the severely classic forms— isfaction and that consciousness of spir¬ works on the organ. together. At the same time it will give ress in ease of manipulation, the or¬ itual growth which I had previously en¬ organ, also of our factory and the work Editor for May. MR. CARL G. SCHMIDT the fugue form, especially. Every organist should have in his them the pleasure and satisfaction ot gan is now well fitted to reproduce or¬ joyed, but in its place came a dissatis¬ Our large descriptive book “A,” fully Even in the performance of these library a selected list of books pertain¬ feeling that they are of use m some¬ chestral works. faction, a sadness, a restlessness, a explaining our system and containing sometimes quite abstruse compositions, ing to the construction, care and tuning a list of the organs, sent on request. thing besides chorus singing, and will We cannot expect the public, not craving, as though some part of my of the organ. We shall endeavor to ac¬ We have for sale eight one manual organs simplicity of interpretation was ob¬ andone three manual orjan^all in first class go3 far toward increasing theirmcu interest nature was not getting the nourishment served, a simplicity which often bor¬ even the public of music-lovers, to be quaint our readers with a selected list of QUARTETTE CHOIRS. i the long i become monoto- jn thg chojr In fact, more work of interested in the technical phases of it demanded. And the longer I held the various standard works. These New Yorl/city ** These instruments. aT|ey dered on baldness. Precisely those stand, will be sold at a very low figure. Wnte in the extreme. Unless, -*•' this kind for the regular Sabbath serv- musical composition. An audience this position the more dissatisfied I forms which in many cases absolutely works cannot be sent “On Sale.” for particulars. BY J. 1 ;ers. we can have both chorus and quartette, ;s would prove of great help in hold- may, indeed, be stirred by the building became, until there was little joy in life. require varying tone colors and dy¬ Practical Organ Building, by W. E. the writer, for one, prefers to abide by g a chorus choir together. To step up of a fugue or toccata to an impos¬ I was really unhappy, and continued in namic changes to make them intelli¬ Dickson. Cloth, $1.25, net. Little that is good is ordinarily said the quartette, much expert opinion *- it of the chorus ranks once in a while ing climax—as, for example, in the that state of mind until I accepted a AUSTIN ORGAN CO. gible were played with little or no Contents. Plant and materials. The about quartette choirs by writers on notwithstanding. gives the singer a sense of usefulness great G minor fugue of Bach, or, as a different position. And when I did HARTFORD, CONN. change of registration from beginning stopped diapason, the sound board, the d raises him i ’ modern instance, the fugue in the Pas¬ make this change, and was again situ¬ wind chest, the bellows trunks and to end. Cluirrh iuumv ' VALUE OF THE CANTATA IN Ft'happens oniy twice a year, he has it toral Sonata of Rheinberger, but it is ated so that I could attend the morning frame, plantation of pipes, the action, [ The swell pedal was looked upon as gather from much that is w ritten that CHOIR WORK to rtfcfcthink about. (AsCAs MulvanevMulvaney sos fre- the musical contents of the fugue that service as I had done before, I was voicing and tuning, the draw stops, the whole system is hopelessly bad, and l,nulK wukiy. a dangerous, though sometimes neces¬ quently remarks, “Wanst I was a cor¬ impress the hearer, not the form of it. conscious of a spiritual exhilaration pedals, two manual organs, village that the only way to better the situa¬ sary, device, tending toward frivolity. poral!’) I i know that singers are The organist should give due recogni¬ that nothing else could have given. church organ. The tremolo was a snare for the un¬ ESTEY CHURCH ORGANS tion is to discharge the quartette and usually given credit for possessing in¬ tion to all schools of so-called legiti¬ Organs and Tuning, by T. Elliston. wary (as a matter of fact, the tremolos substitute a chorus-which, in the Ix is a mooted question ;{ the useful. ordinate vanity, but there are cases mate organ music, but in addition he Cloth, $1.50, net. in the older organs were, and are, ESTEY STANDARD MAINTAINED opinion of the writer, would mean, in ness Qf the sacred cantata is10 funy ayap-- where modesty.prevents them from let- must, if he would win the interest and A practical handbook for organists, mostly very bad, indeed). But in the MAXIMUM FACILITIES cases, jumping from the frying precjated by the majority of our choir ting a really good voice be known for sympathy of his audiences, play many UNACCOMPANIED REHEARSING. being a treatise on the construction, good old times, not so many years ago, HIGHEST GRADE OF PRODUCT pan into the fire. leaders. The general attitude in regard its' true value, and the plan of double things that were written for quite a mechanism, tuning and care of the in¬ PIONEERS AND LEADERS ALWAYS It may well be admitted that the ideal to numbers of this character is one of quartet singing, etc., often helps the either, there was another sort of or¬ different purpose than the making of strument. Examine Key Stop Action and wonder¬ church music is that offered by a well- doubt or indifference; and when the leader to better appreciate his material ganist. Preludes and fugues and the an interesting recital program. Tuning and Regulating, by J. C. Spans- Parnassian heights were not for him. The advisability of conducting choir ful Reedless Oboe and Saxaphone balanced chorus choir, supported by subject is broached it is often met and make a more judicious use of it. Wagner, Tschaikowsky, Dvorak, wick. Paper, $1.00, net. His only aim was to win the applause rehearsals with as little instrumental four fine solo voices—but this solution with a shrug of the shoulder and the fxtra time REOUIRED Grieg—none of these men ever wrote Directions for tuning and regulating of the multitude—and he was unmoved accompaniment as possible has been is usually, for financial or oilier rea- announcement that “I haven’t sufficient EXTRA TI Q anything for the organ, so far as the Mason & Hamlin’s American Cabinet by the grief of the judicious. The frequently commented upon, but some Estey Organ Co., Brattleboro, Yt. sons, impracticable. A salaried chorus material or good enough solo voices The second objection so frequently writer is aware, but there are many Organs, preceded by a description of the measure of his prowess was gauged by points, of the subject will bear repeti- Established 1846 is a' pretty heavy burden for most to undertake the presentation of a can- met with a lack of time for the prepa- excellent transcriptions of their works. mechanism, stops, construction, etc; con¬ his ability to portray a thunder storm. churches; in fact, in the majority of tata. Or perhaps the reply will be to ration 0f cantatas. Yet, it may take a Whether or not the ultra-moderns, taining directions for the most effective The more violent the mimic atmos¬ 1. The conductor’s attention is not cases it is quite out of the question. (I the effect that there is not time to keep j;ttje extra time, but 'the results will such as Strauss and Debussy, will in combinations of the stops. phere disturbance, the greater the skill divided and errors are the more easily speaking of Episcopal churches, up ffe regular anthem_ vvork for the mor£ tha„ compensate jor the outlay. their turn be “adapted” to the organ of the performer. located. Time is saved and finer results Church Organs may be left an open question. At the The lighter phases of his art found obtained. LATEST IMPROVEMENTS universal.) Good results are sometimes well.” present writing it seems hardly likely. : frequently be undertaken hurriedly, but ample expression in banal melodies, overload¬ 2. Purer quality of tone and better obtained from large volunteer choruses, may be v?.lid, but they a But, in any case, the organist has now “Matchless, Unrivalled,”—Franz Liszt BOSTON NEW YORK PHILADELPHIA ■’ r- given in which to prepare it with- ed with trite and commonplace orna¬ blending of voices are secured. The CHICAGO LOUISVILLE DALLAS but these are hardly ever available, save offered when not justified by the facts, no reason to complain of a lack of ef¬ “No other instrument so enraptures mentation. Happily this type of or¬ strain due to the desire to be heard HASTINGS, MASS, in churches of very large membership and are merely excuses for lack of at the necessity of a lot of special re¬ fective program material. Many beau¬ ganist is obsolete, or nearly so. above the accompaniment is avoided. the player,”—X. Scharwenka Main Office & Works * —and even in such cases a quartette of proper energy and aggressiveness i hearsals. To accomplish this, the wise tiful and musicianly works have been But also the other type’, the organ¬ The conscious imitation of the harsh really excellent voices will generally the part of a lazy director, leader will settle upon the selection written in the last few years by Eng¬ ist who earnestly strives to give the tone of the reed organs may account [astings furnish a more satisfactory musical I know this sounds rather severe, early in. the season, and allow at least lish writers, Hollins, Wolstenholme, H Co. best music the best possible presenta¬ for the strident character of the work Fair Prices. Established 1827. All Si service. It is asserted that the best and I have no desire to be hard t _ _dKHPdP^,a months for preparation. He and Lemare and others. The morceau de tion, is finding that he must abandon of some, of our smaller choirs. anthems are not suited to a quartette choir leaders. “A fellow-feeling makes the organist should go over the music genre, hitherto the exclusive: possession the attitude of a pedagogue. He must 3. The members of the chorus gain choir. This is true only in part. Many us wondrous kind,” and twenty years together and have a mutual understand- of the piano, violin, and kindred in¬ gain the sympathy of his audiences; confidence and are not so easily af¬ LISZT ORGANS EMMONS HOWARD of the best anthems especially those in the choir leaders harness incline ; as to the correct t of each struments, is finding its way, in most he must add to his many admirable fected by.the absence of a leading voice Westfield, Mass. written for use in the Church of me o great chanty and forbearance number, and also minor matters of ex- attractive fashion, into organ literature. Furnish the most perfect substitute for qualities the ability to meet his audi¬ or unexpected change of organist. a pipe organ of any instruments ob¬ England—are undoubtedly too long and But let us reason together and find out • and intprnrrtati„„ T, ■ The organ builders, too, are doing too “heavy” for a quartette. On the how much the above excuses really a”d lntefPretatio„. This pro- ence in a mutual understanding and en¬ 4. Each section learns to listen for tainable, and are superior to small Pipe Org'ans of Highest Grade their part by the erection on every other hand, there are dozens upon amount to. Firstly, lack of voices for '6 ,e W1 .®av® much. tim^ wllen re- joyment of the music performed. the other parts, resulting in a much pipe organs in many respects. They hand of organs contriving exquisite dozens of excellent anthems, especially the incidental solos to be found in most ]learsmg with the choir. As soon as Carlyle in his History of the French keener enjoyment of the work in hand. differ materially from all other reed voicing with great mechanical pre¬ organs, having a richer quality and those by newer composers—such as cantatas. Now there are very few *71S. been done, announce to the Revolution uses a striking figure of 5. The conductor is free to go to a cision, so that the organist is equipped greater body of tone. West, Cruickshank, Foster and others choirs that do not possess at least one cIl0lr that the cantata is to be given on speech when he says that Robespierre, distant part of the church and judge of as never before to arouse and to hold No other organ approaches the _that can be most effectively given by good solo voice. If this happens to be a certain date, and that thirty minutes when near the end of his power and the work from the congregation’s point Mason & Hamlin in the reputation it four good singers. The effect would a soprano, there will be no difficulty in of every weekly -practice wiil be de- public interest in organs and organ of observation—not a bad thing to do influence, found that the “sounding music. enjoys among the world'sjnost famous APRIL AMERICAN ORGAN unquestionably be greater if they were giving it the tenor solos as well. Oc- voted to its study. (Now watch and board” had “ceased to act” in the con¬ occasionally. musicians. Contains a Brilliant Easter Voluntary done by forty good singers—but it is casionally a solo will be found con- see if you.do not: get full rehearsals!) vention. He could no longer sway his Send for illustrated catalogue A in addition to eight for general use. usually a choice between a good quar- ceived so distinctly for the tenor voice After the singers have sung through listeners by his words. The “sounding Pipe Organ Music. Separate Pedal Staff. tette and an ill-balanced chorus of per- that it will lose something of character the work -and have some idea of the THE IMPORTANCE OF THE board” was, indeed, there, but his ut¬ PLAYING TOO LOUD. The American Organ appears 6 times a year, haps fifteen or twenty voices. Need- and style when rendered by a soprano, leader’s wishes, let them take copies ORGAN PRELUDE. at $1,50 a year, on the alternate months when most efforts could not make it vibrate. It is a common complaint amongst “ The Organist ” (easy pipe organ or reed less to say, that in such a case the but such is the exception rather than home with them, and thus grow more Every one who appears before the organ voluntaries) does not appear. E. L. quartette has,, even in concerted pas- the rule. A baritone or bass can man- familiar with their respective parts be- BY ISAAC MOTES. congregations that organists play too BOSTON Ashford, Editor. 