KUNKEL'S MUSICAL REVIEW, APRIL, 1899. 25
The Verdict of the World's Createst Artists and the Acceptance of the M uslc Trade. HIGHEST HONORS -INDORSED BY THE JURY OF EXPERTS OF The WORLD'S FAIR THREE MEDALS AND DIPLOMAS
AWARDED BY THE JURY TO
COMPRISING ALL INSTRUMENTS PRODUCED BY W. W. KIMBALL co., CHICAGO, THE ONLY MANUFACTURERS RECEIVING THIS NUMBER OF AWARDS FOR - PIANOS AND ORGANS. E. A. KIESELHORST, Ceneral Agent, 914 Olive Street, ST. LOUIS.
WHILE WAITING FOR THE TEACHER. . aches and sneezing .incident to severe colds or The disposition of the typical young lady to have grippe; and, in fact, all conditions in which pain is "a good cry" seems tc have been found physiologi Music.-The standard musical pitch recognized pr~minent, .;A.ntik3;mnia is novv: universally pre cally proper. Medical authorities assert that crying and used at the World's Columbian Exposition is scnbed. Antikamma. tab~ets bearmg the mon.ogr·am is the best exercise for young children. One hospi 1 tal superintendent says that a healthy baby should that known in acoustics and in music as A 435, or !K are kept by all druggists .. Two t~blets, crusl eel, that A which gives 435 double vibrations in a sec- IS the adult dose .. A dozen five-gram tal;> let~ kept cry three or four times a day at least, and from ten ond of time. ab?ut the house Will always be welcome m time of to fifteen minutes at the time. There are many reasons in favor of the supposi Gounod was unable to produce ''Faust" in Paris pam. tion that Mars is more likely to have been inhabited until a fee of $2,500 had been paid to the manager. Lite:ratu:re.-Milton had a strong taste for music in past ages than at the present time, in spite of its Art.-Euormous prices are paid by dealers for and dedicated his "Comus" to the great composer atmosphere, or water, or clouds. paintings of foreign artists, and the pictures are Henry Lawes. He occasionally sang and often It is thought by many experts that the supply of brought to this country for reproduction. The profit played the bass viol and the organ. Gray also loved natural gas will last but a few years longer; in in etchings and engravings is great, and most deal- music, and, though sometimfs persuaded to sing, deed, considering the prodi~al waste of it on its own ers sell more manufactured than painted pictures. would do so with some diffidence. He took lessons ground, the wonder is that It bas lasted so long. on the harpsichord from the younger Scarlatti, and In case of fire in a building, crawl on the floor. Medicine.-Antikamnia. The name itself sug- was the first to introduce Pergolesi into England. The clearest air is the lowest in the room. Cover gests what it is, and what its remedial characteris head with woolen wrap, wet if possible. Cut holes tics are: Anti (Greek), opposed to; Kamnos (Greek), Science.-A knowledge of the physiology of the for the eyes. Don't get excited. pain-hence a remedy to relieve pain and suffering. human larynx has made It possible to supply artifi An exchange says that "people are starring this For headaches of all descriptions; nervous disturb cial voices to people who have been deprived of the year who have no right to star." 'Twas ever ·thus. ance from excessive -brain work by scholars, teach one nature gave them, and a number of cases exist People are singing who have no right to sing; peo ers or professional men ; the neuralgias resulting where the cavity has been opened and a larynx ple are winking who have no right. to wink; people from excesses in eating or drinking; the acute made of suitable material with rubber membranes are living who have no right to live. Let not your pains suffered by women at time of period; the bas been inserted and become practically useful in soul be troubled. The onward march of time will muscular achings, general malaise, frontal head- speech. right these wrongs. THE JESSE FRENCH PIANO & ORGAN COMPANY, MANUFACTURERS OF THE "THREE GRACES" STARR, JESSE FRENCH AND RICHMOND PIANOS. The STARR Piano is a recognized standard of artistic merit, and received the highest award at the World's Fair in '93, also at the Tennessee International Exposition in '98. The JESSE FRENCH is a popular rival of all claimants for the second position, because o£ its acknowledged durability, elegant tone and action, while the RICHMOND is certainly the best commercial Piano in America, moderate in price and thoroughly reliable. We make nothing but such goods as we can sell on honor and fully guaranteed, and parties dealing direct with us get factory prices and save all middlemen's profits. Write us; a 2c. stamp may save you many dollars.
JESSE FRENCH PIANO & ORGAN COMPANY,
'Oth ~nd Oliv~ S~r~~~~, e:3"T'. L.OUI~, ~C)~ 26 KUNKEL'S MUSICAL REVIEW, APRIL, 1899.
NATIONALITY IN MUSIC. eating profusion had run its course, it might come binstein. a. Allegro con ruoto. b. Allegretto. c. to the turn of the m0re staid and deliberate race ; Allegro molto. P. G. Anton and Charles Kunkel. and if great music should come ultimately from this 2. Song-a. If, Deuza. b. Ninon, Tosti. Herbert Music is the most subtle representative of the country it must come in a form which comprises Spencer. innermost human characteristics of all kinds, said those high artistic qualities which represent subtle 3. Violin Solo-Walter's Preislied, Wagner-Wil· Sir Hubert Parry, the celebrated English musician, and comprehensive faculties of organizlttion in re helmj. (Walther's Prize Song). Miss Martha.Ka· in the course of a discussion recently on ''Nation lation to the ordinary affairs of the wor_ld. minski. ality in Music." The more so because people were 4. Song-a My Peace is Gone, Graben-Hoffman. so completely innocent of the fact. What th~y b. And I, Gaynor. Mrs. Ray Douglas. liked was in accord with their natures, and must 1n 5. Piano Solo-a. Humoresque (Dan ~ e des Ne the end show what they really were. The historian KUNKEL POPULAR CONCERTS. gres); b. Hiawatha (An Indian Legend); c. Alpine of the distant future would have to turn to the Storm-A Summer Idyl, Kunkel. (By general re· music of the various times and peoples to make The most successful season in the history of the quest). ~ sure of his estimate of their national charaP.ters. Kunkel Popular Concerts is now drawing to a close, This composition (Alpine Storm) may be called a Even in early periods of artistic development na and every Thursday night witnesses the cozy Asso tone-picture of pastoral summer life. All is peace tional traits were perceptible. In national music ciation Hall in the Y. M. C. A. Building crowded to in the Alpine Valley where the young shepherd it was a matter of course. But it extended to its utmost cltpacity with a fashionable and critical tends his sheep. For the time being, however, be artistic music as well. In British music of the past, audience. The Kunkel Concerts have taken a deep has left the responsibility of the care of his flock to as well, perhaps, as the present to a certain extent, hold upon the musical public, which realizes the his faithful and well-trained dogs, for his mind is there was manifested a degree of caution and de splendid work effected for its good anu the many now upon the lamb of another flock, Lisette, whose liberation which prevented the music produced enjoyable treats afforded by exceptionally well ar mother's cottage be can see in the distance. He from having the warmth and passion of music of ranged and representative programmes. The Kun thinks that even now he spies her in the meadow, some other nations. The great gift of the nation kel Concerts are deserving of the highest support, caressing her pet lamb, and he takes up his oboe in was in the direction of organization, which is the and enthusiastic audiences are proving their appre the hope that some faint echo of her favorite love formal part of an art. We moved too cautiously ciation of the splendid numbers presented in solos, song may reach her ears and tell her that Jacques and deliberately, seeking to try every step before duos and trios and the high-class talent engaged. is thinking of her. While he is playing this melody, going on to the next. Every branch of the human The following are the programmes rendered since the distant thunder of an approaching summer race was represented closely by its music, because last report: shower is heard, but, too much absorbed in his mu it was not reason which governed men's actions but sic or the thought of her who is its inspiration. he their moods, and it was the moods of men which 238th Kunkel Popular Concert (fourteenth con cert of the season), Thursday evening, February hears it not and. continues to play. A louder rum· were represented by music. Bach was the first to ble, however, recalls him to the present realities of venture to express human emotion by means of 23. 1899. 1. Piano Solo-Sonate in A major, Mozart. a. life and the necessities of his fleecy cha:rge, and music. It should not be overlooked that a multi changing his tune he gives his dogs the signal to tude of forgotten composers by gradual progress, Theme and Variations. Andante grazioso. b. Menu ette. c. Allegretto. Alla Turca. drive the flock under shelter. Hardly is this done the result of experiment, made the technical re when the rain begins to fall and the storm's precur sources upon which Bach could draw. 2. Violin Solo-Concerto in E minor, Mendels sohn. a. Allegro molto appassionato. b. Andante. sor, the wind, to hiss through the mountain pines. In the early ages when music was beginning to Soon the storm breaks in all its fury, the mountain be developed artistically composers aimed at devo c. Allegro molto vivace. Guido Parisi. 3 Song. -a. Chansan Florian, Godard. b. Mignon, torrents leap from rock to rock, the trees twist their tional expression; artistic music was confined to arms as if in agony and bend before the Storm the services of the church, and all the secular emo D'HardeTot. Miss May FaiT. King a~ if asking mercy at his hands. Their prayer tions which are represented by rhythm were lett 4. Duet for Piano-Poet and Peasant-(Overture by Suppe). Grand Concert Paraphrase, Melnotte. is heard. The Storm King departs; the sun breaks out of count. Devotional feelings found most through the clouds; a million raindrops sparkle like natural vent in vocal expression which is essentially Charles J. Kunkel and Charles Knnkel. 5. Vio 1i n '3olo-a. Serenade in Venice, Parisi. b. diamonds on each tree; the birds twitter to their unrhythmic, unless imitated from formulas of in mates in the branches; the young shepherd signals strumental music. It was not until many experi Twilight, Massenet. c. Capricio, Tirindelli. Guido Parisi. his flock to return to the pasture n nd resumes his ments had been made to adapt the resources of song to his love in the distance, while the faint and vocal, to the requirements of instrumental art, that 6. Song-Morine, Papini. With violin obligato. Miss May Farr and Signor Guido Parisi. fainter rumble of the thunder tells that the storm is people began to see how essential rhythm was even now disappearing in the farness. Charles Kunkel. in instrumPntal music. When men began to culti 7. Piano Duet-The Jolly Blacksmiths, Paul. Charles J. Kunkel and Charles Knnkel. 6. Song-a. At Twilight, Nevin. b. Because I vate artistic instrumental music they began to per Love You Dear, Hawley. Herbert Spencer. ceive that rhythm was the first essential in that 239th Kunkel Popular Concert (fiftel:'nth concert 7. Violoncello Solo-a. Chant Sans Paroles, op. branch of art. They misconceived in the first in of the season), Thursday evening, March 2nd, 18H9. 2. No. 3; b . Mazurka, op. 9, No. 3, Tschaikowsky stance, and made their instrumental music like 1. Trio for Piano, Violin and Violoncello-First Schulz. The attention of the public is especially vocal music and qnite unrhythmic. But as soon as Trio op. 16 in F major, J adltssohn. a. Allegro tran called to these new gems of Leo Schulz for Violon they woke up, a change came over the whole range quillo. b. Andantino . c. Finale-Allegro grazioso. cello. P. G. Anton. of art. It is rather the tendency of the present day Charles Kaub, P G. Anton and Charles Kunkel. 8. Violin Solo-Liebeslied (Love Song), Com·aLl. to try to express strong emotional effects and to 2. Song-For This! DeKoven. Mrs. Na.nnie K. Miss Martha Kaminski. neglect the artistic effects. Yon could not have a Dodson. 9. Song-a. Ecstasy. Beach. b. Marionettes, musical art without something which represented 3. Violoncello Solo-a. Warum? Popper. b. Chan Cooke. Mrs. Ray Douglas. intellect. Violent emotionalism was only half rep son a boire, op. 19, Dunkler. P. G. Anton. 10. Dnet for Piano-Flash and Crash (Galop), resentative of the human animltl, and art wanted 4. Piano Solo-Don Juan, Grand Fantasia, Thai Snow. Charles J. Kunkel and Charles Kunkel. to present him in his higher as well as in his animal berg. Op. 42, introducing the celebrated serenade qualities. and minuet. Charles Kunkel. Now that art possessed these abundant resources 5. Violin Solo-a. Romanze, op. 3. No.1, Reinecke. there was a danger of our being handicapped by b. Hungarian Rhapsody, op. 43, Hauser. Uharles As to the number of hours that should Le spent in our caution and predilection for organization, re Kaub. daily practice, Leschetizsky, the famous Vienna jecting anything that cannot be j :1dged by the 6. Song--He was a Prince, Lynes. Mrs. N annie teacher, and the instructor of Paderewsld, says it highest standard and stand the test of constant in K. Dodson. depends very much upon the pupil's power of con telligent attention without displaying flaws. Na 7. TrioforPiano,Violin and Violonce1lo-a. Medi centrating his mind upon what his fingers are doi11g tional characteristics are discerJJible in early speci tation, Richardson. b. Spanish Dance, op. 12, No. -five hours he would call a maximum, and less id mens of art. Thus even the examples of music of 2, Moszkowski. Charles Kaub, P. G. Anton and better. "Don't practice so many hours," he is ·al Henry VIII.'s reign were characterized by a kind Charles Kunkel. ways saying, "but nse your brain more while you of hesitancy and crudeness, which is essentially 8. Piano Duet-Philomel Polka, Kunkel. Charles are practicing. Learn to li sten to what you are English as far as music is concerned. J. Kunkel and Charles Kunkel. playing-to listen ! How few there are who know It is as well not to be misled by the fact that grea how to listen!" And then, to illustrate his mean musicians have often written in the style of other 240th Kunkel Popular Concert (sioxteenth concert ing, he will strike two notes in succe~sion, say G nations. Mozart, for instance, cultivated the Hal· of the season), Thursday eYening, March 9th, 1899. and D, and show what ch·1nges and shadings of ian style, for indeed there was no other style then 1. Piano Solo-Sonate-Pltstorale, op. 28, D rna· meaning may be effected by varying the time and going which was sufliciently developed to afford jor, Beethoven. a. Allegro. b. Andante. c. Scherzo tone quality. A little strengthening here, a hold· him the opportuuity to use his marvellous faculties. allegro vivace. d. Rondo-allegro rna non troppo. ing back there, the quickening of a pulse, the German art was too young. and had been cultivated Charles Kunkel. change of an accent-these make all the difference so far insufficiently and the composers who sought 2. Song-Lo! Hear the Gentle Lark, Bishop. between soul and clay, between art and artifice, to address themselves only to their fellow country Miss Mary E. Maginnes. but it takes a listening brain to feel them. Perhaps men had been almost entirely forgotten, because 3. Violin Solo-Concerto Ru~se, op. 29, Lalo. a. -and indeed it is so regarded-this habit is one of the technique of their art was not sufficiently ad Andante. Allegro. b. Chants Russes (Russian the most precious of the many really precious vanced to enable them to attain a high degree of Songs) Lento. c. Chants Russes. Andante. Vivace. things that Leschetizky develops in his pnlJils. artistic interest in their work. He did not think Guido Parisi. And then there is the habit he is always counsel that sufficient importance had been given to the in 4. Piano Solo-a. Consolation (Song without ing of practicing awny from the piano, says Cleve fluence of scales upon the melo<.)jc system. The Words), op. 30, No. 6; b. Hunting Song (Song land Moffett in the Ladies' Home Journal, not prac pPrsistent repetition of familiar strains had some without Words). op. 19, No. 3; c. Spinning Song ticing with the hanrls, but with the mind, by think· thing to do with particular products, and it was the (Soug without Words), op. 67, No.4; d Confidence ing out a piece, note by note, passage by passage, preponderating average of various combinations (Song withnut Words), op. 19, No.4, Mendelssohn. until a distinct and originrdl idea of it has beeu ob which represented nationality in music. This pre e On Wings of S>Ong-Mendelssohn Transcribed tained. This work may be done, he says, at almost ponderance was very prominent amongst the Slavs, by Heller. Charles Kunkel. any time, once the habit is formed, ancl may be done and to lt much smaller extent, amongst the Irish 5. Song-a '.rhou'rt like unto a Flower, Rubin with or without notes. also. Mental aberrations and even failures had stein. b. A May Morning, Denza. Miss Mary~. their inevitable inflnence upon the che~racteristics Maginnes. of a race, and it was impossible to draw any line 6. Violin Solo-Air Hongroise, Ernst. Guido The Czartorizski Museu:m at Cracow, '' hich is excepting the limits of the actual development of Parisi. now about to be opened, is, of course, devoted to 7. Piano Duet-Il '.rrovatore-(Verdi)-Grand civilization. In the higher forms of art rhythm Chopin, who taught a princess Czartoriz~ki. In the held a very important place, and. no one had Fantasia. Introducing" Soldiers' Chorus," ''Home collection is a sketch made by George SanCl of to Onr Mountains" and "Anvil Chorns," Melnotte. equalled Bach in the infinite complexity of simul Chopin wearing a blonse, an~ . actnally at work at taneous rhythm which abounded in his works. Charles J. Kunkel and Charles Knnkel. his desk; the mask of Chopm, taken by George No doubt some day the reaction would come. 241st Kunkel Popnlar Concert (seventeenth con Sand's son-in-law, Clesinger, after the musician's After the overwhelniing invasion of the noble cert of the season), Thursday evening, March 16th, death · the bust of the compos~r by the same artist, savage who used the accumulated resources of 1899. Ary s'che:ffer's portrait, and a quantity of a\.ltO· technique of other natives with wHCI. ~P.d intoxi- 1. Sonat~ for fi~nQ ~nd Violoncello-Op. 18, Ru- graphs. •
KUNKEL BROS., Publishers, 612 Olive
TERMS OF SUBSCRIPTION. man. . . . It is after all a question of tempera AT THE THEATRES. One Year, Twelve Numbers, - $3.00 ment, and Rosenthal has a healthy one, which will remain fre ~ h and. unspoiled. . . .-N. Y. Sun. Coming Attractions. Ingle Number, - 1.00 H.osenthal's playing, it is evident to the discern This includes postage on paper to all points. ing obsener, is dominated by a keen and untiring OLYMPIC. v intellectual grasp that gives it a value, and a quality Monday, AprilS, Amberg Pearsant Opera Co. Subscribers finding this notice marked will understand that quite his own. . . The great hall was crowded, Monday, April 10, Sign of the Cross. their "ohl\cription expires with this number. The paver will be Monday, Aprill7, Francis Wih on. discontinued unless the subscription be renewed promptly. In and the impression made by the miracle-worker, renewing your subscription please mention this fact, and state was even more profound than on his first appear Monday, April 24, Herbert Kelsey and Effie with what number your subscription expired. ance in the American Metropolis. . .-N. Y. Shannon in ''The Moth and the Flame." Tribune. CENTURY. Entered at St.Louis Post Office as Mail Matter of the Second Olass I shvuld say after hearing this new idol of New Monday, April 3, Great Hermann Co. York's music-mad population, that Rosenthal had Monday, AprillO, Annie Russell. THOMAS M. HYLAND, EDITOR. about six hands, with an allotment of about sixteen Lingers to each of them. Shut your eyes while Rosenthal is playing and you are convinced that Lili Lehmann rebukes young women who want APRIL, 1899. what he is doing would be impossible to a man with her autograph when they wear the feathers of song less than ninety-six fingers! Candidly, 1 do not birds in their hats. thiuk you can afford to miss Rosenthal--but take Margarethe Fluegge is the latest phenomenon Caution to Subscribers. your opera glass along.--N. Y. Even,ing Journal. in the musical world. This young woman is a born Such dash and precision, such perfection of exe· artist. She hails from a rural district in the vicinity Do not snbse.cibe to the REVIEW throngh any one cution, and such an exhibition of skill, pure and of Cologne, on the Rhine, and musical critics call on whose honesty yon can not positively rely. All simple, have never been witnessed here before, and Mr. Rosenthal is entitled to the distinction of being her the Pagauini of the harp. Fraulein Fluegge authori1.ed agents must give our official receipt. au innovator in this line of effort. Not even the cannot be induced to appear before an audience in delicately adjusted might and swiftness of Paderew· full dress, and she insists on playing in the finest ski, nor the nimble and exquisite fingerwork of theaters of the continent in the plain and simple .A good and acceptable present is a subscrip ion to Joseffy can compete with what this new conqueror garb of a woman of the middle class of Cologne . Ku KEL'S MusiCAL l~EVIEW. For the subscription of the keyboard achieved last night. He stands un Speculation as to the exact salaries, for a single price-$3 per year-you receive nearly $100 worth rivaled in this field.