32 pages of music in each public in any capacity whatever must loudly. Very often, and in a sense, issue. April number 35 cents. No free samples. sages. musically, all the best cf the age alto solos, and if the bass solos are tween rehearsals. If the above plans touch a responsive chord in the minds It is the intent of the organ prelude they are right. I am not thinking of NEW EASTER MUSIC argument. Still more will trained out of the range of an alto voice, they are carried out, there will be need for of his audience, or his labors are vain. voices be missed in the numerous inci- may be sung by the basses in unison, but two or three extra rehearsals and to take a great congregation, of diverse the cases where pure lack of artistic in¬ We publish a great variety of new Easter The organ cannot hold any real place A Monthly An¬ music. All of this is described in onr new dental solos which make up so great In fact, this last suggestion can often these will be cheerfully given, thoughts and aspirations, which has stinct is to blame. Instances of this in the musical life of the people of to¬ them Journal Easter catalog. Among the new things de¬ a part of modern anthems. And not be carried outi in all the solo work. And now to sum up the advantages come to the house of God with minds sort are only too common. But I refer The Choir for Volunteer scribed are: day unless it breaks away from the only for these incidental solos do we When this isii done, the singers should that accrue from the occasional reruii filled with many different thoughts, to organists of fairly strong artistic, in¬ Choirs .'. Sunday-school Programs dust of tradition. It is undeniable that Octavo Anthems require the very best singers available. cautioned to sing piano, and the tion of a pleasing cantata. First an some worldly, some care-burdened, stincts. who wish to make their services Choir Cantatas How wonderfully the musical service training for this mezzo-voce tone will increased interest < most of the greatest composers have some frivolous, some vacant, and fuse a pleasure to those who listen. They Sheet Music-Solos and Duets ‘ part of the Organ Music may be enriched and made inspiring by prove of great value in the production of singers. Second, turned the cold shoulder to the organ. them into one homogeneous whole and hear it said that they play too loudly, enthusiastic With the exception of Bach, Handel, All for Easter. A copy ot this Easter catalog such solos as “If With All Your sweet, pure quality and careful phras- ception of the work by the convre^" hit it heavenward. And it is fitting and if they are inexperienced they try free to those mentioning The Etude. Hearts” from “Elijah,or_ “But the ing. It will also tend to give courage tion and many friends who com t and Mendelssohn, we look in vain in that music, the divinest of the arts, to get along .with less sound. What is organ literature for the epoch-making THE LORENZ PUBLISHING COMPANY Lord Is Mindful” from “St. Paul.” But to timid singers and help to develop listen. Third, a good chance of hold should be the first to appeal to us, to the result? Simply that the choirs get names. Schumann, it is true, wrote a out of tune and the congregations get ISO Fifth Ave., New York Dayton, Ohi0 unless such music is well sung, with them eventually as soloists. ing (as regular members of the choir) carry our thoughts to that heaven from adequate voice and with musical under- A word of digression just her._ _ few pieces which are marked “for or¬ which it came. We never hear any- out of time; so the latter are no better fW SmgfrS who may have been lend- gan or pedal piano.” So lightly did pleased than before. The real evil in S HOPE-JONES ORGAN CO., standing, it is much better left undone, gard to unison passages. Such strains ing assistance thing about painting in heaven, or fj (Builders of the Ocean Grove and Buffalo Cathedral Organs) PROFESSIONAL DIRECTORY on pag, jlijggr" -'i the cantata. Fourth, a he regard the possibilities for contrast scores of cases is not that organists So, then, the whole matter resolves are usually rendered forte, with every number of chorusesWhbekaHtt Poetry, or preaching, or oratory, or Q Elmira, N.Y., and 41 Union Sq„ New York City, N Inserted 12 Times,i imes, neroreBefore Halfnair IV1Million Mi itself to a question of quality versus singer striving to drown the voice of may be utilized for ordinar "h ih tone and power which the organ of elocution, or sculpture, or aesthetics, or play too loudly but that organs are be¬ People for $12.00 quantity. Whenever a church finds his neighbor. This method ix partially service. And fifth the sati / .. urcb his day offered, that apparently he con¬ literature, though there are probably all come too “shouty,” if I may use the itself in a position to add a chorus of excusable when the passage is one of having accomplished somethin* "e ° sidered the pedal piano (useful for mese, but we do hear a great deal term. Many of the stops in the modern carefully selected voices to its musical great boldness and vigor, though the the usual rut of evervdav ch ’ 1 i practice, but musically impossible) a about music there. organ merely deafen; yet, if choir and The Carl Barckhoff Company, Inc. poS’T fair, substitute for it. equipment (presupposing that this in- voices should never sound strained; These advantages wouM ^ WOrk' And this leads me to say that soul congregation are to be kept in time and BUILDERS OF eludes a competent quartette) it will but the deepest and most thrilling ef- compensation for the amount”1 growth requires strict observance of tune, they must be used, for the diapa¬ Over 2500 Barckhoff Organs ORGAN ARRANGEMENTS. in use testify to their superiority be prepared to achieve the best possible fects of the unison are reached by involved, and I feel sure th t tulabor jhe Sabbath, just as much as a growing sons'are of small scale and afford no support to voices. Surely it is time and durability in construction, results. But no chorus, however good, pianissimo treatment, and careful prae- to-date leader will uphold me T. Now, if the mountain will not come °wer needs sunshine and the breezes workmanship and sweetness oi that we took a cut back to the fine can take the place of a good quartette, tice on this line will amply repay the claims I have put fnrw= T t to Mahomet, then must Mahomet go T heaven for its growth. You can no tone. Only work of fhe highest round toned diapasons of fifty years Church Organs Choral singing, unrelieved by solos, leader who really wishes to get artist- church cantata._The Church Choir ^ to the mountain. If the great com¬ 0re feed the soul without attendance grade done. posers, especially those we style “mod- Please mention THE ETUDE w! 275 THE ETUDE 274 THE ETUDE Conservatoire only one year and three violinist to do the same, if he is able skin’ of the music. Without any pre¬ piece of similar character has appeared in ing the violin for five and one-hAlf months in all. He has since played all 0 afford one. My violin is an Anton¬ vious personal knowledge of me he recent years which has won such univer¬ years, and that he was Y over Europe, always with growing suc¬ is Stradivarius made in 1722. It was had agreed to my concerto at the sal popularity. months old. He did not kno cess. In 1905 he made his London formerly the property of Burmeister, Birmingham Festival in 1885, and one Just at the present writing the charm¬ what he was saying or doing. debut. The present tour is his first from whom I bought it. I purchased may readily understand his anxiety to ing “Humoresque” by Dvorak seems “While at Odessa he studied under visit to America, and will be followed the instrument myself out of the earn¬ Prof. Alexander Fiedelman. In 1902, know what was in store for him. ‘I destined to win a similar popularity. The by a tour in Australia.” ings from my concerts, for a very high Violin Department Leopold Auer, the great St. Petersb« S am near-sighted’ was his excuse for only thing which at present prevents it .ML Notwithstanding his extreme youth, rice so you can see from that .what propping up the manuscript on the from being played universally by amateurs violinist, professor of violin at tne Mischa Elman has decidedly positive Royal Conservatoire in that city, while L opinion is as to old and new violins. mantlepiece while I took my seat at a is the fact that no easy simplified arrange¬ ideas on violin playing, teaching, and The solo violinist should have an old pianoforte at the other end of the room. ments have yet been made of it, the pres¬ touring Southern Russia, heard the boy everything pertaining to his art. ROBERT BRAINE, - Editor play and was astounded at his genius Cremona instrument, the best which Nevertheless, his shortsightedness did ent arrangements in use being somewhat As the lad was a Jew, and at that time "SCHOOLS” AND TEACHERS. he can afford. not prevent him either from dealing difficult for the average amateur. “New violins are not to be compared easily with the technical difficulties or The composition, which is now famous, only Tews who had been born in £>t. “I was fortunate in having good in¬ 'Hi Petersburg were allowed to remain to old. They have not the proper from entering into the spirit of the was written as a piano piece some years struction in my early boyhood days, there, Prof. Auer telegraphed to tne quality for solo playing. New violins piece a prima vista. Only twice—with a ago by Dvorak. He put the metronome under Prof. Leopold Auer,” said he, Czar of Russia for permission to bring are constantly being made, and the muttered ‘H-m, h-m’ over a difficult mark at j =72. The remarkable beauty reputation, and I also play the violin. “but the pupil must not slavishly copy MISCHA ELMAN ON PRACTICAL the boy there to study, even threaten¬ makers claim they are as good as the passage—did we stop, and I was thor¬ of the melody and its adaptability for the We used to notice that when little the master if he would be a successful HINTS ON VIOLIN STUDY. ing to resign his professorship if the old Cremonas, but they are not, al¬ oughly astonished, but much too nerv¬ violin was at once recognized, and August Mischa was eighteen months old I concert player. He must develop his permission was not forthcoming. I he though it is possible that some of them ous to say so. After the final chord Wilhelmj made a fine arrangement of it From an Interview with Mischa El¬ could always quiet him by playing on own individuality. It makes me angry Czar gladly gave permission, ana may be in fifty or one hundred years. there followed—for me—a somewhat for the violin and the piano. Some of man, Secured Expressly for “The my fiddle. He used to sit motionless, to hear some people talk of this ‘school’ Mischa became a pupil at the Con¬ Stradivarius was a great artist in mak¬ embarrassing silence. Then he held out the leading violin virtuosos began using Etude” by Mr. Robert Braine. and seemed fascinated by the music. and that ‘school,’ and of this teacher pecial Values servatoire under Auer. ing violins, He knew just what wood his hand, remarking, to my great re¬ it in their concerts. The strange part of When he was four he wanted my vio¬ and that teacher, as if all depended on “Prof. Auer did not intend to make to use, just what proportions to use, lief, ‘I have nothing to say. Let us it was that instead of preserving the lin, but I was afraid he would break the ‘school’ or teacher. a prodigy of his pupil. He was to to give the violin the ideal tone. I do play it again,’ from which I was shrewd character of the composition as a “Hum¬ it. One day when I was away his “My student days ended between the in Old Violins study quietly until maturity, and then not think the present-day makers have enough to gather that he had expected oresque,” the majority of the soloists The Lyon & Healy collection now mother let him have it, and what did ages of thirteen and fourteen, and I appear as a full-grown, thoroughly de¬ got the same wood. At any rate, con¬ to have a good deal to say. played the opening theme more in the the young American violinist Francis Mac¬ he do but begin running his fingers up have been busy on concert tours ever ! ceedingly low prices. Through this veloped artist. Yet it was due to his cert violinists will not play these new “Although Sarasate would not teach, style of a dreamy adagio, and it must Millan, Mr. Braine Is peculiarly qualified to and down the strings, grinning with since. I assure you that I play alto¬ Uection have passed the finest secure this Interview, violins. They prefer the old. The he was always ready to advise and en¬ be admitted that it is more effective in violins ever sold in America. Thousands of satis¬ delight when he gether differently from what I did modern makers of new violins turn courage young musicians, and I re¬ that way. One leading soloist plays it fied patrons. You are invited to send for 60-Day has appeared. In America or Europe—Editoii got the notes of when I left the hands of my teacher. Discount Circular. We will send with it a copy of The Etude.] them out by the dozen. Stradivarius quested him to play to the Royal more than twice as slow as the above the scale. As he Not only is my conception and inter¬ of our beautiful catalog of Old Violins—free. Prices fashioned each of his instruments with Academy of Music students. metronome mark, and the result proves Mischa