- Mail and Express. performance, paid to the stars at the Grau opera of the choicest piano solos, dnets, songs, studies, The musical season was opened in New York will not stop. The latest guesses are as follows : etc. The REVIEW, Juring the year,gives a valuable with an electric rush last evening, for at the piano, Jean de Res7.ke, $2,200; Lili Lehmann, $1,250; library of music, keeps you in touch with current in Carnegie Hall there ~at the Titan of piano tech Sembrich, $1,100; Edouard de Reszke, $800; Nor events, maintains your interest in music, and nique. Moriz Rosenthal. This wonderful artist is dica, $800; Eames, $600, and Plancon, $300. a prore welcome visitor to your home. now of the very highest type, capable of givin~ the listener as much delight in a dainty composition The Boston 1'ranscript says that the Italians con like Henselt's "Si oiseau j'etais" as in the bewil sider opera solely in relation to their sensuous emo ROSENTHAL CONCERTS. I dering exhibition piece such as Liszt's" Don Juan" tions ; the French as producing pleasures more or Fantasie. This artist has now reached the very less a~in to those of the table, the Spaniards mainly Rosenthal, the great pianist., will give two recitals zenith of his powers-a fact that the audience which as a vehicle for dancing, and the Englishman as an at the FourL1·e nth Street Theatre, Wednesday night, numbered fvur thousand people, thoroughly dem expensive, but not unprofitable way of demon April :lth, and Friday afternoon, April 7th. No lover onstrated by its delirious applause. Long before strating financial prosperity. In other words, the of mu ir, teach\·r or student, should miss these re the evening was over he became an object of veri Italian might be said to hear through what is citals giYen by this incomparable master. table hero worship, and proYed that the opinion of euphemistically called his heart; the Frenchman Ro cnthal has made a new contract with his man through his palate, the Spaniard through his toes, the London critics was correct when they agreed the German through his brain, and the Englishman agel· for sixty additional concerts commencing Feb. that Ro~enthal played like a God. No more beau lith and ending May 20th. The original contract; tiful music than this was ever heard in the world. through his pocket. whieh was also for sixty concerts, came to an end The evening was full of delightful surprises and A number of public-spirited women of Philadel on the !irst named date. This renewal is the best joyous excitement.-N. Y. World. phia are raising funds to establish a symphony or po siiJie proof of Rosenthal's success this season. chestra in that city, and $100,000 has already been The following excerpts are deserved tributes secured. A number of the la1·gest contributors are from the New York press: A New York reporter claims that fully 3,000 understood to· favor Walter Damrosch for conduc Whrn Rosenthal seated himself quietly at the pi singers have arri ,·eel in that city since the begin tor. ano, there followed the most astonishing exhibitiop ning of the musical season. And yet foreigners of piano-playing ever heard in this city! .. Even say that the Americans are not musical ! Mascagni is at present the director of the Rossini Conservatory, at Pesaro, which has an interesting Rubinstein had not such a mastery of the key- We often do more good by our sympathy than by board -N. Y. Herald. · history. Rossini left $600,000 to Pesaro, his birth our labors, and render to the wcrld a more lasting place. and the conservatory was erected in his Mori~ Rosenthal, the Polish pianist, took New service· by absence of jealousy and recognition of York by storm last night. His suecess, unlike that honor. Rossini intended to leave his fortune to merit than we coul
A gFeat Wagner opera house is to be built in When Mascagni's ''Cavalleria Rusticana" was London. It is also to serve for standard perform- first brought out, the prices were $1.25 for orchestra ances of Shakespeare's plays. seats, $5.00 for boxes. When his last work was .Erker Bros. Optical Co. given the prices at the first-night performance were The Broadwoods, a prominent firm of piano $10 and $125. 608 OLIVE STREET. manufacturers of London, have placed on the mar Largest assortment of the best makes of ket an ingenious arrangement whereby a singer can By a recent decision of the highest court of Aus Opera Glasses at very low prices. accompany himself on thA piano without sitting tria, Brahms' last will is held to be invalid, as the Shell and Silver Lorgnettes. down, the invention of the well-known singer, Mr. composer had neglected to put his signature to it. Gold Spectacles and Eye Glasses accurately adjusted George Henschel. This will ~ive the bulk of his property to the Vienna Society of the Friends of Music. o"'"'~~"'~"'~"'"'"'"'"'~"'~"'"'"'"'"':'~~ ALi a JONES' , OLD OR NEW ~<$ , .,~, , ~ COMMERCIAL COLLEGE. RHEUMATIC PAINS~ ··- ··, 807-309·311 N. Broadway, St. Louis, Mo. Promptly cured by ST. JACOBS OIL~ "9~ : · #' THE COMPLETE BUSINESS COURSE. I '0 o~"'"'"'~~"'"'"'"'~"'"'"'"'"'"'"'"'"'"'~"'"' IH E Short Hand, Type Writing, Telegraphy, Spanish and English Branches Thorou&hly Taught. Many a woman is so exquisitely Student• may EnttJ'I' at .Any Time and Select sucla / ... organized that the strains of Studiea as They Desi'l'•. l'or information, circulars, etc., call at the College office music cause her to forget to eat or or address J. C. BOHMER Principal. drink until reminded of the necessity by physical exhaustion, BUY but the Nineteenth Century Woman FROM never forgets to be daintily clothed, FIRST HANDS IT PAYS and she knows too that the place of all others to buy exactly what UMBRELLAS she wants at just the price she AND CANES can afford to pay, is ARE RIGHT OUR PRICES LIKEWISE ...... ARE YOU A JUDGE ...... OF GOODS? IF' SO IT WILL BE EASY SELLING IF' NOT WE WILL GIVE YOU SOME POINTERS IN OUR LINE, HOW TO BUY AND BUY RIGHT P. S.-Mail Orders are answered the same day as received, and special attention is given to ~519i.~~;s~S1 accurately filling them. ..;~ ( Formerly. ) SIXTH, OLIVE AND LOCUST. · 314 N. 6th The "Crown" Piano, the one of" many tones," embodies the highest attainments in the art of Piano making, and is in accord with the best ideals of piano construction. The ''Crown" Piano is strictly and in the fullest sense a high grade piano. It is not surpassed in any way by any "single tone" piano. It is all, and has all · that will .be found in any other high grade piano; and, in addition thereto, its many-tone capabilities give it range and capacity above and beyond all others, doing away completely with the objections to the ordinary pianos, because of the monotony of their one ''single tone." Its multi-tone adjustment does not complicate its construction, or in any way affect the quality of the piano tone except to more than double its life. It is an essential part in the construction of the ''Crown" Piano, and is built into each and every" Crown" Piano made. All of the various tones and tone effects, aside · from the regular piano to·ne, are produced by it. No gther piano has this multi tone adjustment; no other piano can have it, because it belongs exclusively to the '' Crown " Piano. The great varieties of tone, tone shading and tone effects produced by the "Crown" Piano, give it the greatest and most varied capacity of any piano ever made. Any person who can play in the ordinary piano tone, can quickly learn to ex ecute in the various tones. The original and exclusive attributes and capabilities of the "Crown" Piano in its piano tone and its other " many tones" charm and attract all pianists and vocalists who hear it. It is much more pleasing, enter- copJ<~1hlodl898, b70eo. P. S.nl, taining and Satisfactory than any" Single tone !I pianO Can be. The confidence of the manufacturer in his product is evidenced by his ten years warranty, which is" burnt in the back" of each instrument. Illus trated catalogue with music free. Bent Block Chica U.S. A. , a
Galop de Concert.-.;
· J. W. Boone. Vivo. d_76. ._...... - 3 Lo 2 ill .. 2 ·~ :~ :J rz=To- .. .,_ ...... I"' 1.1 .,.. I"' .. • .- Jl•t lTh ,/;, ...... • r- .,. "-V r- ... I' I"' &I "' .f. ~ ~ < ~ - r- I""" ~i: t~ Ill"'"" -- :( f . J _...... _. ..._ .t Jl•t If" """' "' .,. .• • t" "• • " • • .::1- Ill(:::.. -I- - .. =~ :j= :::;;~ ::;;~ :::: :::;;~ ~~ ~ .. ~t =i"" 111~ =~~ ... I"'I .... ~ ... -''· Peel. Ped. Petl. ·.r ----t.+ -- _4______-----\ 8 ------4- --- - i. .,._ ... ~ :!: =~--- ·t ·~ \ :~ =~ .... •1-- •1-- ·I-- ·~a =~--- ·~"- ,. :~ -1-- •!: .,__ J~ ,-ln., ·r • =~~~ I • .. .. !"-- iiiiiiiiiilllii '-'II I' • Ia • • - ...__, t. _,_ jii • jill- ~-- • • p ~ tf .1~ -- ,....- ~- -- - .. === = :! : -...... """"'" ...... \ - 1.1 I Ia. "" . • . • ' .. -.. • r- ., I'"~ • '-= .. • - . - • .. ,. -·"1~ .... - • --: - .. =it - ... -~ -t : t;:-t -~ -t -~ ::; .., .. 5 ~r PetJ • PH. ~~ ~
5 3 4 5 > 4 ~ 4 I ~ ~ ·!: t:. ·F- l. :~ :• ,.~ t~t:-t-· 1-- .. ·F- ~ • ~ ~~ I ' ...... _ !~-~,... -. ·- "11-. .,.._ ~~~- ;~ ~ ·~ 'ifh I"' ., ...... ,... I .. ., .,., hi J\ I"'.. • ,... • . ,,., ~t' '-'IL __I' ~ - ...t:: .... _. • ~ I - ~ lJ - .JL, - - - ...}!.; - ( cr~6. rf' p .. ... ·!" Ll. "f" ...... -'"' .,... -- .. t:ii. - ..., l,h .. ..I"' .. - • ·' ... It ... - I"' - "l - I:J ~ _!' ""'t" • - .. - l 1- ::;;~ I I I --I ~ Pe4. :'~" Petl.
Ped. P«l. 1.'S2B. 9 Co.J!.yright. Kunkel Bro11. tR94. .-: I} ~ ,, I I ~ :~ - :~ - :~ •I--·~~== I -, / •J:' . • --,...... ,I '''"' - r. -~. 1- " -::;;; '-...V .v I"' ..u - . / I~ • ~ - _.....r~ -- ~ r J.-M.~ ._...... _.. _... '-c - ...... ) p --.,. - -- ·f- -~ f- f- ...[Ill" ""', ~' [Ill" .. . . • ·• ·• •• ·• • - I',, --.. - - - I- ,. I- .,. ., - .,.. I- ., I- ,.
(' -~ .!= ... A 1- != ~ ~ ~,, =~ -1: ·1: ·1: .1::" ·I- 1- 1- . . . ·1-·1::- ·t ·== •J .·t· . ... .-. ... ' ~ .. [Ill" 11 t...... \ • .IT , ...'"' I' [Ill" • h: 1\ ., .. -- vrn' "'"\..' IJ t- • I' }. t) D - ,_ ,_ ,_ :;- - - ... ·I- ... ·t- ... P.-. ... \ ., ~. •1.- ..... • - I' f1k l -·· 11 ... - --,... - - - - I .. -.,. I- l f" ~ - 5 :- - ..'Co t- Ped, Ped.
'. !•
,. 3 L 2 IJ l. ' ,. .. ,...... -~ :If :~ . A a."11L• .IT. 1.: ~n •• "I ...... , . ~"' .. • '\.It -Ia ... - '"U' '"'t:.. 1.1 cV &I f.. if" rF 4 ~ - ,...... - tf" J J .... J- """""'"" f" """""'"" =I= ,,. Jlf ,... ' =~ t - 1- ... "ht ...... ,.. ""'" • • • 11.:."' • • • ~ :::;~ :::: =~t -~ -~ :::; ::;: ::j~ :;-· '=4~ =~ 41. :, . 4 11 ~i: '11~ .. ~f Pt~d. ~· P«<. 1'4. P«<. # u
8------·------··------·------·------·---- 3~ \ '' ~ ·!: -~ '' -~ ~ t:~.! 11 L, ,. .-. ~ -~ f- :- lr -~ :~ ,. ... +- :~ .,. -+-·~+- .. lA • • IIr • 1~11' .. ~ - Ia • • .. ~ t, " ~ • ~ · -- !"""" -- . ~ if j~ p ,....--- -- ~---~~ ====... : :! 411- ...... J ...... ~ • _. . 'lli 1li "::ii •• , 1'111·' ..= ..- I'' II • • 1- v _. • .. ,.. -f-4..''"''" ...... - - .... 1--"f :;t • - .. =i: r~-: - -~ "1 !--- .,,., Pf'd• IW. •A"' :.~ ~
4 4 !) 4 ~ ·t: >- - 3 ~ ~ ~ .. ·I--.. F- .L· t- ~ -~ =~· ~ 1-- ..,. ,... ,...... IJ ;~ -~ of#- f~t: - ~L'- + i~f:: !~ I ,.... ··~·~ IJ.. . .. 1...1: Ll..l1. - 1rr . - -tr· ;;;;oo, _r::: .,. I' 1.1 I' - - ~"' .....2-; - - ll tJ - - --...... :;._,!J - - ~ ~ ~ - p .. ... -- ...... '-"'• .l ::;;,. Cit lilii. Cit - .... -... .. Ill" - .. JIP "" .1"': r- r''"'.. - ·- I -I I I- 1- I ! - I ·' -! 3 P«l.#
-
PfHJ. # 6
.j ' .:::;..4 ' ~ 4 4 ... 4 ... ~ 4 4 ... -~ •I-- E: :!: ~ .,. i.:~o- ·~::=:~::= .~' ' :~ .e: ·~ :! ... ·~ .,. -,. IJ 1 ., •r· ~ :. .. - • ,... """ .... ,...lA - -- t;,;,; '-V ...... • IIIII" J ~ - ~ p --= =--- , , - '-,. • • • • 6t - ." • 'Ill' •• \,, '.... !..,...... lA "•... ..lA • ".... rw • - • - ,_ -- "II" I'"""' ...... , ~ l:i - ., t' - - - ..1...... ;. I I .,. -, r r - 1 r - Ped. :~t -
> .. 8------.... ---- ...... =~ ... ll ... :~ ~~ ...... ·~ ·-.I. .i..= :~ ~ ~ .... i. •I-- ·!-- ·1-- ·1-- • ;. •t- ~ l ~- .,. . ·~ -~ ·I-- •• •I-- • !-- • :::- ·lr ·1::- • 1-- ·~ [/' lA • • .. .. Ia ..- .11;• •., ,, - -.., II!" II" II" II" ,~, • " v 71..r . - ..- II" ""' ""' ~ ~ V' -- t,.l -- -- - creac. < fl 1: • ·l ·1: • ~1: \ ~ ~ • • • • .. I '-'• - - • -- • • ... - •.. I' .,, ,. -·· ~ -., .u - ,. .r - - - r r - ...,,.. ~.,. r Ped.· r P«<: '"· r .," - -
8------~I .!: .~ ~- 1- ~ .! 1-- 1- ..~ ~~ ·a~ ~ ~i' :t t :~ ,. .. - ·1-- '" ,, t.. K .... -...- •• • • . ·- -t~~ro,, ~.- .. ., ... 18 - ... nl v --- 4~~T u r- Iii r- - ) t- - - ~ rf nU - .. ~- ..;;;~-~-- ~~ :t ,. • • • "' • • - ••" \ [l'k .... ~ • • '- lA ... - I ~I~" I"' r~ I' - ~ ! l ,,11: -. " y " - 4 - r- r- - r r r r_ Ped. ,,~ Ped. "'"
f; -~ ... I. > ...... :~ -1-- ·~ • .,...... ,. •I-- •'-" ·~ ~ .,. ,. ,,,,.,' \ ... -.., ... • - • • .... • - • 11: .11" I"' Jill' • -.- ·•· ""' ...... - . Jill' ~[7 - I"' I' I -, I- --- J t.. - I i- - ~ - == == _., J. .. .. • • • . •.-- _. 50 • • • •.. '-'• .•:a .. ... - - ...... -- ;.- (Ill' I' .,, ~- - ., J .. -.. ,. I I - - - l- r - -, r I I- ., T ~r r ~..-~ r -- Ped. ...
8------, ·~ > ' .it· ... I ... ·!-- .i\ ~ l_, :!: .. :~ ~ ,,1',., ... :~. ~ ~ ""' . :. - • ~ • • ~ • -.- - - ... l.l I' ..... I"' ,.. ... " - t.. -- _.... - - - - rf ~ , c;4sc.J ,. .1. W' - ,....~.....;;;: ~ J ~ \ ." • • ""''·· .. -. ..• ..• • lA -- Jill' ..K In 1- ., _, J I" lh 12 I' ""' - II" ' r- r- - v I Ped. ,.'t 1.528. 9 · 7
t:. ~ - -~ a t, t:- t_· .,_ -tr n .,.. t:· 1t :~ l •• .. •• l:A n " +- L . :r: -l..l. -.:-r- Ll . 7-- . __,_. l~v ""' - l7 --l J-t. I , , r -- ,J_ ~ .r r • 1-- l t--- . \ \ ...J.. ,. ,, Oiiii' I -1!:: ~ '~.--....1.·1 J;ii ·IJ" ... --~ .._ L;;;iL r I .... r J l 1 f l I r 1 L..l r 1 LJ r L r L 1 r L.J r i - - - ,,,.. - - Ped. i ~,. - -
JW.
i
I - r .. I 1 ..A I'
r , I 1 r I I r L r - p - Petl. - 1.''$28- 9 . ; 8 ,_ _,_ -~ It ~ .... -~ -~ II l, ·!: ~ - ... .,...... -~ .... -~ ~ •I-- :~ ~ ·I- -~ .. ... \ 1, ...... • • ...... :, ,.. ,...... ,.. - '\..'II - ~ 11/L 1"' - ~' t) nU
r...~· . } If _...... • • • ...."' ... • • • , ,, ...... La • • • .. •...... ho" I _t\ :, .... .,..,. - .... "1 ~ - I' - r-- r - - ,,~ [ r r r r Ped. ~,, r
A ... :~ .It ·I- ...... 11 L, ,.. .. ~ ·'- ,.. .,... -~ ·- .~~. .,. • • LA .... • • I ..,. _1\ lL - rr . - '\.. iJ .... ,.. ,.. ... - ,.. ,.. t) - - I i - ~ - - J...... r..,.,. . \ • • •r- r:;; llil • • .. • .. • .... - Ill" ..• ... - I' 1,1..: ... - - - t' l I r I - r I I- ...,~' - - - Petl. ~,... r r r r
8------~ -~ _,_ '' ,_ ~ ~ ...... ' .. 1- ~ IJ ,_, ~.- ~- ~ ... + ... .,. .... ~ ,. -~ ~ 't _,.. . • • • • ... • I. I'll.!\ ,.. ,.. _,;_ >1_...... • l.lJ.1 ~ ...... _ ....- ...... • .... - .. - J ~ - - - "( - :1' cre8c.l _, - II II ~ ~ ~ +_... .'-o ,.. . \ .... • ,._ • • ...... La La lYI-' "''l.o ...... -·· - ,.. ;-c " .. .J/ J 14 ~ .... :,h. - ... ""' --- • ...... r r - :;::... ::::> ~ Petl. '''· Ped.
8------~------3 ·t:_ .. ... 1..2 ...... !. L 2 .... + =~ :J -... .. ~ 1- "',...... , ,...... Ia .. I .. -- - ~ ...... t ~L• LJ"I.., ~ - .... ,..., - ""...., ·- f.. :4. l -:/. t' ~ -- rl' rl' j- - j rl' /:~ j !" I= ,..~- :t - '-' ,.. .\ r- .... II .. -··.I ,,.,,,.., I' -~h. - ...... 11/K~II t'- 11.::.1- .:. • • • • • • -· -I- - 11=1- -~ - - :±...,'1 ..... • - ~~- =j= =i~ ::; , :;t :; -- :;~" ~ I"'I~" .... ~ + .. Ped. ~~ Ped.
~------·------~-----·· 3....-...... '' -~ -~ .....~ -~ '' -~ _,_ t.t~ 1-- :;- -1-- :~ ,.._ =~ ·I-- .t -f-· ~--~1- r-f-.-l,l- r .. • .. ~ Ia Ia ¥=- . '-' 1.1 I' ,.. Ia • • • J.. t, - • • • - I""'" , ~ p ~ ... -+- :! ,..,fo ...... II ' 't'l • ... ~ • - • ~·. • .. I .. ..'\..' IJ' .... • - .. • .. • • t, - - - ..... :;t - ... .. '1 I; ..., '1 ..'''·,_, P~d . r ~ !-- ~~ ~ - 1..')2/J. 9 9
4 4 ~ _,_ -~ ~ _,_ ~ ~·~.K. ..~~ ~ ~ .,. :;. ."'" + ·t- . r-·~·- ..,. ~ ,_ II ~ ~ + tf~t-.. ... +f..+ ·f- -~ 1- • ~ ' Ia" - +-1-- #4- ~ .... hi . ,_ rr rr rr lA ... ,... 1.. 1-..: t'\ ~ ;01 .. .. Ia• ""' rr ... '"v v ... ~ ~ .....::;,..- a - - .....::./ ~ ...... - ...fL, - - ..J1., ..!., ... <' t) -- fJ ...... c:;;. c:;;. l:.o.ll..• lilt - ... IJ'hl ...... I"' .. I hi' K .. ""' ""' '""' "" '""' '""' ""' - I' rJh. - I I' I -I I -I - I - I I I I I
5 t 4 5 '> : ~ _,_ - ~ 4 1:~1. . .,. =~ ~ :~ . ~ ~= ~ .,. ·t-,. 4I..' .,_ 3 :r- ...... I=- II L, ·1- ·t- ...... _,. - "" ~-~l= + ~:=~ .... ~ ~ 1- ·f- f- •t- -fl- ~ -- . -·I-·- =;;;;;;;;ol llllr' ... .. '\:V I' - ~ ...... :;:._./ -- t, - ...... :;:;./a .... - - ~ ores. - ~ if fJ ~ f- I!~ ~ ...... l:.o.ll..• l rr l:i. l:i. -- • PI • .... Jill' Jill' - .l•l ""' • ""' '""' I"' - v ., -~ y - - I 3 I I I 1 I I s - - - ~ P~d,. ~~n P~. ~·~n P~d.
$ To shorten the piece go p·om $ to. 4 s I I It t I I =~ :~:~ • Ll + ~:Ef: ... ~ ~-~ .;.~~ ~ - ~ - 1- L, .. I • l .. ,. •£ -I"' • • ..- n !:a ., ...... , .. ""' "}- .. .. . If " ~v I' PI Ill! ,... - .v - - .....:;;;./ - - t.. - .JL,- .... - ...... - - ct•eso. - rf - < ~~ p~==== - ,... L .. t= .... ·t .,. ·I- !!- f" ·t ,,. ,.. • ., I"' l:i. l -- ""' .. ·•""' ""' .. .. • _nr: L" . ., ., l?hl J .v .. - r ... • ! 11 r - 11D ; -~ "'If- - P•i,. ~;:~ I t"· I -r 1" ~'· P~. '4~ d..ll'.. P~. # ~ ·"""'
A A ~ .,. .,.. -~ t- . -~ -I- .l.l l .l= -~ IJ Lt ...... • I • ·ta ·t;;o -~ :.. r f.l·l l= lr .. ., I"' II. ·• . , II. rr " lA '\:V .. .v ...... -I- - ~ - t, ; r:~ - ...... _...... -- ...... ~ 4 ~ - _,_ _,_ ·!- ·!- !- -!' ·!- -t-.. I. ll. ~ -~ ~ ~·-... ""' • • ...... -- - _r l? ,.. ,.. .,.. • I""' ,. I- -r- I- -r- t- .,. f_ -r P~d. P~. P~.
P~. 1.'}28. 9 1528.9 1l 4 • a ... •.. 4~ & --a. ·~ e: •1- 1- 1- ~ :e= A ; ' .j. ·1:- .... tE~- - ~ ,. h·• .fl. .~ .e: =~ : :!; ... ':~ ... .. IF Ia 2~~-- r =-
-~~~ ._ i{ v ~ - = .J!., ...... t. p~ - ...!!,_, ~ p a L .. ,...... ""z:T. • .. .. - ~ ISO . .. . - lA - - ,- ~ IIIIa L~ ,.. t' " .... . 1.. " I • I r .,D -~ -lJ - ~ Petl. Petl. ~~ 0 Petl.
4 & .~ :~ - :~ ~ 4 ;_ ·t ...... 4 .. f- .,. ·1- & •I-- IJ l' • • 1-- ·=- .1-- ... .,. .,. =~-- =~-- :~ ,... a .,. ,... • iA Ia • - - - • - • ~v ,... t' -...... ,.. • Ia • l.ia t. - rr - - ~ - L. l -'-'"'' \ • II• -- - - . • • Y 111 ... - ~ • -.... ,...... • • " I l r- r- I -
8------·------·---4 4 4 ,.. 4 .-. :!: ·! :!. 4p .. :~ :~ :j!t :1!: • & ... :!: ... ~ l_. .. .;,. :~ :~ ·tJ- :~ :~ ·I:- •1:- ... t:. .-.. • • 1-- • !:a" •I-- ·1-- .,. .-.. .,. .,. ·1- ·1-- +- •III-. ~ l1f ''"' v I' • t. _.. - ~ - - .. .. - .... t.,P )_ ,.. . co. co. ISO- ...... - - -""' •.. l"' ..... Ill' - • _I_ ,.. - VfJI.. .,.. ,.., r- • I'll" ,... 14 I I ·" ... I 15 - .