Elman, the world-famous seemed to have pretation of the great concertos and from $50 to $10,000. Easy payments if desired. inspiration and with love. He had a “On that memorable evening the marvelously beautiful. Most of the young Russian violinist, now completing such an extra¬ other standard compositions for the Lyon & Healy, 87 Adams Street, Chicago wonderful instinct which told him how first number on the program was my great concert violinists in this country and his first American tour, is one of the ordinary ear for violin entirely different, but my style to achieve the remarkable tone which concerto, which I accompanied. Al¬ Europe are now using the “Humoresque” few prodigies—wmderkinder (wonder music I saved has entirely changed from what it was his instruments possess. lowing his attention to be distracted, on their programs, or as an encore num¬ children) the Germans call them—who up money and in my student days. I have been con¬ “The old masters of violin making probably by the number of eager ber. Besides the arrangement by Wil¬ has developed into a mature artist of bought him a stantly developing and changing. I violin of his own. are akin to the old masters of painting young faces quite close to him and his helmj, there is one by F. Rehfield, and one ROOT VIOLINS high rank. Usually these infantile plgy the music as it appeals to me. The feecond day „r,d sculnture. Their work cannot be enthusiastic welcome, he started the for ’cello and piano by Schrattenholtz. Every artist should develop his own geniuses “peter out,” to use a slang opening phrase an octave higher than The composition could easily be simplified individuality and play as he feels the expression, when they reach the age of it is written. Hearing him calmly pro¬ so that a violinist of limited technic could music. manhood or womanhood, principally street to meet ceed, and knowing well enough that he play it, and it is strange that such an “Several years after I left his instruc¬ because their mental and physical me as I was was bound to ‘come to grief’ very soon, arrangement has not yet appeared. tion, Prof. Auer sat in the audience “REMINISCENCES OF SARA- growth has been stunted by overtaxing coming home, I followed without making sign. But during one of my concerts in London. the nervous system and vitality. and said, ‘I can SATE.” as the passage became gradually irrv- After it was concluded he came back THE VIOLIN IN LITERATURE. Young Elman, however, seems to have play your Waltz practicable, he discovered that all was to see me. ‘Well, how do you like it. Below is a short account of a few had a father and mother who saw to it Clicquot.’ Of BY SIR ALEXANDER MACKENZIE. not as it should be, and stopped. After Professor?’ I said. After congratulat¬ standard works on the violin. It is that the growing boy practiced only course, I would a chuckle at his mistake we began our idea to acquaint our readers with as much as his strength would permit, not believe it, ing me, he said, ‘Yes, but you play [The musical press of the world still everything differently from what you teems with reminiscences of Pablo Sarasate, a selected list of the standard works and that he had plenty of outdoor ex¬ but he dragged the eminent Spanish violinist, whose death “In like manner, at the Norwich did when you were taking lessons from occurred recently. Among the most inter¬ on the instrument. These short re¬ ercise and fresh air. The result is that Festival of 1893, he commenced, to the me in St. Petersburg.’ ‘I am delighted esting which have appeared are the Recol¬ views should be of great help in the lie has grown up with full strength and house and sure lections of Sarasate," by Sir Alexander consternation of conductor and orches¬ to hear you say so, dear Professor,’ I Mackenzie, the noted English musician, di- selection of works regarding repair¬ VIOLIN INVESTMENT OFFER a fine constitution, notwithstanding the enough he played tra, playing the ‘Pibroch’ at the second replied. ‘I play as the music now ap¬ ing, history or technics of the violin. fact that he has traveled almost con¬ the waltz with subject, ignoring the beginning entirely. peals to me, and the way I feel it ac¬ These volumes cannot be sent “On tinuously on the continent of Europe almost no mis¬ The result naturally caused an abrupt cording to my own ideal. I have my Speaking of Sarasate’s habits of prac¬ Sale” as books are damaged in transit: on concert tours ever since he was four¬ take, and with stoppage of the proceedings, but own conceptions.’ tice, Mackenzie says: E. T. ROOT & SONS teen years of age. Sarasate gravely put on his eye glasses, Violin Talks, by E. L. Winn. Cloth, The prospective students or parents “It is always interesting and cer¬ 8 Patten Bldg. Established 1857. CHICAGO WHAT TO STUDY. tainly useful to know the working went slowly, to Mr. Randegger’s desk, $1.50. who, when they visit a violin teacher, peered into the score, and after smil¬ A book for teachers and students rarely omit to ask “how long it will for : “The concert violinist should have a methods of an artist who has ‘arrived,’ ing sweetly at the band, calmly re¬ containing suggestions for teachers of NEW AND OLD take to learn” have their answer in the seemed incredi¬ broad musical education. He should and much has been written about Sara¬ sumed his place and a fresh start was children. Analyses of important teach¬ story of Mischa Elman. The young ble that a boy of sate’s habit of working six hours daily study everything of importance written made. These odd aberrations can man is now but eighteen years of age. four having had at his violin. Shortly after I made his ing works, practical information con¬ VIOLINS for his instrument. I think I may say hardly be called lapses of memory. At the age of four he could play sim¬ a violin but two acquaintance he told me that his real cerning technic, bowing, intonation and VIOLAS CELLOS that I have played nearly everything of They were, I take it, the consequences ple airs on the violin; between five and days could learn practice was only done during the sum¬ other subjects related to violin study. SOLD, EXCHANGED and real merit in the literature of the violin. BOUGHT BY MAIL six he began serious study, while at a waltz without mer months and never when he was of a boy-like kind of dreamy wonder¬ Also a short treatise on the Joachim Especially should the student master ment produced by the impression of New Violias from #4.001 up. Old Oaes (tern thirteen he was able to play the Men¬ attending to his engagements. The fol¬ and Sevcik schools of violin playing. #25.00 to #4,000 the etudes of Kayser, Kreutzer, Fiorillo, the scene before him, making him, for SPECIAL BARGAIN delssohn Concerto and the excessively Rode, Sauret, Dont, Gavine, Paganini, lowing should vouch for the truth of difficult Paganini Concerto in D, in teach him as well the moment, oblivious to everything The Violin and Its Story, by H. Atele. Hawley’s Marcus (CtAfi and the other great writers of studies this statement: Cloth, $1.00, net. Stainer Violin . . v4UU public, with great success. He rarely as I could. Mischa Elman. “When he introduced my ‘Pibroch’ else. dodm STRINGS l for the violin. It is very important “To me, the remarkable ease and A volume on the history, and con¬ practiced over two hours a day, but “When he was to Germany he asked me to conduct four and a half, the Princess Urusoff, that the violinist should become ac¬ elegance of his bowing was quite as struction of the violin, with 28 illus¬ when he did practice it was with the teacher himself that Elman did make its first performance and to spend a #2.S m ** ARTISTIC RJEPAmiNcf BOS E.“gS’ &°m 10‘ who was the great lady of the quainted with the chamber music, the astounding as either the nimbleness of trations. A translation of a standard most intense concentration of mind. his debut as a violinist in St. Peters¬ portion of the Christmas holidays with THE H. BAUER COMPANY neighborhood, heard of him, and in¬ string quartets, trios, etc., of the great his fingers or the infallibility of his in¬ German work. A book of great value, This record goes to show in what an burg, in October, 1904, in his thirteenth him at Frankfort. During the fort¬ 135 E. 34th Street : New York vited him to play for her. The re¬ masters. Beethoven, Brahms, Mozart, tonation. With shut eyes, one could containing matter the result of much amazingly short time the most difficult year. The reason for this was that a night we were together Sarasate compositions for the violin can be mas¬ sult was much grief for me, as she Haydn, Schubert, and others of the not distinguish any change of bow; .original research. Artistic insight as child wonder, a violinist, came to the never took his violin from its case, tered, if the student has the requisite wished to adopt him on the spot, great masters have written some of and in the gracefully smooth action of well as deep appreciation of the sub¬ city and was praised so warmly that wept to inspect the strings before the NEW CREMONA genius and the proper instruction. saying that she would give him a first- Prof. Auer was nettled, and said he their loftiest inspirations in the form the right arm lay the main secret of ject by the author make an invaluable VIOLINS of chamber music. I know of nothing general rehearsal, and again for a simi¬ The writer recently spent a pleasant rate musical education and bring him had a young pupil who was much more his fine phrasing.” book at a minimum cost. lar purpose just before driving to the hour with Mischa Elman, his father, up as a Russian gentleman. There was remarkable. His hearers were inclined which will better elevate the taste and concert. As we shared a small suite who accompanies him on all concert one condition, however, and that was to be sceptical, so to prove his point develop the best musical instincts of of rooms, I must certainly have heard DVORAK’S “HUMORESQUE.” tours, and his accompanist, the accom¬ that little Mischa should abandon the Prof. Auer resolved on a stratagem. the violinist and student than this Violinists, Don’t Miss This Great Offer! LET US TELL YOU HOW' ^ Jewish faith of his fathers and become branch of the art. There is more real him if he had played at all—btjt he did plished pianist, Waldemar Liachowsky, He was himself engaged to play at an There is so little music of high artistic G. L. MUIR & SONS music in one or two string quartets not. Only his phenomenal facility of St. Petersburg, and during the con¬ a Christian. To this I could not con¬ important concert in the city, but at due being composed at the present day Finest Silk E.5 lengths... 10e each..*1.00 do*. Gloucester, . . M ass. sent. Fortunately the Princess was could account for the fact that the per¬ versation so many things came up of the last moment sent young Elman of Beethoven or Brahms than in half tpressly for- the violin that the whole SilYer^oSnndeGeE’A’D’4 “ —12e “ » 120 “ interest to the violinist and student not angry, and when the boy was five m his place, stating that he himself a dozen Italian operas. formance in question was a perfect one. olin world is on the constant outlook E, A D... GUARANTEED ITALIAN ^ As a matter of fact he enjoyed poking that many of them will doubtless be of and a half she assisted us somewhat was indisposed To the amazement of “The student should hear much ,r new compositions, whether for piano, IMPORTANT! in taking him to Odessa, the nearest interest to Etude readers. the audience the lad played the Men¬ music. ^ He ought to embrace every op¬ good-natured fun at those who were •chestra, opera or what not, which can The first manifestations of the genius large town, and placing him in the obliged to ‘labor’ on the violin, using, ALBERT ELLERMAN,rd9rprOTpeTtPAve., SCRANTON, 1»A delssohn Concerto and other important portunity to hear symphony orchestras, ■ adapted for the violin. When the of a great artist are always interesting, Conservatory there. When the child works with the most brilliant success string quartets, the opera, piano re¬ on such occasions, his bow-arm in un¬ ,era “Cavalleria Rusticana” appeared, the and those of Mischa Elman read like was taken to Mlynarski, the head of A Berlin concert agent was present citals and recitals by vocal artists— couth fashion, grimacing and blowing larming “Intermezzo” introduced by the a romance. Of his childhood, the the Conservatory, he was so nervous and at once engaged the boyP for a everything, in short, which is good hard through his nose upon the instru- ,inposer as an orchestral number, to be OVIDE MUSIN’S senior Elman said: and excited that the first thing he did concert tour in Germany, where he was music. ment. But then, nature had made most “Mischa Elman was born in Tanoje, was to fall flat over the piano stool. ven between the acts of the opera, at VIRTUOSO SCHOOL OF VIOLIN remarkably successful. From that ti^e Ihmgs easy for Don Pablo! Instruction given by Mr. Musin in person. Russia, in 1891. His grandfather was When he got up, he informed the OLD VERSUS NEW VIOLINS. ice achieved enormous popularity. It on it was one concert tour after an¬ . “At our first meeting I was strongly STUDIO : 810 CARNEGIE HALL a, violinist, and had a considerable amused director that he had been play- as arranged for the violin and piano, PROFESSIONAL DIRECTORY on page 284 other. He was in the St. Petersburg . p'ay on a genuine old Crer ’“pressed, not solely by his rapid 56th Street and 7th Avenue, New York City id attained immense vogue among Also Summer Course—write for terms. Inserted 12 Times Before Half Million Musical violin, of course, and advise every < sight-reading, but chiefly by his gift °f People for $12.00 at once getting intuitively ‘under the Please mention THE ETUDE - en addressing our advertisers.