8------~------·------,' ... 4 ·~ ' •I- . 4 t- ...' , ~ l.,, .. :~ ,.. a ,. ~ :~ =~ :~ .. ·tJ- ~ • ... --,_ L.- - - -~ :t ... :t; :~ ·!:- ·I-- •I-- ~ .,. ~. ... " l ' • ,_.. .,. " "'' '*' . • • I' lA ,... y .... '"' v .. .,. .~ t. !!...~ 1111""""' :If: :~ < ~-:. ~ - L...... ~= ...... - .. t . - • ., • -- .._., l"~ ...... 6 ~~.~, .. • ,_ y Ill.. .. '...... ,. . sempre ores. • y .. • ~ ... ~ .. - .... =i :::;~ ::c· Petl. -::, . .... -.·~- II-4 8------, .. ~ t f: :J ... l'\ ·t-- Lo t- •t- • IJ. l ' tlfretJitoBO. 4 1.. ~. ~ .t. 1::- • f':\ ... >II~ - .. .. ,... • ,._ • TLoiiO , CO. t. ... ,:.... II' ~ ,...... ,...... ~ :~ ~.-- if • ~ -~ ~ .If lr= ~ ~ L-- :! rF ~ .... ), .1. .If~ - 1 .. "' ... --- I. ... - ~~ ~ :! -:::: t--z:T.- .. ,. ... ~ :== . - .. - .. - ~· , ,_.6 - ,...... Ill"' 4 ~ "' -' , \ :I .. 1- ~-=~- ::; 'lr- R.,,. ! , :.~~ ~ 4 1" ~~ ::~o 4 . =/" \. ::; r ·1~_ '~· ' ~ t 1'1 ~t-~~~ '11$28. 9 To Wure· a refined, dn4 ,cholarly rendition of the piece, the artistic tl8e Of the pedQl Q8 indiCfiii4 fi" 'imperative; P oco •no.t o. • I - ·ta2. Eduard· Schutt. Op.17~ Nif2~ ~e,'J,\iVO:-._._ q I) 3 '- 1192- 2 - I Copyrl~ht-:-Kll N K~'-' e ROTH ERs-1689, • • •. ..,... ' 3 a tempo. 5 •2edal.-r' --.-.J't':"-. ·-r,·-.J?..;....A'/"1-+-)+f ...,..,.,... ~._,_; ---"J,~l>-t-1-¥'/- ...... /Jfl-!- . _,,.,~~,..:...·...,..,.,..... J!~II--'1-" .... ~~,r · fJJ-Jl""",.,_.)>a..:..-t-1 -¥,.,_.)>..:....;..,.,~_ )..,__.-,.,._.J>"-ii~,.,_...Jl_.J...... _ __,,~~· I a te1npo. _d~-Ji "41 ~~ ~ • a . --""' ...... _ ...... Ill' " _~~~- _r --- _1": _1": e) I -=::---.... -~, ~ p1]~ -'-"~-- .-fl- .. _, ~~ _.. :~f!. L"" .... II l1o lh lh __.... IL .. - I ;.: Pedal ' J! 'I ) > ) I > Jl > ~ ! 'Jranseribed as Duet by . Carl Sidus 5 5 Con BTavu1·a J_too. 4 3 2 :1 Ped. 1002.;. 10 CopyrighL Kunkel Bros,188.8, PIL~GALOP J)E CONCERT. ' by Leon DinkgTeve. Con Bravu:ra.·d_too. Primo. ~ 4 3. 1 2 4 8------..:-----Pe~. ,.,.------\ ' 2.....-...... 3 2 • ,. • < I) ' PtHJ. 1002- 10 Secondo. 4z j Ped. ~~ t, I) & 3 2 j j Primo. 5 8------·,.....-----... . 8 ------, 3 4 \ j 2 ' 1002- J.O 6 Secondo: 4 'l'rio. ,· 4 2 2 .2 :a 1 _"!" __:!-_ ~ _1-_ -!- -~- "'!!" ~ =~ ., ~ ~~ ~· ~ __I( ~ .. I I 111. ' I ..L I -· .. - -- ~-'- ....A ) P_ .., ...., ...., j ·if ,. ~ - I I .... I ~- ~ _...., I I --- - .. J " _L ,. ... • ..- y • • - .. - - ~ • ....I- - - - - • • • ...... _..., t,... q~ #-~t ~r ,.~Pet~.~~ Ped. r .... 5 4 4 2 2 1 1 2 ,.f!_ . ~ -!- + ~ _-!- + +- ~ ~ ., ... . , .. 'L-f'. _L .... -~ JL ~ I 11. • p __- - - - I ~ -':"' .., .1'_ _I ~ 1 - -- ... I _.., - ~..~ iW ••l _... _§.,£ _'-£ ~ ~ - ...... -- lol . ..- - - - - ...... • ' • . j • • • .- .. ~k - P' ~ #~r · ~;:: Ped. ~::: ~. --~ Ped. ;~~.r 5 4 5 4 2 4 3 4 3 ~ _;,. 1'- j ~ 1. ~~ ~~ ~~ ~~ :l_ :t f .,. ,._ ..,.. ~ ,_ I .. . -- • • , -~ -~ I "'' - rqf' ~.f· ~ ,-- I I I .l r r- -.. , -~ ....I k I , _..... , _..... • ...... -- - - ot - ... 2 11 -2 ~ . ---'2 :i 2 3 ~ • • • • r, 4 2 2 5 1 1 3 4 •3 4 3 ~ + .;. .;. 1 1. :~ :1: :I: :t· ~~ - .. ~ :t . + ~ 1"': ~ I • ~ • I I h -- -;, y - - ! - \ I I I I -'• wa.l IT ;.. - ~ J - &..£ ~ • - _L I ... - 2 j.l 2 --- ~ 3 3 ~ 4~ ; ' " 5 ~t ~t 1002- !0 4 2 i 3 4 & 4 ~2 2 2 8 Secondo. !002 -10 8------, \ '\ 3 6 1002-10 10 Secondo. 5 4 2 0 .,,.. "5 ,... 5 ··~ ~·· anima to. 5 0 2 3 2 2 5 5 3 4 j 2 Primo~ J1 8------...... ----...\ ' l'ed. 8 ·------~--- .....\ t 2. ? I 8- - ---~------f r & 3 5 \ 8·------' 2 j 2 j :~ #.-. 2 .-.. 2 ' 2 _._2 + :~ •f- +'- j • .;:: • ., .. :~ • I - J 1 ... - _n .. .• \ P~. ~~ ~ 8------·----\ \ ' 1002- !0 40 KUNKEL'S PEDAL METHOD. ~ ST88Y XVI.~ Theme and Variation. Choral In Four Part Harmony. CAdeste Fideles, Portugese Hymn.) THEME. Slow. Anonymous. J ,_v f' ~~ f' • ·. ~ , i ~· r.. p. tt... ~~ , ~ , &.. • ri· ., p 1 l l I I j J J 1 f l .rr J , .. .. :Jff- j ("I_· ,Pedal. ·-- r - .; i""" / ~ -/:»'-= it - 4 5 4 5" 41 I 4 5J 3 .. i f ':'! .& , r. lfl' ""! ~ ,, 1 9 'I -u I .& ~ 3 ~"" ~ I{ .. r.. ~ i'...... I_.. ·- "':'" ...... ''"'~IJ ~~ ... - -- - - •.. !!"'" ... t... ~ ~ c.- - -. - - ~~· • • -r~- -- 1~ • • -, r· .r F ,;;;.;. ~. I j .~ I 0 .. 'J. ~ I I . - ~ 1- ,j. \ ••~ ·I-'· ,r z• . z.• ,. "" ...... / , .c;.~ -~ ,, ...... ~ -... 1 ...... ~ '- r.:iiio •,_ -_,...... - ~~ r- I- ,... I~ IQ - I' ..... ::'-IIi=' -· ~ - . - """' 11 In - - •• .. - ·- I""". - I r~ I I I I - I- .. I r 5 '4 iA l:lcda.l. '""-+! ___..._r ~"r'i~GJ---il ~~r~+-~ #-~ +-:J t!----lr...... _,., __c....,., .... ~ -+-1-!~____....r __.,Hr,.:..·. --~-~+J ~.,-#-v ...,...., -#-~.,_, .-c HI tJ:--.~J,.'-fi~~J~.,--c ...... ,------1 5 ,. ~ ll --· 1 ~. 141 ~ 4.-I ~. ·4, ~ If-, ~ l! 3 -l ~ 5 .& .& w & • .. ~ .. ~ .. · .& . L...... ~ "' .. _. ... - IJ .J - I ''~ ...... ":iil.. • #I ..~ • ..'211 ... ..C"IIo...... ' • • I r~ - '"''- II .. • - -.. ·- - - - ~ t) , - - -· ·------·~-41 • - '-' ... ~r- -o- ~ ~ _,. .J .. r:J .... ,...~ J '-'"' /IJ r~ ., Ciill ., I- ~ Uia ., I""' r::iilo r~ "-~ .. (1, - ... fr I- -~ ..... - ..... ·- ..,. ..,... It u I~ In 1 .. .. - It> t I• I- -Ia r- ••... - , -· I I~ I• ... - I~ I~ I"'" C"llo. -'.;;. - ~~ ' ... • ~ ,_ ~ --- ·~:. -I~ ,, ,"t l "t ' ·~ ~ -I" ~u ~ -i - ~ Sl88Y XVII.~ VARIATION. Slow. :IT,. T\ ;.,_ 1-~-r-- . 'T\ T · ~ · ~ ·.'t.. ~ ll .., 1 - ...,. l- ..., - ~ :r; ~ f- - ./ ( , - ...... 9-. ·····----· .· ~····. ..h ~ •• til .... ·- • -~ • ··----.-·-·., f. ' ~ T ~ ,.. ·- 1- ~·· ~ ~ , e.-1 • 1.- ~ .l ,...... , .. - ---.... e..{ ..., ..., ....- !'!"'" . I - a, I - ~ ,,r'\ ...... Ill' lAP - "' - "' ·"' ., r • '\."" LJ' 'l.iJ "' "' I - 11 I- I -I II' - :;::. t...... -- ········ • ~ ~~z·<:~ ~---- ::> .•...... ····· ······· nif ,..., . ::> ::> ::> ::> :::.:- ~ ::> #i: !! ~ . """'-•lA - .. . ,.... . -1'5. ':1- • ~· --~·if ._ n u AI ~· • .. !I" ~ ~ I ..... :;"'.- ~ } ...... _ -""" ,-J \.'\ z~ A11 ~~ !~ fl. ... 1 r;. -- "" a.! 4. 411 ., ... r #~& 5-6·~ -- · ·~ 8 ••••·----····-,.··-••J'I••••••••••4•••••••••••••=-•-••••••·••••••••ii""•it····•-•4JeJe••••••, ~'- _,_ -I- _2, '' 1.. ~ ' • 11 ~ .5 -- -I- ~ . ~ .. ~ - fl , fJ , ~ =• :a ... • • ,.... -..( ~ "{ ....., ..., -..( ..., &.1 6 - - ..., .... .w &.1 - (:1 I - I ~ . - 11/1 M - &I - ~ •-- '-' 1 ··- .. I'"" ... - - - ' - JV ·...- -- - - • • < - .:::... ;::::.. > ~ >; ~ > ::>- > ::> .::::.. .. Lo."'-•IA ,... I:'J ...... "''"•1- "' &""!:!j ~ --_I.. II. I z ... _...... ••.. !';.'#"' . ... z,~ .L .. ;:;;.~ _.. 'lj, \' lJ ., ... • . 1"-' .... • . _,_ - -v II• 5~ . .... , .: - --&- ~-1tl. l.t ar 511 r ~ --- I 42 KUNKEL'S PEDAL METHOD. ~STUDY XVIII.~ Theme and Variations. Choral in Four Part Harmony. (Dundee.) THEME. Slow. Lowell Mason, 1792-1872. 3 I. "' ! ~ L 1./ "f' . - ~ - _I! ....~::!_~...!_ "' 'I ''"-1- lL~'.L l - '-.'II. . - ..... - --~ PedQ.l. 4 i 2 1 1 ... u •~ "'!: . ·-- - - ... -· --5'- ·- · ~ ·- -~ ---"-''-• _... f'~ n'-'' ,. "' ====~~~==== -~ STUDY XIX.~ If the half notes in the bass were to be sung by voices or played by any instrument other than the piano, they would have to be dotted in order to preserve to the end of the measure the purely four part harmony of the Choral proper. ~ I Soprano. ., : ~ 'r'lV "'' r1 Alto. · ~~v ...... 11 ' t, • ._ Example. - . - - < r· Tenor. L;;-'\.• ~· I ~lL ..c.L .... I"'' Bass. _r: [L . ' KUNKEL'S PEDAL METHOD. The dotting of the notes at A is not required, however, as the use of the pedal produces the same effect. The bass in this study, as played with the pedal, actually represents four voices. Example • .. :1~ - vQice'. ' EJlj ~:·;<···2ndvoiW. 1 ---1 ...... 4!!! voice.. j - . II The E flat, a quarter note with a half rest preceding, represents three quarters, while the upper E flat, with the preceding half and eighth rests, also represents three quarters. To simplify this mode of writing, which is, to say the least, confusing to the eye, the simple notation has been adopt~d, as the pedal sustains the notes their proper length and does away with the dotting. Example. I!J=p~r ~ ~epaz. --;t~---::1,_...r~-=-·----11ll The playing of these two examples, according to their respective notations, will prove the effects Identical. N. B.-It may be here remarked that the piano and harp are the only instruments admitting of such abbreviated notation. All other instruments require the writing of a note as long as it is to sound. VARIATION. Slow. 4 _(. 3 ., - ~ 2 J 4 3 -· - r r ~-= - ... . ~~ • ,.-~ _ __._ .' ... ~ ·-~ " --- v .-.• - ·- r .h r . ~·y ~ 0 ~ ( '"'~: u =~ ., ;-~~ _r~ • .,-~ -· - I I -• - ...... '! ~~ ,. I t " r· t r· I ~ a 3 . t 3 3 - .. -, 1 u II I _1 _I ..illlll • l ~~-r-1/ • ,.-~ - ""' v ... ..illlll •.11 ____IIL~..LL lo1-::;; ·-~ --·~.. -- t) r l.lol• - ·- - ,.~- 1-. " ~ r··- 3~· ....._ _, ~ 0 ~ ~,_ - '"''"_. ,~ -- ~· Ll ~ "L Lo. - .I ~!.... -....._ [U r.J ~. v v • t- ~ 12 - ..... - - ~t ~~ J.- Ptdal. ~tt----~,..,___,r,_!·---+1-!t~--IJ-,. ~r·=----~~;--_.,.,. -+r .:.....·--+l _,t:--_,..,. ~r~=---·-t,_,r,..·~- 44 KUNKEL'S PEDAL METHOD. 3 a 3 Ill I ( ·-· - T ·~ \.1'1- T I --u"Vl7 T I .. • 11>1..! ...... l'l ...... , n•-·-..,; - llll..ool-- ,~ ..... - #"' '"' '"' , ..... o'll ·- J ~ .,r·~- ~~"t··- - r~·- ·- \ ~ ~ ~ ~ I.#- { ~. •· rr ;~ '.J - - 7 \.1'1- • ..... /.1. ~ - v !/ -· - Ill ..... ·- · -~ ~ .. - - . "J~ :;;t 3 - I 3 ., 3 ·- ~ ~· r r T 1 ..1 I •...,.. •- r~ ~ !..' ...... l'l • -n ~v - .. ., _.. ~'J ...... • If -n•-_.. - ..... t' 0 ,~ " 10~·- ~ ~· ro I -< r·- =--= 3~·" ...., - ~ ~ ~ ~. ., - r~ r~ r ... t""' <:>II":} 11':1 ~ 1111 ~ L..' c..;: ...... • • . 1/ r/ 0 I, ..... - I u I -~-,r- ... 3 ...... 4 4 - 4 4 .. I I I , I -..,; ..... - ,__ .. VII" IV'_rJ1>1..ool. __...... • l'l ..... , 1-11'- •IIIAI • - . r~ ...... l'l ~VrT -::o•- ., -~ VII" it? 11 . 0 "' ·- J ·~ .I ro- ~ r· r· f".J ,...... ~ r.J rT ~ '"'""• 1 ~ --.. - [;;;;;::,'· r~ Ill .I ...., .... ,_ ...... ~ !-': v f/ -• ,... - - 4 .. -~ lz '2 .., 111~ ~- 411 Pedal. -l'~-~,.~r""""o---+1.... , ____,_., _,...r :....· ....._-~1-l'-~__,.,._,r...L,o· ----11H-t-----.:.-~.,1'--11r..;.· . ----4 3 4 3 I - I - I 3 r; - - ~ WI ..... I ...... -.-~-r ,,r'\ v r; ...... - r~ AI ..... -' ..... ~17 ~-- - r~ --·"~'- - ·- ~- n•- • ,...... - ["' .n ·- "lr,~- J v r· :F 0 ~ .-----::: -~ ~ ~ ~0 0 ~ ~ ~ ..... - u ..... ---..~"""· I! - ..... ~ .J ,..... - ,_ ..... 0 • ... vv '-· lo '· - I"' - - -~ .... -· • "J "J. KUNKEL'S PE.DAL METHOD. 45 . I, 3 3 3 3 ~ !.-.' 7i/J"vu r ""(" 1.1 1.4..1 ... ,g ..,-I ... :;.[- ..,.-1 ~ T ...... ,-1 - t: 4~Q ...... ~ ·y-r··· r··- f'• I':\ ' r.·., ______.-: A ~. '.J ..... I""'" - - ·r~ • ,..... ---,;;· ---.. r1 ·~- - - r.J • I 1.4' a '.J r~ II\ ... v , [UI- ~ ' t:i - • -- I , 4 - I - '3 - 1- -*- ~ -:;,'~' 11 ~ - "iil ~~ P~dal: -~~~· -~,.~r.:...·- ---+-1""'"' ___..,._..r .!,...•-----~--~ ""'' ---IJ',-..r ·~--~--~-~-t __...,.., _,r,.:·---JI-9i-=-· --•- ·~ STUDV XX.~ Theme and Variations. Choral in F.our Part Harmony. (Seymour.) THEME. Slow. Carl Maria von Weber, 1786-1826. 5 3 I I 2 lr 31 4, -11 41 ~ 3 ' -·. .L - ~ A . ~ L ...... "' 1.1 r.J tl - ~ I"""' 1.. 1..... P~dal. 1 f ~ r I j I ! r -~ r '! r! r.1 ~ r I t i. _, 5 5 3 4 2 3 II n ~I 41 31 41 . 3 IJ .. 0 -u- & ~· ~ ~·~ ~ 2- -: ~ ~ _, .L .L .L • w r~ _, ~P'\V r~ !I. r~ Ur.J-· ,...... 'r-A II"'"" •~ .. ... -n ·"r.J ·- ,_j r~ c;:--,. ""'"IT n .. r. -J '.I' - -"""_, .t- ~ -p-- I - - - -6- ~ -e- 4 :L- ~ P:~ 2~ -~ ~ 1':12 ~ ~ -~ -~ r.J ~ ..-- ~. II. r-. r- -. :,.. :,., ""Jir [1. '7 , rl' X ·~ '..1 r~ [.1 '· II tlf [.I -· .. I' ~- 71.1 \.:"\ - Iii 1:1. ":J '"'.J n- v .r=•• 1.::: r7 ~ 'C) tl .. Pedal. t r· ! ·r 1 ~ r ! r 1 t r ' V ,. V I ! r· I t r l r I l ·~STUDY XXI.~· · VARIATION I. Slow. -~. --, -~- ---T~ ·~ ·~- ·~- ·~- "J- ~ _I .... - .. C"\ v . - -~ -~ ~ ~ (;; ~ -e-- Pedal. ....-..... t; r.. I . J ,r .. ~r·· ,r .. .,r .. 'r .. I '~· r· .. 4S KUNKEL'S PEDAL METHOD. 8·-···· ~ ~ ~ !{ ' ., ., -- ~-- "'I :{=- "'I -- ., ., ~ "'I 1--n .f_ 1 ~ 'm~'.h7 -- - .... n 1--;-.- --~ .Cf"' ""!": !1ifM'': ::::::.. I .. -~ ~ v s;.• ::::::.. .. ::::::.. n•4 ~ ,~ 2 .•• ~· 2. ,~ v . ~-~ LJ ~ IJ ~·c:;: '\ "~ it" !,;". .J ::::::.. 3- :::::- 4. 4 • ~ '\.~ .J ~ >·.~. '.J 1-. .n. t- ~ J J "" ~ · ·-· ~ '· "' .. .r t... -~ . ~ ~~~:! ~y- ~ l~ I 23~ ~ cfoe$. ~ ( .... ,.~· ' "J- -,~~*'- .I ~ · ~ r - , I v ~ - if~ - ~- ':.Q. ~-- · =6 =6 . - ··;, . . ""' ' ..J·:.. •J v .. . Gl -e- Pe ~· - .I lA r. v - y·- -e- Pedal.~- ~ lf~r·!!..•-~!f~r.::.··----~-,-:~-;...:r·.:._· --!Jq-.:.r·.:._· --h,.~,c~··--71-qr~. ··~-11-;tJr+~-:;:_~r.:.-·----~• The charming and effective embellishments introduced in this variation are frequently found in compositions of modern writers for the piano, notably in Melnotte's beautiful religious meditation "Trust in God," and Gottschalk's "Last Hope." Pieces like the above, which are very popular, depend entirely upon the artistic use of the pedal for a perfect and scholarly rendition. , ' 8 Graves Thompsom Waltz time J. so. 5 fJ - ~ ...... ---. ~ . t: + T - I~"" -p -- r 1.-J - - ~ =-- ==--- - fJ r- - . - 41J"J I f':J . - --,...- •• • • I I - T I • J., ~ ~. ~. :Z ~. ~~ ,...-..,.5 ...~ - ,....._ I 5 ~ 5 . --.. v- t: r .... + ~ - I~Gi • L,...• • I t - _., - I ·- - . I • .. I I I I I 5 I I I ~. ~. . ------r I - I J ~ I love a lit. • tie 2. H;er voice is sweet eft 1 8 - 3 1 2 w . a_2 4 I - - . I - I t .a 1 ., I ' o I 4 .. • I 1"1' n------t} (J• ...... ---. ~-----~- 1. Ia - - dy, I call her sweet - heart mine ...... 2. mu. _ sic And soft. - ly breath'd her sighs ...... ~ ~'11 '"l ~ . I • • 1555~ 4 . (Jopyrlght.KunkelBiOs.189~ . I \ 1 I 4 1 ~ -.--- .----r "I I. .... I -- t... - - - ~· - • 1. She's like a ~~ _ tie fai _ - ry With a sweet face and 2. Her smile is like ..... the sun. _shine, Sun_ shine that lights her . lj '- .... . ~ J. t...... I ...... ~ :# $ ::: l~ ~ ~= _.__ -- .. ~ .I• • - =-· ~t .l n l -- _._ -----= ._. _L .._...._. ---·· I I I t... - 1. form d.i_ _vine ...... f . meet her ev'. - ry 2. love_ .ly eyes...... Her cheeks are like the ·n ..._ ~~· :# "$. - ~ -cJv . tr.J: 1~ =:: ~ .. ~ :# .. . - =~t • =i- =-- ~-- I I . rTT ------f.) c;;• ...... - I 1. ev,n _ - _ ing And tell her sweet tales of love ...... -~ 2. ro _ .. _ ses, As ,dipp'd in the morn _ .ing dew ...... 1 ~ ~ ,u ~--- :t '$ :# :# :# :# 2T ... ~ :t lo ....~ ,- ..I - ~ =4ji: • ~- 1i ~ I I - I I ·I ---- t... I I I I 1 ...... That make her with ...... me lin_ - - ger, Be. 2 ...... Oh how I love ...... this maid_ - .. en My D 1 (...... 7t --- < .... ~ .... tr' :# $ ~ ~ 7:. . ' o--" ~ p"l~ p"ll" :it '11~ 1555-4 fJ l I - ~ . ------r:;; I I I t.. -- - 1. neath the stars a. _hove ...... Oh! sweet . ·heart ,., 2. lit. _tie sweet. _heart true ...... " " n- -, Iii. H. • ' t...... ~ :11':.. ;!"'" ~ ~- * ~-- . .. ==· li~ ~- •. :;i~ .. . I I ~--...... -~ ---- I t.. I I I• I I I -- mine, Oh! sweet .. _heart mine, Oh, come tell me with those &c ~ t.. ::, $ .::: :# :# ::~ ~r- ~ ::" =I• -7.. . ·~· ~ y ~t • • =i= =-= ,----; ---..,..._ ~ ...... _... ----- I c • ... I I I I I ' I eyes ...... di - vine What lies fu · thy heart, Ah, yes! 'tis love's n ~ :t ::1: :# ~~ ~~ - ::, :;, ;: ~t ~ =:• . _.. -' • • =i• =it • .~~. I .-- . I I r, ---- t.. ------dart, Then come, sw~et • heart, thou art mine ... :...... fJ I t. ~, $ $. ~ :S: ~~ ::~ :~~ L. . * ., • =i~ • ·~ ' "" -'"' .. 6 ~- I j' . ~ ~ - ~ . "~~' ----- I I .. ' I I t.. I I I ~ -- Oh raise those trust - ing eyes of bi~f, And let· their love • light 4: & j; Q I ~ l » t ---- ··- I I J ~ I I I I .:::> ~ I - .:::>- ~ ~ - -..._ ...... -.. •. I -...... - - ..:::- .:-- I -. ..- . I-. ..- v I I I • I I • I I ... I I I I - ~~- - I I I ----T I I - I ---- I ~ - glist •. • en through Oh raise those trust • .ing · · ~yes of blue . And & 4: .~--.... g t ~ » 2 I ~I ' ( tJ I T I I I I I I ~ ----- ~ - Ill be true to 5 I) 2 s a ~ 5 3 fl .. s ... ~. ,. . .( - 9. •• ... ~ · s A,_ "-- - • I J ~ I I I I I I I I I -~ I I I t- . I • ) r r ;;;;; -< - - -- . ~# I## ## I-,.__# - 1!-~ ,~ -· ~ ~+f..< I I - - 5 3 r T T I 5 3 fl----- ...... 2 A.,..-_ t » ! 2 . ~- "~- -, - I . I I I I I ~ - r r .._..... · ~. J . .,. # l .------:---~ ~ ## I ~ I ~ .. .~ J. r ... . . - I (;}• ~·~ ~. 1M5-4 ltu:N"ttEL'S Ml::tstcA:L REVIEW, APRIL, 1899. 29 - thenceforth a voids concert halls. Yet if that man LISZT AND TSCHAIKOWSKY. THE MUSICAL MILLENNIUM. could have been familiarized beforehand in some way with the works he was to hear, the chances Sir Alexander Mackenzie began, at the Royal In In the middle ages the only professional musi are ten to one that he would have been delighted stitution. London, a series of lectures respectively cians, apart from church singers, ·were ibe min with the entertainment and become a regular con on Liszt, Tschaikowsky and Brahms. With regard strels who traveled about the country, carrying the cert goer, to the ad vantage of music and musicians. to the first named, the lecturer chiefly dwelt upon news from one castle to another, and amusing the Elaborate books have been written on ''How to the composer's personality and temperament, says knights and their guests with song. These min Understand Music," "How to Listen to Music," and the Musical News. The lecturer said one of the ~trels, says an exchange, usually led such frivolous so forth, but the secret of the whole matter lies in strongest characteristics of Liszt was an almost and vicious lives that they brought the whole art of REPETITION. Persons who have a modicum of Quixotic self-abnegation. He not only refrained secular music into disrepute. They were indeed liking for music can be made to appreciate a Bee from criticising other artists, but often neglected to for a time regarded as outcasts. thoven sonata or a Chopin prelude if they can be utilize the admiration of his patrons for his own It took music a long time to recover from the induced to hear them often enough. I once knew advantage in order to give encouragement to artists damage to its reputation thus inflicted on it by un two young men who never dreamt of going to con of ability much inferior to his own. He made his worthy executants. It is well known that even the certs or operas. They had a sister who wanted to first appearance in England at Manchester in 1825, great composers usually had scant honordone them become a music teacher. She played an hour or where he was announced as the great pianist who, till the dawn of the present century. Bach and two every evening, and in a few years her brothers at 12 years old, had already achieved a European Mozart were buried in panper graves. Mozart was bad become so fond of music that they s:wecl their reputation. His advent formed an epoch in the once practically kicked out of doors by his noble cigar money for tickets, and soon learued to enjoy development of pianoforte technique. He had employer, and Haydn was treated as a musical the best music immensely. Their private musical transferred the brilliancy of Paganini to the piano household servant by Prince Esterhazy. In 1826, millennium had come. fort<', and the ingenuity of his combinations, then a when Weber went to Loudon to bring out the last Writers on music too often dwell on the educa marvel, remained still unsurpassed. At the age of of his operas, "Oberon," it was still customary in tional purport of certain entertainment::: in lan 38 Liszt retired, almost into obscurity, to Weimer, social circles, when musicians of any grade were guage which conveys the impression that to be edu but, during his 12 years' residence there, the great invited, to separate them from Lhe guests by a cord cated up to good music is a good deal like going to polemic between Liszt's early friends and favorite stretched across the room. school to learn grammar, algebra, historic dates, composers and the