i THE ETUDE 277. His name was Monsieur, or, as we 276 THE ETUDE MOW TO KEEP A MUSICAL The handsomest of the musicians showed it with such open and honest foretold fame for timid, little, near¬ h SCRAP BOOK. should call him, Mr. de la Malle, and But Franz stayed there for five long were, of course, the ones that drew pride that sharp criticism would not sighted Franz Schubert! For, apart forth the most excited comment from only have been brutal, but would have he was very anxious to find out at just years, busy with music, as usual. from these hours of music, his life in by C. A. BROWNE. what time his bird neighbors began The boys had formed a small orches¬ the future debutantes. Mozart, with defeated the object of the entire en¬ tjie “Convict” school was not very his beautiful face and his lacc ruffles terprise. However, it was suggested their morning songs. tra, which he joined as one of the And so, from the 1st of May until pleasant. AVe grown-ups know, by past expen¬ and curly wig, was a blue-ribboner, in that she' should put the book under CHILDREN’S violinists. His playing attracted atten¬ the 6th of July—a little over two se that it is in the nature of all young their judgment. a heavy pile of other books, when it tion at once, and before he was four¬ A PITIFUL LETTER. months of the year—he made careful things to hate restraint. Perhaps we The first thing upon our order of came to the week-end. And also, that teen years old he was sometimes observations, which he published regu¬ DEPARTMENT called upon to take the place of con In a pitiful little letter which Franz have not all forgotten how very annoy¬ exercises was to have them each invest if she used a little less paste, the ductor when the leader happened to wrote in 1812, to his brother, he says: ing and unnecessary “practicing” used in a five-cent blank book. In this book, leaves would give less trouble. larly. We are told that for thirty long “You know, from experience, that a to seem, when all outdoors—and the as an auxiliary to the lesson, they were I never again expect to see such a be absent. years this patient, watchful naturalist Hints to Little Folks and Their Teachers neighbor children—were calling. required to make a little tabulation of badly swollen exercise-book. But the fellow would like to eat a roll, or an went to bed at seven o’clock in the HIS MANIA FOR COMPOSING. Even the greatest masters, like Beet¬ each composer, on this plan: right kind of zeal was there, and that That May Make Music Study More apple or two, once in a while. All the evening, and rose again at midnight, hoven, were children once upon a time, was the main thing. Pleasant and Profitable As early as twelve years of age, more so, if, after a poor dinner, he has Name 1. Nationality. Dates of during the spring and summer, and that Franz had a perfect mania for compos¬ and it is whispered that some of them She also confided to me that while to wait eight and a half long hours °f birth and death: he did this in the interest of science. ing, and used an enormous amount of even had to be beaten in order to for a wretched supper.” The youngster Composer 2. Mention at least one she had not as yet read all of the He found out that the chaffinch of music paper. He was too poor to buy make them learn the hated music les¬ clippings, she “meant to.” They were, then begs to have a penny sent him work. his locality opened the concert about bater” that “something must be it for himself, and would have had to sons of their youth. some of them, so long, she said; and THE STORY OF THE CHOIR 3. One historical event one o’clock, which is late at night or wrong.” go without, if it had not been for the occasionally and signs himself, “Your It has always been a little home¬ so she was shown how she could BOY WHO BECAME FAMOUS. which occurred during early in the morning, according to the Michael Holzer was the choirmaster kindness of one of the other boys in loving, poor, hopeful, and once more, made theory of mine that our boys and select the best parts, and cut out the • his lifetime (this last to way you look at it. of the parish of Lichtenthal. So Franz the Convict, with whom he was poor, brother Franz.” girls would be less rebellious toward others neatly, with a sharp pair of place him as regards to He claimed that the sparrow is the BY C. A. BROWNE. was placed under his instruction for friendly. This boy was older than How the little fellow could sing at the art that is supposed to soothe the shears. Most long articles will bear laziest bird of all, and does not leave violin and piano, as well as for sing¬ himself, and was named Spaun. One savage breast if the how-it-came-to-be- the times in which he all, with such treatment, is a wonder. pruning for scrap-book use. bis nest until five o’clock. But some The folks who think the number ing, the organ and thorough bass. In day Franz blushingly confessed that written and the when of the “piece” lived). There were times when even music The rest of the class had restrained one else, who detests thhilipp’s Complete A Restatement of Ne-w England family. The novel is Philadelphia. title. All are especially suited to small have been sold. This is true particu ichool of Technic. Fundamental Prin¬ ter gift than this issue of The Etude, Revere’s Ride and Valley Forge. There larly of: by any ordinary teacher. The work is based upon the interplay of these two with this artistic and desirable supple¬ is some very brilliant choral writing and made principally for classes, but can ciples, by N. J. characters and some others upon each For introductory purposes we are First Steps in Pianoforte Study. One ary, Rhapsodie Ilongroise, Jerusalem, and ment. While they last, we will be glad brilliant work for the solo voice. This be adapted to private teaching. Mr. Jorey. The one library asset that other, with Vienna and New York as offering this volume at 25 cents, post¬ of the most popular of the modern, 1500 others, 10c each. Catalogue free. to supply all of our subscribers and cantata should be used by all mixed Batchellor, who has been a kinder¬ ither teacher or p.upil cannot get along background. National Music Emporium, Etude Dept., paid if cash accompanies this order. beginner’s instruction books. We have Albany, New York._ readers with additional copies upon choral societies of any size and some pre¬ garten teacher all his life, has gone vithout is a compendium of essential called it “Almost a Kindergarten COMIC SONG, German Bruders. Piano, receipt of twenty-five cents. However, tension. Special offer on this book may over the work for the last time in a echnic. Some teachers dictate _ or Method.” It is a concise, practical and The Story of Musical Form, by 10c; Comic Song, “Schnitzelbach,” Piano, judging from the surprising advance be had on application. The regular price Organ Repertoire. This work is now most thorough, painstaking manner vrite all their exercises. This is a 10c. Cloth chart of each 28x39 in., 35c. orders, only those who apply at once will be $1.00. in press and the melodious course, the result of the Clarence Lucas, published, by The Broadway Publishing Co., 287 Broadway, and has rewritten many chapters. This nost excellent plan with scales and Buffalo, N, Y._ special offer is herewith withdrawn. experience of at least six of the best Walter Scott Publishing Co., London will be able to grasp this opportunity, has been the principal cause of the de¬ irpeggios, but with the general run of which is without doubt the greatest Peer Gynt Suite. We will issue during The preparation of this collection has teachers of beginners; carefullv revised (Charles Scribner’s Sons, New York). FINE TONED ITALIAN VIOLIN, cheap. lay in issuing the work. The second, zeroises has its drawbacks, for the Carlo Testore (1717), a pupil of Joseph offering ever made by any musical Lyric Pieces. the present month entailed much thought and attention and compiled by Theodore Presser. Price, $1.25 net. Guarnerius, formerly used by greatest artist Duet Hour. The “Duet Hour” is a par¬ °r pupils’, volume will follow after the ollowing reasons: in Europe. Mrs. F. T. Chapman, 524 Eliza¬ journal. By Grieg. two popular works to detail and we feel sure that it will First. In half-hour lessons, for the This is an addition to “The Music ticularly melodious collection of piano present volume is on the market. beth St., Portland, Oregon. by this favorite com¬ be justly appreciated. Many of the eacher to take even two _ or three Story Series,” and is intended to help duets of moderate difficulty for pupils Our offer for the two volumes, com¬ Four-Hand Duet players, lovers of poser. The first, Peef Gynt Suite, will pieces are absolutely new and original ninutes of the pupil’s time in writing music 'students and lovers to a better Miscellany, four-hand music and sight be edited by William H. Sherwood. He and the majority of the arrangements or for teacher and pupil, and at the plete, is only $1.00. understanding of how music is made. It excellen-... __ _ popular price of 50 cents. mt an exercise is a grievous waste is in apparently as good condition as when readers will be particu¬ has already edited for us two of the have been especially made for this vhen the same exercise may be found gives a short outline of the history and purchased. W. J. Turner. Judge of Circuit Standard Third and Fourth Grade Court, Milwaukee Court House larly interested in this new collection. movements from it, and he will under¬ book. The book contains positively no Our Success. The number of un¬ Llready printed, and the pupil can be development of the scales, harmony, It contains pieces of all styles, original take to edit in like manner the rest trite or commonplace material. Pieces. This is the second volume of the solicited expressions of lirected with a word. counterpoint, fugue, and musical form compositions, transcriptions and ar¬ of the Suite. There will be a complete Although the work is no longer on tar Snr‘eS °f selecti®ns compiled by Praise and appreciation which we re- Second. If the pupil is studying to be in general, and the author illustrates rangements, some classical and others W. S. B. Mathews and designed to analysis in connection with every move¬ 'special offer, we shall be pleased to eeive from patrons in all parts of the teacher, he or she needs all the es- his meaning with examples taken from in lighter vein, although of intermediate accompany the celebrated and univer¬ ment. Our special price for this Suite send it on examination to all who may world, if published, would crowd all ential exercises in printed form, for a wide variety of sources. Mr. Lucas difficulty, ranging in grades from three during the present month will be 20 be interested. sally used Standard Course of Studies plher matter out of this column. Here ipplication in practical teaching; and is a man of very wide. experience and to five. The pieces are all engraved cents, postpaid. and all other graded courses. 18 a characteristic statement: “My ,eeds to have them constantly before much learning, and while this aids him on especially large plates, thus obvi¬ The other volume, Lyric Pieces, Op. Sacred Songs. These two volumes Singing Leaves. A short, easy Cantata transactions with your house have been in a scholarly exposition of his ideas Etude Office. ’ tor mixed voices by Grace Mayhew. he eye during study years Other- ating the necessity of turning the page 12, is one of the most popular of all For High Voice, of sacred songs are very satisfactory; I could not wish my it is apt to lead him astray at times A COMPETENT TEACHER WANTED in frequently. The book is handsomely 1 he Monarch Collection of some at¬ vise he will be overcome with a feei¬ every city and town to Introduce the Russdll Grieg’s volumes of miscellaneous com¬ For Low Voice, now ready for the orders filled more completely or more into the discussion of subjects con¬ Methods of Music Studv—Voice, Pianoforte gotten up. This is an excellent oppor¬ tractive arrangements of popular pieces ng of helplessness when he first be- positions.- The famous Album Leaf, press and the special Promptly.” The person who wrote fusing to beginners. Those who have and Choral Class Work. These works stre- tunity to secure a well-balanced reper¬ the Elfin Dance and the two popular tor mandolin, banjo, guitar and piano rins his teaching, first as to where to bringing results everywhere. References, etc., offers are hereby withdrawn. Church me above said nothing about prices, already some knowledge of the matter required. Address Headquarters. The Normal toire of four-hand pieces at an ex¬ accompaniment. ind exercises, and, second, how to use Norwegian Dances come from this vol¬ singers and lovers of sacred songs in O'scounts or terms of settlement, but with which the book deals will derive Institute of Music, Carnegie Hall, New York. tremely low price. For introductory Sieber’s Opus 93, Elementary Vocalises , collected edition of them. ume. Our volume will receive very search of new material of this char¬ 1 ts to be assumed that if those were considerable enjoyment 'from its THE TAUSIG HAND EXPANDER, an aid purposes the special offer price on this close editing and will be published in for Mezzo-Soprano. After the pupil has gotten past the to pianists with small or stiff hands. One acter should possess copies of these not satisfactory, the other favorable perusal, for the author knows what he work is 30 cents if cash accompanies the Presser Edition. Our special price Root’s Scales and Various Exercises for JoLntarv stage and well under way dollar postpaid. Essex Publishing Co., 853 volumes. Each contains a splendid considerations would not amount to . is talking about, and is at war with the Carnegie Hall, New York. the order. If the work is to be charged, on this work during the current month high voice, Opus 27. One of the num- "to knowledge and practice of scales collection of songs; original melodies, much. pedantry which so often spoils books SEND FOR (FREE)' “How to Make Tech¬ postage will be additional. will be only 20 cents. bers contained in Mr. Root’s course. nd first, arpeggio practice, he is ready expressive and suited to every occasion . of this kind. Young composers will nic Fascinating,” “The Secret of the Artist” Technic and Art of Singing ” These ideas are at the foundation of " " ideas for teachers. See Shep- ur business—promptness, complete- °* ^!lw HiatAttempts to use the find the book extremely valuable. ess and liberality, with the courteous TUDE when addressing 280 THE E T II D E the etude 281

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E.T. PAUI.L MUSIC CO.'S™?' the etude 283 THE ETUDE phrasing and common sense What Others Say tN an interesting book on “Touch INSTITUTE OF MUSICAL ART AN ADVANCED Answers to Questions Learn Piano Tuning , different them to pupils. A. Equality of stroke. Fvenness of time. music, on the other hand, wordless and ... Volumes have been writmm upon this Development of accent as Indicated in the StgaftS? I have'to thankawsf you for your“ ™careful. “ subject, but touch depe-depends ’ upon- three simple second volume of Dr. Mason's Touch and idealess, loses its all when it loses the in¬ -traditions,, i... „.e 1.1 The length of the tone TIechnic. Scales in contray motion. De¬ “ " Hon to mv orders and the liberal treat- telligent exposition of that form which required. 2. The force of the tone required. velopment of velocity. Scales in thirds, S"accorded me.—E. S. Claussen. 3. The quality of the tone required... ^ Thut sixths, etc. Application of dynamic shading alone furnishes the key to its expressive — v- The iegat - -j to the scales. All scale work Is much more i have received “March Album” for four content, and becomes little better than a YOUR MUSIC IS TORN 11! e staccato c ort touch, i successful if it is developed along these taads and am delighted with it. It is fine HARRISON HI. WILD re separated. (or pupils.—SI. Rose James. succession of empty sounds.” list and Choirmaster staccato. i Episcopal Church e between a tone toiled that it jusl >ollo and Mendelssohn Clubs MULTUM-IN-PARVO BINDING TAPE ... __, _..ends almost HAYDN AND THE FIDDLER. i the quality of the instrument Ur.—Mr*. D. TV. Fan - -e in quality may be arp blow upon the , First Lessons,” I am it Square, Battle Ckeex, Mich., TJ. S. A. ORGAN PIANO tell pleased Like all Gurlitt pieces, ' BY J. CUTHBERT HADDEN. It is attract'attractive in meter, well fitted for the LESSONS an methe KKeys dividing music ii„ impose and it is well gotten up and edited. have been before the musical pub¬ them slowly dowi frequently and carelessly called a bar hut -John Srb. Haydn’s chief instrument was the cla¬ lic over 50 years and rank with the Theo. Presser, Philadelphia, Pa., crihed by Mathay. is preferable to be exact. Q. What dofis Cantabile mean? Tour book “Juvenile Song Book” is i vier, but in addition to that he dili¬ highest standard pianos of the day. of the best for children I have ever used gently practiced upon the violin. In DECKER PIANOS A. Like singing. It denotes a kind Uprights, Grands and the celebrated flowing legato produced upon the pianofor Helen E. Malm. 1751 he took lessons on the latter in¬ by carefully sustaining the tones. Decker Player Piano. Full information and catalog sent on request. enclatnre employed by The arrangement and order ( strument from a “celebrated virtuoso.” Uses in Philipp's "School of- Teel NORTHWESTERN UNIVERSITY their methods introduced. ... _ _ _ jiving each finger equal opportunity rc The name is not mentioned, but the Decker 6 Son,, Inc., you to read hooks such as Dr. Mason's kept, they require a special a general opinion is that Dittersdorf was . . — EVANSTON-CHIC AQO ===== “Touch and Technic” (Four Volumes) ; force growth in flexibility and independence, by the performer? am glad I have ordered so many copies l the instructor. This eminent musician Tobias Mathay, “The Art of Touch Marie A They require a special force, but this aivance.—Mrs. Luey B. Ralston. SCHOOL OF MUSIC The Chicago Piano College Prentner, “The Modern Pianist” (Leschetizkv force is imparted unconsciously as a result obtained a situation as violinist in the ”Method). ” ” ' ' then determine upon what of co,.„„„ v IM. J. COREY iting and correct training in rhythm. Court Orchestra at Vienna in 1760; " rational opinions advanced Rhythm. i.is «i—-simply correct interpretation of / any dealings with. — '■--1- von non ,the 1,.., l ...... -j- ■ accents demanded by the and curiously enough, after many years Pianist, Organist and Musical Lecturer AuSS£SSe5^SLaS style of professional activity, succeeded Novel, Varied and B shore of Lake Michigan, in Chicago’s most orm. ‘ak UP°n | J. U. S.—The word “divertissement,” which Haydn’s brother Michael as Capell- LESS MEAT. I wish to compliment you on your recent Iniversities, Colleges, Lyceum you find upon the title page of your piece, publication, which i received recently—‘ A meister to the Bishop of Groswardein, simply means a composition 6r arrangement Advice of Family Physician. feat in the Life of a Child." I consider it :a of MacDowell,” Mr. Corey;: for the piano. Many years ago when it was one of the most valuable little duet books in Hungary. He wrote an incredible if all nations for a beginner, and especially a child, I have amount of music, and his opera, “Doc¬ Formerly people thought meat neces¬ 11 Hull : CHICAGO, II came into occasional use. It Is rarely seen (ter seen and it will fill a long-felt want.— tor und Apotheker,” by which he eclipsed sary for strength and muscular vigor. Clarence D. Kellogg. now, except in old editions. Mozart at one time, has survived The man who worked hard was sup¬ L. G.—Farinelli was a famous male so¬ Geza Horvath’s “Octave Studies” Ls an up to the present. Whether or not prano who was bom in 1705 and died in 1782. posed to require meat two or three excellently well-selected work, being the The name Is a common one in Italy, and the he gave Haydn lessons on thp vio¬ the College of Liberal Arts or Acadenv times a day. Science has found out cream of all easy studies. The exercises are out extra expense. Chicago Conservatory teacher whom you mention of the same name melodious, and Include in progressive order lin. it is certain that the pair became Concert Organist j is doubtless trading upon the reputation of his differently. the most necessary work for young pupils.— FREDERICK MAXSON A thorough Preparatory Department if Auditorium Building, CHICAGO, ILL. celebrated namesake. You will, no doubt, intimate friends, and had many happy It. is now a common thing for the to. Valerian Winter. May be engaged for ORGAN RECITALS. Has played at Yale University; City I860 42d SEASON 1908 find teachers far more capable and more de¬ days and some practical jokes together. sirable for your own needs right in your home family physician to order less meat, as .1 am sure that I only echo the sentiments Convention Hall, Buffalo ; Grace P. E. Chapel, New York City; etc., etc. Send for circular MUSIC and DRAMATIC ART city.—R. P. One story connected with their names with press notices. Instruction In Plano, Organ and Harmony. in the following letter from a N. Y. «t many teachers all over this country when Q. What is the purpose of the middle 1 ''-'press my entire satisfaction with your sounds apocryphal, but there is no P. C. LUTKIN, Dean, Evanston, III. WALTON PERKINS, . man. methods »f doing business with your many 1003 SOUTH 47th STREET, .... PHILADELPHIA, PA. pedal on the mano? harm in quoting it. Haydn and Dit¬ A. 1. On all grand pianos, and some up¬ “I. had suffered for years with dys¬ Mo, accurate publications, and courtesy right, this pedal is employed to sustain the “ every way.—X. M. Perkins. tersdorf were strolling down a back INCORPORATED 1900 ARTS BUILDING, CHICAGO lower tones of the instrument in order to pepsia and’ nervousness. My physician SHERWOOD MUSIC SCHOOL o play upon the upper advised me to eat less meat and greasy .The “Vox Organi" which I purchased street when they heard a fiddler scrap¬ THE PENNSYLVANIA tram yon.proves to be of musical wealth. I EMINENT TEACHERS IN ALL DEPARTMENTS. PIANO.—William R. Bh^rw and at the same time foods generally. I tried several things ing away in a little beer cellar. Haydn, I M'l'.lil’RET V- sounding. One of the ** toon f]eased wItU my lnvestment'— CL ASSES.-Mr" .Slierwoo <.VO CAL. -^Arthur Beresford,’ DaJujf ProthJ°oe,’ JvSe^b to take the place of my usual break¬ entering, inquired, * “Whose minuet is College of Music writer that the middle pedal was unneces¬ GRASS SEED fast of chops, fried potatoes, etc., but that you are playing?” “Haydn’s,” an¬ DEGREES OF MUSIC CONFERRED «. DRAMATIC ART.- sary as the vibrations of the upper tones il/Jsh *0 say this for “ were so rapid and so short that the damper got no relief until I tried Grape-Nuts 28 started 60 pupils with . swered the fiddler. “It’s a very bad 1511 Girard Avenue (loud) pedal answered every purpose for H™9 It the most satisfactory - , minuet,” replied Haydn, whereupon the K. H. CHANDLER PREST. which the middle pedal was intended food. E?®® I shall use no other.—Mrs. 2. On many cheap upright pianos the mid¬ “After using Grape-Nuts for the “Wes Sheekler. enraged player turned upon him and dle D|aaI a aecePtion put on solely to would have broken his head with the cereal part of my meals for two years, J feta received Ferber's “New Songs With- The Sternberg School of Music 3;i0n , soFe upright pianos the middle fiddle had not Dittersdorf dragged him T AND GREATEST TWO ENTIRE FLOORS pedal sets in operation a mandolin attach- I am now a well man. Grape-Nuts "Orts,” and I think it an excellent vol- ment, which in most cases produces an ex¬ benefited my health far more than the 22, tllat should be in the hands of every away.__ . SCHOOL ceedingly tinny ’ and disagreeable sound “sic pupil.—Anna Frey. resembling the mandolin very slightly. nve hundred dollars’ worth of medicine Indorsed by Pres9 and Public I had taken before. Joseph Haydn! A man who always MICHELL’S SEED HOUSE 10 South 18th St.. * fS PHILADELPHIA Stage Dancing, Etc. evw used ^n writingSout^h!wmthe triple flat My wife and children are healthier held his gifts as a trust _ from the I 014 Market Street, Phila. rebriioiX^neh to^xplafn Certain Dramatic Art, J® °llUsed than they had been for years, and we Maker of all, and who recognized his are a verY happy family, largely due well pleased with MacDowell’s own stewardship by inscribing most>of PROFESSIONAL DIRECTORY on page 284 CORRECTION OF MUSICAL M.S.S Vocal Culture to Grape-Nuts. teachwmf' 1 think they are splendid foi his writings, “To the praise of God. -* Inserted 12 Times, Before Half Million Musical A SPECIALTY (Up-to-date in every detail.) ru;f-j g, P'cacs and cannot praise them too People for W. BORST, 1505 Arch St., Philadelphia Pa Buck. Jig, Skirt, etc., Opera, etc.. Elocution. . Q- What is the correct metronomic mark “We have been so much benefited by '“■—Mrs. Drummond. Ernst ■Pauer. iposer of Cantatas: John Gilpin. Mrs. Speyer' Jtc' Singing and Rag-Time Songs. Vaudeville for Chopms fantasie in C sharp monor? Grape-Nuts that it would be ungrateful Acts, Sketches, Monologues. Etc. NO Prlnt, metronomic markings l&fe8??'8 “Scenes from Childhood,” FAILURES. not to acknowledge it.” tot ii " 1™ hands of the young pupil, can- Name given by Postum Co., Battle Rea L"ltivate a taste for the works of the ™Bg,p?, BhS hp“t„i?®po|are. May it be found in the 49 W. 97th SI. Sre,!k-\ ^ich' Read “The Road to of every true lover of music.— answers by mall! b* PleaSed to s«nd them Wellville,” in pkgs. “There’s a Reason.” tr *■ inastasia. New York School of Music and Arts __ The only Sei Q. What is program music? Phone, 679 River :ively agrees to teach and place inexperienc.... ^ Ever read the above letter? A new ttfeiTlrst Sonatinas" are fine as an in- n.irr I CCPU QTTRNFR nirentnr fAll'1 branches olof music taught by eminent teachers ' ■ ■■ e stage. 127 La Salle St., near Madison St.. Chicago. HI. musican;Ssome legend. r?tofvnt0r0r one appears from time to time. They t° the more difflcolt ones, and all RALFE LEECH STERNER, Director Mr. Sterner personally in charge ol Vocal Department.' condition that the composer has had are genuine, true, and full of human tag. J“™s are a great help to me in teach- Please mention THE ETUDE w i addressing onrndvertisers. while writing. Notable examples hre jiff's kro- } bate taught many years and never Qp.r.ial Summer Mui'ed ,n^ AppPcation -Unlimited Free Advantages—Mehlin Piano Iked interest. J4on d' anything so helpful.—Mrs- E. ETUDE 285 284 THE ETUDE summer schools