Wagnerian school had arisen, To-day there is not an aristocratic drawing-room and other difficult and disagreeable things, In and before the end of it Liszt had quarrelled with in London that aoes not feel it an honor to have a reality, it is nothing of the kind. Being educated Berlioz and acknowledged Richard Wagner as his great musician present; indeed, the custom is to up to good music means simply hearing it over guiding star. The most striking portions of Liszt's make Lim the lion of the occasion. Twenty and over again until you understand it. To undt r compositions were the songs inspired by the poetry thousand persons attended Beethoven's funeral; stand it means to like it, and when once you like of Goethe and ~chiller, the ''Faust" Symphony, emperors, kings, and hosts of the miuor nobility of Schubert, Chopin, Bach, or Wagner, you will like and the '' Mephisto Walzer," and the Rhapsodies all Europe attended tlie Wagner Nibelung Festival them more and more from year to year. which might be said to have created Hungarian at Bayreuth in 1876. And think of the honors paid musical art. Liszt's latest period was chiefly occu to Anton Seidl in New York last spring. If a great pied with works of devot· onal character, which in poet, general, or statesman had died the event A COMMON-SENSE CHAT. cluded the oratorios" St. Elizabeth" and' 'Christus ." could have hardly created a greater stir or evoked He died at Bayreuth on July 31st, 1886, after a a more spontaneous outburt of popular sympathy One of the greatest errors of teaching is in giving memorable visit_ to England. and regret. to pupils too difficult music. And there is in a pu Dealing with Tschaikowsky, the lecturer said that In so far, then, as the popular estimation is con pil no more·unreasonable and injurious fault t an until the middle of the present century, when cerned in which music and musicians are held, it the impatient wish to attempt work for ·which be Glinka became known to European countries out might almost be said that the millennium has ar has neither the necessary technic nor the artistic side Russia, Russian musical art had remained prac rived. Butfrom other points of view it is still very intelligence. tically unknown. The distinctive qualities and ele far off. The same Anton Seidl took his orchestra The evil is a common one, says an exchange ments which entered largely into the present Rus to Philadelphia a few years ago and gave half a more common than some may suppose-and usually sian methods of composition were most favorable to dozen concerts. What was ihe result? On his re arises from the ambition of the pupils or from the the foundation of a national school, since they im turn toNew York be found that he had not only indiscreet zeal of the teacher. It is impossible to ported unfamiliar rhythms, and the strange attmc done a bard week's work without compensation, say too much against it. tions presented in gipsy and Oriental melodies, but had to draw a check of $2600 to cover the loss. Consider some of its effects. What sort of phras which carried with them harmonic progressions Theodore Thomas bad not a few such experiences, ing, rhythm, and. expression can be expected from new to the Western mind. Tschaikowsky's first and it is well known that to this day he would not a player beset with insurmountable difficulties? pursuit was the law and he held a Government be able to keep together his Chicago orchestra if it Punctuation and phrasing will be neglected, the post for four years. He, however, joined the classes were not for a large guarantee fund. Philadelphia rhythm will be broken, and the whole composition at the St. Petersburg Cons9rvatoire, studied com and Chicago are thus unwilling to support a few taken at too slow a tempo. position under Anton Rubinstein, and made such first-class concerts given by two of the world's As a technical exercise, too difficult a work can rapid progress that at the age of 20 he was made a greatest conductors. Nor is the much-vaunted hardly be profitable. The least of its bad results is professor of the new school at Moscow. His early musical culture of Boston more than skin-deep. stiffness, which means paralysis of all one's forces. composition received little encouragement either The Boston Symphony Orchestra prospers only be Schumann counseled young musicians never to play from Nicholas Rubinstein or the public, but he con cause it is backed up by the million dollars which a composition with which they did not feel them tinued. to write with great rapidity and fertility. In Mr. Higginson invested in it. selves perfectly familiar and at ease. An eminent temperament he was shy, retiring, and nervous, How do we account for this lamentable state of professor once said, ''Do not play anything that is and subject to periods of melancholy. More than affairs, this remoteness of the musical millennium? not play to you." once he destroyed his work in fits of depression. Is the public indifferent to music? Far from it; I But some may object that progress is only there His mysterious marriage with a lady of whom little wish nearly every clay in my life it were. Wherever sult of effort. If no one makes an attempt at con was known, appeared to have aggravated the weak I go I bear whistling and humming and fiddling quering difficulties, they will remain unconqnered. ness of his temperament, and on several occasions and fluting and pianning-to coin a word-till I True enough; only do not forget that exercises and he seemed to contemplate suicide. The death of feel almost ready to go and dig my own grave. No, etudes exist, as well as "pieces," so called. Ob Nicholas Rubinstein was a great blow to him, but there is no lack of interest in music-bad music, serve, now, the logical progress; technical ability it had inspired the fine pianoforte Trio in A minor, vulgar music, sensational music, trashy music, must first be gained in exercises, then strength~ned Op. 50, dedicated ''To the memory of a great ar maudlin music; hut there is very little desire t in etudes, and finally developed in compo'3itions of tist." Success came late in life, and with the pro hear good music. And why is there so little desire every ~ort. duction of his opera "Mazeppa.''' He visited Lon to hear good music? Simply because people are not This recalls the answer ~iven to a correspondent don in 1889 and 1893, on the last occasion being familiar with it. of one of the Paris journals, who asked, ''What are elected to the honorary degree of Doctor of Music Music critics almost invariably condemn new the most difficult works for the piano?" Replies at Cambridge. In the latter year Brahms pur compositions and new composers until they have poured in; some named the Liszt transcriptions, posely travelled to Hamburg to hear his Fifih Sym become familiar with them; then-especially if the and the like; others the difficulties of interpreta phony, after which the two composers dined to poor fellows have meanwhile starved to dea'th-tbe tions of Chopin, Schumann, Brahms. But the one gethar, and frankly expressed their mutual dislike critics fall down and worship. When Beethoven's wlJich was accepted read: "To play anything well of each other's music, parting, however, good symphonies were first produced in New York t.iw :.s the hardest task." friends. The beauty of many of Tschaikowsky's audiences used to leave cliF:gusted after two or A truism, is it? Perhaps. Nevertheless it is wise songs entitled him to be classed amongst the great three movements had been played. Everybody has to appeal now and then to common sense, which is, melodists, and his six symphonies exhibited quite beard of the philosophical Bergmann, conductor after all, the rarest sense. uncommon personality, the last three showing of the Philharmonic, who was one of the first to put flashes of genius." In the "Pathetic" Symphony, Wagner on his programs. Friends complained to Twenty years separated the first conception and volcanic passion, relieved by touches of deep sa(:l him that the audiences did not like Wagner. ness, attained the highest point of expression. "Den dey must hear him till dey do!" was his an the final completion of the score of ''The Nibelun Boundless exuberance was here allied with com gen" series of opera ; twenty-two years between swer. And they now "do" most emphatically. It the first sketch and the last stroke of the pen on parative restraint, frequently absent from other is on record that when certain symphonies of Bee works which abounded in unbridled passages. He "Die Meistersinger;" while ''Parsifal" was in thoven, Schubert, and Rubinstein were first re latency twenty-five years. died in 1893, of cholera, it was said. hearsecl, the orchestral musicians rebelled, refused to play, or laughed at them, though in one case, in So far the musical season has brought forward no ------~.