NATIONAL Recital Programs Summer School June 21—Aug. 1 4 PROFESSIONAL DIRECTORY CORRESPONDENCE Music That Progressive Teachers The Shepard Systems Correspondence School Have Found Desirable THE PIANO SYSTEM SCHOOLS OF MUSIC THE HARMONY SYSTEM ARTISTS ARP TEACHERS THEORY AND NORMAL COURSES ft,C.Lfl!M to loach Certain Principl, Carnegie Hall, New York City s of Ijrnuline College. teaches what you wish to know—what you need every day, and which FU&e Methods, but which"a'r7viTALkn°Wn t0 ^ you do not believe can be brought within your reach—but it can. HAYDN EVANS, Mgr. Our free ANDREWS Z-TMZ ::S ALCHIN Dance,L**Op5 39* tJviacDowell; ’ Theme’ Op. in, Mr. Shepard is the Discoverer of many Important Innovations in No. 5 (for the left hand alone), Pirkhert; Theory Study, and Author of leading Text Books. on St., Detroit, Mich. Etude de Concert, No. 2, F minor, Liszt; principles and of Correspondence 'Stu£ becker . ** BURROWES Rondo Brilliant, Op. 56, Hummel; The Eagle, One teacher said: “I never expected to find, nor did I believe there Op. 32, No. 1, MacDowell ; The Brook, Op. 32, was so much light on this subject, as you have given me.” No 2, MacDowell; Scherzo, Op. 4, E flat INVESIIGATI this Great Advance. It davis r,:;:,rr: S dunning r; minor, Brahms; Minuet, Boccherlni-Joseffy; t is not merely a Method A Revelation in Simplicity, Directness and Practical Value, Scherzo, from Op. 32, Scharwenka ; Liebes- of Technic, but a traum, A flat, Liszt; Will O’ the Wisp, Jen¬ A Specimen Lesson and Circulars will be sent on request. denison:.::: :. FLETCHERS sen • Ballade, Op. 23, G minor, Chopin; Con¬ cert, Op. 16, Grieg; Nocturne, Op. 9, No. 2 no M P L E T E of Teaching and Study, from the BOOKS BY F. H. SHEPARD: ‘‘Harmony Simplified.” 12th Ed. Simple DEVIN E.LENADORIA ISf (for the left hand alone). Scriabine; Ara¬ but Complete. Principles—not Rules. $1.00 postpaid. Sent “on approval.” besque, Op. 45, Leschetizk.v; Rhapsodie, No. ryTFTM Grade to Highest Vir^si,, We harmony.:;: 11, Liszt; Capriccio Brilliante, Op. 22, Jlen- Key to Harmony Simplified," Contains 500 Examination Questions. GREENE v to Modulate," 2u~£d. Concise, Simple, endorsed by highest kern: Pupils of J. Biliary Taylor. SPECIALIZE on Interpretation by Mail. authorities?" 75c postpaid.' GRiCKS^^-^i In May, F. Behr; The Happy Plowman, F. A. Williams; Barcarolle, O. It. White; SHEPARD SCHOOL OF MUSIC, CARNEGIE HALL, N. Y. normals: The Mill Wheel, C. V. Cloy : Bagpipes, H. SUMMER SCHOOL AND MAIL ADDRESS, ORANGE, N. J. hagerty, Rider; Spring Song, Mendelssohn; (a) The HOW ACOUSTICAL DEFECTS Mill, (b) At the Ball, Hillary Taylor; Ron- penters and upholsterers to cover up HAIGHT shepard::: dino, W. Hopf; Water Sprites, S. Heller; HAMPER THE SINGER. Song of the Katydid, C. W. Kern ; Free as whirhT^L, SU,r.face in the corners, Air, A. Sartorio; Forest Sprites, F. A. Wil¬ which I quickly discerned was the cause SCHOOLS AND COLLEGES liams; Mazurka (4 hds.), F. Wrede; Reverie, BY J. LEWIS ORTON. heink :. A. L. Brown ; Allegro—Sonata, Op. 49, No. 2, of the reverberation. The committee Founded AlI16riC(Ul COflSCfVcltOry Kimball Hall SCHOOL OF MUSIC HORATIO PARKER Beethoven; Polish Dance, Scharwenka. Ireland . ::,:v Chairman of the Board of Examiners passed a vote of thanks and a resolu¬ AQUINAS Pupils of A. H. Stadermann. HjMilan there is a noted echo called tion, which was duly-carried out, to 1 8 8 6 Music, Dramatic Art Chicago, Ill. Sonatina, in C, Op. 36-1 (first movement), ihe 'Simmonetta” that repeats the sound JOHNSON If you are interested in the Clementi; Allegretto Grazioso, in C, Biehl; reimburse me the expense I had been Unsurpassed Faculty of seventy. Course of Study thorough and modern. Jolly Huntsman, in F, Op. 31, Merkel; Ga¬ of a pistol-shot fifty or sixty times— put to, and the Athenaeum Hall, Mel¬ bartel; study of Harmony, Counter¬ votte, in D, Rogers ; Sonatina, in C, Op. 36-1 Special Department for the training of teachers. Diplomas,"Certificates. kinder (third movement), Clementi; Rondo, In A, gradually decreasing in power to the bourne, is now the most popular hall for point, Composition or Instru¬ Op. 40-2, Kuhlau ; Swing Song, in A flat. Op. aii The eccentric late Duke of Port- Public School Music Department. BEETHOVENc 47-2, Sudds; Syiphlde, in E flat, Loeschhom; lectures and entertainments.” KROEGER’^SSfe^i mentation, write us. Barcarolle, in A flat, Spindler ; Sonata, in e ]ind,il is said, had the dimensions taken The singer should bear in mind that (first- -_... ■*' , Mozart:>•——*- • Sonata (PathA ,t(j a reproduction made in his own Special Summer Session carl: tique), in C n Beethoven; Ga- it does not necessarily need more power MONZEL " “i °P- ?3’ garden. To all appearance, the imita- of five weeks, from June 28 to July 31, 1909. Lectures and Recitals by eminent WHAT OUR STUDENTS SAY: lodard; Song of of voice to fill a large room than a Spring, in E, ( tion was most exact, but there was no artiste. Terms moderate. Catalogue and special circular mailed free. moulton r.. CHANDLER1 E flat (first mo___ __ small one—reinforcement is the great in C sharp minor. Op. 28-4. Grieg; Album echo! This is one .iiustration of the secret. But there are some rooms so JOHN J. HATTSTAEDT, President Leaf, in A, Op. 28-3. Grieg; Etude, in G flat, fact that there are many acoustical petersilea::i~~^„ CHASEM Op. 10-5, Chopin ; Etude, in G flat, Op. 25-9, immense that the reinforcement is al¬ Chopin; Novellozza, in A. Op. 47, Benj. pries yet unsolved. I willingly admit most nil and the singer might as well Godard; Humoreske, in G sharp minor. Op, POTTER* DETROIT 1 6-2, Grieg; Nocturne, in B flat minor, Op. my inability to give any rule which will be in the open air. In such rooms it Music teaches most exquisitely the art of development.—D'Israeli 9-1, Chopin; Scherzo, in B flat minor, Op. inform a singer, merely by a glance in is well to remember that it is purity, QUINLAN i DURHAM ‘ 31, Chopin. i room, whether the latter is good for rather than force, that tells. Strain SCHOOL OF MUSIC-EDUCATION Pupils of^ Miss LidaBei sound. However, the question is usual¬ means wrong production, and that is For Student, and Teacher, of Mu,ic—Pianoforte, Vocal, Violin, Harmony, Counterpoint, Composition GQTTSCHALKI . Calvini; J CALVIN BRAINERD CADY, Principal SALMON Dance, Rogers; The F’irst Robin, ly capable of being satisfactorily an- to voice what unstringing is to a drum. Merry Bobolink, Krogma nn ; Song of iiered by an experienced singer or There are certain rooms—some cathe¬ HAHN'S SCHOOL0; Shell, Krogmann; When _—r-._ Summer School and Normal Courses shryocklzi ton; Merry Blue Eyes, Orth; Pixies on the speaker dire tly he has produced two drals, for instance—that are too vast for Pianoforte, Vocal, Kindergarten and Public School Music Teachers and Students Water, Brown; Hungarian Dance (4 hds.), for the voice to properly fill, and yet TILDEN HAWTHORNE Enke; The Elephant and the Mouse, Maxim; or three notes in the building. I will Rocking the Cradle, Dutton ; The Flower strive to show the reader how to arrive there is a strong echo, in consequence PorUand, Oregon, Jniy l-Aug.6 AmoKKrST„ Song, Lange; Elves’ Midnight March. Krog¬ of hollow spaces beneath the floor. tracy ‘ HEINZE mann; Yellow Jonquils (4 hds.). Sartorio; it accurate conclusions, and how to School of Music-Education, 225 Newberry St., Boston, Mass. Musical Scenes from Pixie Land. Brown; a under difficulties. Such edifices defy good results, and the Pixies’ Good night Song, Brown : Pink, l.ich- performer (if wise) will prefer the VEON KNOX1 ner; A Little Waltz. Ga.vnor: Valsc Im¬ In a room well constructed acoustic- CONSERVATORY promptu (4 hds.). Durand; Spring’s Messen¬ til), there is a very gentle and equable lesser of two evils—he will avoid very gers, Spindler; Rondo Villageois. Dennee; rORY Of MUSIC WHEEI _ LANDON Fantasia, Dorn; Spring Showers, Fink; Les rtiaraof the voice to its producer, but loud tone, and will have, as a reward, M.vrstes Valse. Wadis; The Swallow Song, atreis no perceptible echo. The colors the assurance that he gave an oppor¬ LIEDERHEIM Bolim ; Impromptu Op. 28. No. 3. Reinhold; wilder::;: Pendant La Valse, Lack; La Zingana. Iiolini; title voice remain pure. Should they tunity of hearing music to a propor¬ S?,n?. the Brook- Quigley; Fantasia on tone vitiated, and the voice sound tion of those present, which is far bet¬ SPECIAL SUMMER SESSION °n WINKLER: Belisario (4 hds.), Goria. MARKS' CoT^ teing” in the ears, the person is ter than to sing louder and produce Elocution MUSIC Languages Pupils of Ida Truitt. only a jumble.—From Music. Also Special Normal Course in Teachers 'n NATIONAL so- _ Pas Redouble (6 hds.), Streabbog: Arcadia. ilging too loudly. This effect may Engelmann; Pilgrims' Chorus, Wagner;, On *tur merely because the room is too Pianists Professional the Meadow, Lichner: Morning Prayer, PUBLIC SCHOOL MUSIC Organists Directory NORTHWESTERN 32s Streabbog; A Song of Spring, Williams; la mil for the body of tone employed, IC1IOOL OF M the Gypsy Camp. Armstrong; Pussy Willow •'it may result from the room having ror catalogue ana summer Circular Address Si ngers . March, Adams; Dream of the Reaper. Heins; C^WEIGESTER SHENANDOAH Among the Lilies, Lindsay ; The Merry Bobo- ‘Uclo. It is erroneously believed by MISS CLARA BAUR, Highland Ave. and Oak Street, CINCINNATI. OHIO Unk, Krogmann; Fairy Polka. Streabbog; aunythat an echo is favorable to sound. SUMMER SCHOOL Beethoven Conservatory of Mnsic ST. CLARA: March^^B *ht ^ackley» Happy Home «reinforces it, of course, but this leads St. Louis, Missouri Pupils of Mrs. Gillies. ~ tit vitiation of tone-color before of VOCAL MUSIC VIRGIL rarantelle (4 hds.), Heller; In Mischief. ®totioned, and to unintelligibility. To teacher of sincinq 3he 4Merry Bobolink. Krogmann; For Singers, Teachers MR. PERLEY DUNN ALDRICH Song of the Armorer, Gaynor; At School '•bat an echo sing or speak more and Students March, Streabbog; A May Day (4 hds.). '5Wy and more slowly. This will put the will teach from June 1st to August 14th at BROTHERS EPSTEIN, Directors : (/ol?,eu Twilight, LaFarge ; Sultan's ;al‘tt right provided the echo is but Boston Musical Bureau :_wand follows quicky after the orig- ATLANTIC CITY, N. J. of,afeeTaiel\4er ■ one. But there are some buildings Crane Normal Institute of Music For particulars address Love’s Response, Kinkel ; Le Crepuscale. Guv; 1* reverberation is compara- ?fUwn p,llries' s- Smith ; Jesus, Lover ROBT. G. WEIGESTER _ V Voice culuire, right-reading, ear-training, har¬ of My Sou. transcription. Blake; Fifth Noc- flow, and this makes clearness of 1710 CHESTNUT STREET PHILADELPHIA, PA. mony, form, music history, chotus-conducting m-802-863 Carnegie Hall methods, practice teaching. Graduates hold QnTeVivLeey(nhdL L GanUz!aV°‘°’ Aub“'",ta,th - tii,,CI?tIon more difficult, and some- £ NEW YORK, N. V. w important positions in eolleges, city and' normal ' t! impossible in singing. Concave Pupils of Miss Mary K. Baker. POTSDAM, N. Y. MUSIC TEACHERS Processional March. Ringuet; Fairy Dance jtts m a building are bad for sound. MARY WOOD CHASE Eilenherg; Morning Prayer.' Rtreab- McCabe, the ventriloquist. PIANO Special Summer Course HIGH-GRADE POSITIONS bog; Two Juveniles (4 hds.). Marc Burty; SCHOOL OF ARTISTIC PlANOJLAYmG^ »Ly First Waltz, Engelmann ; Pell Moll Galop iu’. I car> mention one instance of VIRGILfSCHOOL For Teachers and Othere address The Music Teachers’ Exchange . A™),,1™!!; Happy Thoughts Waltz VON UNSCHULD Suite 1014-15 Steinway Hall, CHICAGO. rA. eA’’ Bo'>mson; Hunter’s Horn. Sehmoll; Wail111"1' 'n Melbourne which was i he Only Teachers’ Agency Exclusively Musical. Knights Procession, Poldini; Mill In the ^through this fad of architects, 21 Wesf 16th Slreef, New York JUNE 23 to JULY 23, 1909 UNIVERSITY OF MUSIC THE PHILIP RAY AGENCY, MANAGERS IrS.'MABVWMD CnA, CMcaico B ack f orest (4 hds ). Eilenberg; In the 'ritiid ' cured. Many professional MRS A. M. VIRGIL, Director. K hL ",1 LSngej ^.ving Leaves. No. 4. ....SEMD FOIi CATALOGUE.... Koelling: Les Pas de Graces (4 hds.). Paul Wachs; Tarantella, Nollet: Mazurka de Con- St Str°ngly ased me not to at- r ss!U'd • SonS: Shepherd’s Bream. TaS°" in if- 1 asked my usual Ryder; La Fete de la Rosiere (6 hds.). Thuil- Sm, ~'le‘r answer was that ‘every The Interstate Teachers’ Agency March of a Marionette. Gounod; WASHING^ Macheca Building ••• New Orleans pitches’ Dance, Concone; Overture. “Lust- Sin J>nce attempted in it had been •< MINNEAPOLIS SCHOOL OP MIJShT hds.), Keler Bela; Song. A Gvpsv tUU * st*H asked ‘Why?’ They "^sssssasstessss& ORATORY AND DRAMATIC ART SUPPLIES SCHOOLS, COLLEGES AND UNI. m2vldewi’*H.enrZ Parfeel' I Venetienne Gondei- reliable school in Northwest. Complete courses In Plano, Voice Violin 6\\B d . Mendelss°hn; Valse, Op. 64. No. 1, Sn°jHtenaj**" ' me“**•- ™As awnsoon as Ix had•*— I” chers. , .,a;/.ians visiting Seattle dur- VERSITIES WITH DIRECTORS OP MUSIC, Charge of the Uhlans (4 hds.). PIANO, VOICE AND VIOLIN TEACHERS Bohm; Siegmund’s Lowe Soag. Waguer- , > dozen words On the platform * Music tf?ch*”v"uk'?n-Pacific Exposition are m- ^TdL^e&n.^ 1 Adagio A tlcgrc ,15*™ night I realized that the -^^^eadauarte^. i THE ETUDE when addressing our advertisers. ( '“11 of echoes. On the follow- ^tTLE • - " "gSHINCL^- 0rninK I set to work with car- ---

* 287 THE ETUDE 286 THE E T U D E MENTAL MUSIC. MAKING BEGINNERS CON¬ SUMMER SCHOOLS THOUGHTS FROM A TEACHER’S FIDENT. NOTEBOOK. BY A. SELWYN GARBETT. SIMMER SCHOOL BY BESSIE I. MOWBRAY. SUMMER SYSTEMS OF ADVERTISING IN BY E. E. WENTWORTH LAYTON. Young musicians who have not MUSIC STUDY THE FLETCHER , ady acquired the art of reading Were we to search the English NORMAL RUSSELL vocabulary, we could not find a word dc mentally from score cannot be COURSE Five weeks from June 28th. Lectures, Classes Sit erect with both feet on pedals. of greater significance, one that has a THE ETUDE ‘ ctrongly urged to devote some time Do not sway your body from side to deeper meaning to ourselves than the Address See’y., Normal In.titut. of Mu.ic, Carnegie Hall, N. Y. Collegeof Mu.ic. Newark, N. J. is Indispensable to "“learning to do so. Apart from what MUSIC METHOD side as you play, like a ship in a. storm word “confidence.” How can one who a Successful Season at sea. Do not be unnecessarily stiff, Schumann says of ‘‘the veiled enjoy- takes up music for the first time be ex¬ USE the MAY and JUNE ISSUES but sit gracefully and comfortably. nt of music one does not hear, jt pected to make any progress if he is Forms Close April 10th This easy appearance and action will 1116 very valuable aid to the cultivation not first taught to have confidence in have a restful, pleasing effect on the Specially Low Rates Vthat quality which is indispensable himself and in his teacher? Beginning BROOKFIELD SUMMER SCHOOL audience and put them in a thoroughly ° as in everything else worth to learn music is very much like a child sympathetic and receptive mood—con¬ -—OF MUSIC-- THE ETUDE ‘E&ffiSEtKr* in ^affiliation. The value of tech- beginning to walk, one step ducing to the pleasure and profit alike TWENTY-SECOND SESSION NINTH YEAR AT BROOKFIELD of both listeners and artist. We offer unparalleled advantages in the MRS. BLANCHE DINGLEY-MATHEWS VARIETY IN STUDY. STUDY OF SINGING 3638 Lake Avenue, Chicago To this specialty the school is mainly dedicated Witt give her course for Piano Teachers, Excellent results will be obtained by In which are DAILY CLASSES covering Methods. Inte^retation and Train¬ varying as much as possible the styles Aug. 2 to 14, 1909 ing of Teachers, all personally conducted by Herbert Wilber Qreene. of compositions studied. The anti¬ quated method of having a pupil wade through a volume of Clement! sona- Mr. and Mrs. Crosby Adams Z s H. W. GREENE, 864 Carnegie Hall, NEW YORK CITY

Dunning System of Improved Music Study for Beginners

It is the original Musical Kindergarten Method. It was the First; it is the First.

CROSBY ADAMS, Oak Park,Ill. CLASSICAL MUSIC.

Mr.D.A.Clippinger

July 5th, and end- ist 7th. The full

THE FLETCHER MUSIC METHOD SUMMER SCHOOL will be held (as in 1908) at Eliot (near MEHAN DEVELOPMENT^ O^F THF^VOICE ANI

$65 FOR TEACHERS PIANO, VOICE, VIOLIN, ELOCUTION, ETC. JHIRSE OF MUSIC STUDY.

JAR1NF RITRRflWFS 288 XHE ETUDE

SUIV1IVIER SCHOOLS

RVATORY IN THE WEST DETROIT CONSERVATORY OF MUSIC

COMPLETE MUSICAL ED¬ UCATION. OVER 1,000 STUDENTS. 50 THOR¬ OUGHLY SKILLED IN¬ STRUCTORS.

Five weeks, beginning June 28, 1909. PIANO, VOICE, VIO¬ LIN, ORGAN, THEORY, PUBLIC SCHOOL MUSIC.

Six Weeks’ Summer Course EOR TEACHERS

VIRGIL SUMNER SCHOOL IN CHICAGO i with the ( CLASSICAL MUSIC. e 21st, ending Saturday, July 24th, The taste for classical music, as for certain kinds of cheese, is with some MR. and MRS. A. K. VIRGIL

A. K. Virgil, 1002 Flatiron Building, New York. SchSTft„.i. EMILJLBW’S P”r, Ian0.NeacCHICAGOitUte ! lnStrUCtl°n a,ong lmes From July 5 to August 7,1909 SIC METHOD SUMMER NORMAL SESSION fsTood. ^m^S* mXd^ is in 1908) at Eliot has rhythm—it has simplicity. It is IndVi art'i CI,avier^e,hod- For catal°S A. S. FAULKNER 710 Fine Art. Building, Chicago

the lisJenlr °is squired! ^o^give^ PUBLIC SCHOOL MUSIC METHODS — self up to the unrestrained enjoyment CHAUTAUQUA,^ Y., July 3d to Aug. 13th, I9O9 Bo.ton^ddrt of music of this kind is quite as legiti- miveLor wknes110" 38 Y re^hea lig^

ZABEL BROTHERS ^•>.lf„riUmlz,„1>rlce Lig- f send you this WordYo* Perhaps the persons who take an un- ! critical delight in the felicities of vTc- 1 tor Herbert do not realize that the MUSIC PRINTERS " It seems to me .'nmbla Ave., and Handotpta S«. A VTX PXIr'T. A , _>ve’rt, musi< SAS-teSSLS! -_ionx^KTANp ENGRAvE “Bitie ss.anj'sir =JUST ISSUED= Complete School of Technic FOR THE PIANOFORTE By ISIDOR PHILIPP PRICE $1.50 , Practical. The Last Word f Great Living Authority

!f! alTthi s* w^rk^m^odie*5 the re.ult of years of experience both as teacher

|jatt fat needed the logical manner of their presentation ^

This is the 129th anniversary of the estab¬ lishment, and continuous and successful operation, of Walter Baker & Co. Ltd. of Dorchester, Mass., whose Cocoa and Choco¬ late preparations have a world-wide reputa tion for absolute purity, high quality and delicious flavor, attested by 52 Highest Awards at International and Local Exposi tions in Europe and America.

THEO. PRESSER, Publisher, Philadelphia, Pa.

LANDON’S Reed Organ Method IVERS & POND By CHAS W. LANDON. Price $1.50. Foreign Fingering. PIANOS. 1909 Models. This .method is of the most practical character and is superior in all points Our latest styles for 1909 em¬ to any others in general use. The material has been selected from the best composers, each number being carefully edited and copiously annotated together body new features which place heft givenrtheepn°pnil.ln Ch ^ P°int * fuHy eXpIained and everV Possible them, from both a musical and structural point of view, in ad¬ .1 -5ach ?un?be!’ include,d bas been especially arranged for the Reed Organ with the idea of bringing out the best possible effects of the instrument. No unadapted vance of others. The case de¬ pianoforte or pipe organ pieces will be found. unaaaptea signs are strikingly attractive difficulty being prepared for and up-to-date to the last second. Our new catalogue containing half-tone illustrations of our new styles of Upright, Grand and Player Pianos sent free upon request.

IVERS & POND PIANOS

^United SUteJ bin weUWhnoUdeM«

IVERS & POND PIANO COMPANY THEO. PRESSER, Publisher, _141 Boylston Street, Boston. ’ PHILADELPHIA,

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