------London, Mendelssohn was the conductor. new works of unusual merit in Italy. One-act Nothing retards the progress of the student more If professional musicians and critics need so much operas are still put forward as determined strug than bad practice ; it is the bane of many instru time and repetition of music before they can ap glers for the place once filled by "CaYalleria Rns mentalists to-clay. Some violinists want to play preciate it, shall we blame the general public for ticana." None of them, of course, survives. Turin, pizzicato and harmonics; many piano players want its wholesale avoidance of concert balls? The situ Milan, Venice, Florence and many small cities have some noisy, showy piece ; singers often wh:h to sing ation is a peculiar one and not easy to remedy. all heard their new operas this season. In the the most difficult operatic selection; and every Suppose a man who would like to add music to his principal cities Massenet's "Roi de Lahore" and cornet player aims at a high C. And thus sensa list of pleasures buys a ticket for an orchestral "Manon" have enjoyed a new vogue, and Gold tionalism and show are desired. :But remember concert. He hears pieces by Beethoven, Schumann, mark's ''The Queen of Sheba" has been .produced that it is well to study all forms Of music, One Wagner, for the first time, and is naturally unable with great success in Rome after it had dropped for might be able to play a difficult solo or sonata, but to understand at once what even professionals were some time out of the repel'toire. Wagner's operas could not play a waltz so that it could be danced. unable to take in at first. He is puzzled, bewil figured importantly on the programmes when the Ordinary people care little about the difficulty of a dered, probably bored, and he comes to the con musical season opened in Italy. "The Bohemian piece; it is only experts who can judge of technical clusion that either such music is not good enough Girl" is soon to be given inN aples, and the pro difficulties. for him or he not good enough for such music, and duction is said to be the first ever made in Italy. PROFESSIONAL CARDS. PIANO, ETC. SINGING, ETC. MISCELLANEOUS. OTTO ANSCHUETZ, OBERT NELSON, R THE ART OF SINGING AS TAUGHT IN ITAJ~Y, PIANIST AND TEACHER, St. Louis Conservatory of Vocal Mu11ic, CHARLES GALLOWAY Address, 2127 Sidney St., St. Louis. Roht. Nelson, Director. 2627 Washin~~:ton Ave. CHURCH AND CONCERT ORGANIST. M. D. ARMSTRONG, Formerly Organist of the American W PIANIST AND ORGANIST, VIOLIN, CELLO, ETC. ISS DOLLIE DOWZER, RNOLD PESOLD, M TEACHER OF PIANO, Post-Graduate of Beethoven Conservato· y, A SOLO VIOLINIST AND TEACHER, CHAS. A. DRACH Address, 5671 Clamens Ave. Address, 3536 Olive St. ELECTROTYPE CO. ARL GEISER, OWELL PUTNAM, C Concert Pianist and Teacher of Piano and Harmony. L TEACHER OF V!OLIN, MANDOLIN, HAN JO, G U !TAR, ELECTROTYPERS---- Post Gr .duate, Beethoven Conservatory. Pupil of M. I. Large assortment of instrument ~ and supplies on band. J:l:ND • • • Epstein. Address, 145!J Arlington Ave. 33rd St., bet. Easton and Franklin Aves __STEREOTYPERS, • P. GRANT, AURICE SPYER, J • TEACHER OF PIANO, M VIOLINIST, COR. FOURTH AND PINE STREETS, Address, 411 S. 23rd St. Teacher of Violin and Mandolin,~, Address. 3684 .t 1'1"RNEST R. KROEGER, · E. R. ROSE~NER AND REP All'{.ER, Shattinger)?iano &Music eo. _lli PIANIST AND ORGANIS L', (Harmony, Uomposition, Counterpoint and Instrumentation,) Address Care of Kunkel Brothers. No. 1114 Olive Street, Address, 3631 Olive St. ST. LOUIS, MO. MIL KROEMEKE, ELOCUTION. E TEACHER OF PIANO. Refers to Charles Kunkel. Address, 3925 N. 20th Street. THE PErmY SCHOOL 0.1!~ 0£-tATOlW & Du.A:M:ATIC AuT, MUSICAL INSTRUMENTS, SHEET MUSIC Y.M.C.A. Building, Cor. Grand and Franklin Aves. A:n..d ~u.si.o Books. ISS MAHAN, Address EDWARD P. PERRY, Principal. M PIANO STUDIO AND ORGAN DEPARTMENT. Entertainments and Engagements solicited. LOWEST PRICES and BEST GOODS. Studio and Residence, Westmoreland Hotel Annex, Correspondence Solicited. Catalogue Free. Cor. Maryland and Taylor Aves. MISCELLANEOUS. F. MOHR, R. ADAM FLICKINGER, WHY BE WITHOUT • TEACHER OF PIANO, 0 DENTIST, Address, 2033 Sidney St. D Removed his office from 707 Pine Street to 1118 Pine Street. A METRONOME? ISS CHRISTINE M. NOHL, WHEN YOU CAN GET M TEACHER OF PIANO, APER IN THIS REVIEW FURNISHED HY Teacher of Intermediate Dept. for Mrs. Strong-Stevenson,, P GARNETT & ALLEN PAPEB. CO., Address, 1413 Dodier ~t. PAPER MANUFACTURE!'{. AND DEALER, Music and Publication Paper a :Specialty. ST. LOUIS RS. NELLIE ALLEN-PARCELL, Kunkel's M Pianist and Teacher. Pupil of Barth, Berlin. Diplo EO. E. OWENS, mas from Beethoven Con., St. Louis and Leipsig Con., Her G PRINTER, 210 VINE STREET, many. Rooms 215~, 216 VIsta Building,Grand & FranklinAvs. Programmes, Invitations, Etc., given prompt and careful attention. l?ocket OHN F. ROBERT, J TEACHER OF PIANO, Address, 2624 Thomas St. Agents Wanted Metronome LFRED G. ROBYN, THE BES'l.' EVER MADE, A PIANIST AND ORGANIST, FOU Address, 3714 Pine St. FOR 50 CENJ.'S. EO. C. VIEH. PIANIST AND TEACHEI{, OF PIANO, KUNKEL BROTHERS, G Graduate of the Vienna Conservatory, Kunkel's Musical Review Address, 3669 Russell Ave. 612 OLIVE ST. ST. LOUIS, MO. ISS CARRIE VOLLMAR, In every City and Town in the United States. M PIANIST AND TEACHER, Organist Memorial M. E. Church. Residence, 2L35 Sidney St. BERTINI'S SINGING. ETC. WAGENFUEHR & HILLIG, AX BALLMAN, BOOK BINDERS, Twelve Preludes ,~()Rondos. M TEACHEl~ OF VOCAl~ MUSIC, 506 Olive St., Room 41, Music Rooms, lOH~ North Broadway. EDITED BY CARL SIDUS. Specialty of Music Binding. Best Quality Work, RS. lC G BROADDUS. Complete in 1 Book, $2.00. M SCHOOL OF VOCAL Aln. Lowest Price. Studio and Residence, Westmoreland Hotel Annex, Cor. Maryland and Taylor Aves. Published in Kunkel's Royal Edition. ISS EUGENIE lJUSSUCHAL (CONTALTO), A NEW AND WONDERFUL EDJTION M SUPERVISOU OF MUSIC, PUBLIC SCHOOLS, Vocal Instruction. Address, 3008 N. 21st St., St. Louis. -OF- This is a set of most instructive studies of the 2nd LEXANDER HENNEMAN, CZERNY'S A VOICE SP!!.CIAU~T. an<'l 3rd grades. They offer excellent variety of Lessons and Recitals in the Henneman Hall, 3723 Olive Street. technical work and are indispensable to the musical RS. S. IC HAINES. A R T 0 F F I N G E R I N G. education of every pupil. M TEACHER OF VOCAL MUSIC. 50 CHARACTERISTIC AND ARTISTIC To be had at all music stores and of the publish· Churches and Concerts provided witb Professional Singers. Address. 2.V. Vista Building, Grand and F ·anklin Aves. STUDIES, ers, RS. MARY E. LATEY, REVISED AND EDITED M VOCAL INSTRUCTION. -BY- KUNKEL BROTHERS, Italian Method as taught bY Rudersdorf. DR. HANS VON BUELOW. 612 Olive Street, ST. LOUIS. · Address, 3625 Finney Ave. I{UNKEL'S MUSICAL REVIEW, ARPIL, 1899. 31 T. BAHNSEN MFG. CO. HARLAN BROS. HIGH GRADE TAILORING -AT- PIANOS POPULAR PRICES. THE Grand, Upright and Square. N. E. Cor. SIXTH and ST. CHA~LES STS. Graphophone. Are manufactured in St. Louis and A. E. WHITAKER, endorsed by our leading artists for Manager. The Up·to·Date Talking Machine F. G. SMITH, Durability, Touch, and Even Manufacturer Bradbury Pianos, A MOST ACCEP'rABLE GIFT. ness in Tone. 1012 Olive St. When You Get a Talking Machine Get a Graphophone. Warerooms. I ts22 Olive St. WHY THE GRAPHOPHONE? JENSEN'S In the First Place STUDIES. The Graphophone produces perfectly and de lightfully the music of bands, orchestras and GREAT vocal and instrumental soloists. With a Kunkel's Graphophone one can provide at any time a most enjoyable entertainment, having the whole range of melody to draw on for his Royal STUDIES. programme. It is all musical instruments in one. Edition CHARACTERISTIC STUDIES 25 And Then Of the most famous studies embodies 25 OP. 32 On a Graphophone cylinder anyone can re all the researches known in piano lit cord easily and instantly, music, the human BY ADOLF JENSEN. erature. The well-known perfection of voice, or any sound, and the record can be reproduced immediately, and as often as de the Royal Edition in all that relates to sired. Only on talking machines manufac EDITED BY DR. HANS VON BUELOW. fingering, phrasing, annotations, adapt tured under the Graphophone patents can sound be recorded-the performance of other ment to modern wants, etc., leaves lit so·called talking machines being limited to tle to be said. These studies have been the reproduction of records of cut and dried subjects made in laboratories. edited by the greatest pedagogical In 2 Books. Price $2 Each. masters of the age-Hans von Buelow, Oraphophones are Sold for $s.oo and Up. Carl Tausig, Hans Schmitt, Franz Liszt, Write for Catalogue No. 116. etc., etc. Published in Kunkel's Royal Edition. 7 7 2 Behr=Sidus. COLUMBIA PHONOGRAPH CO., o L~~£ ~ T. ST. LOUIS, MO. Ot>· 57 5. Price 75 cents. Containing: No.1- Chicago, New York, Philadelphia, W ashington, :Baltimore, Buf Child's Song. No. 2-In the Month of May. falo, Paris, San Francisco. No. 3-Child's Play. No. 4-Joyfulnoss. No. These are the most wonderful and poetic studies 5-Barcarolle. No. 6-Shepherd's Song. for advanced players published since Chopin's time. No. 7-Spanish Dance. [L-t. E.] They are edited by Von Buelow, and will be hailed .Beyond doubt the simplest studies published. with delight by all lovers of beautiful studies. Their Guide the young beginner in the most satisfactory manner. Great delight for children; stepping stone technical worth alone will commend them to teach to Carl Sidus' great studies, op. 500 and 501. ers and students. Gurlitt=Sidus. To be had at all music stores and of the publish· ers, AlLum Leaves for tbe Young. Revised edition by Carl Sidus of Gur1itt's famous Little Tone KUNKEL BROTHERS Pictures for the Young PianiPt. Great stud ies in style and phrasing. Price $1.50. Con 612 Olive Street, ST. LOUIS. taining: No.1-March. No. 2-Bright Morn ing. No. 3-Northern Strains. No. 4-By the Spring. No. 5-Song of the Lily. No. 6 -Slumbering Song. No. 7-The Fair. No. The rosy freshness 8-Turkish March. No. 9-Dancing Waves. and a velvety softnes'i of the skin is invaria bly attained by those who use PozzoNI's No. 10-Free Fancies. No.11-Sunday. No. Complexion Powder. 12-The Little Wanderer. No. 13-Hunting Song . [1-t.E .] st.ums To KANsAS'my , Very pleasing to the pupil. Complete little pieces, AND 111E developlng style and finish in playing. ~WEST~ noscheles= Henselt. HOURS .SAVED TO SOlJTtfWEST 1'\JSJOURI AND KANSAS POINTS Op. 70. Twelve Characteristic Studies in two WITH DIRtCT CONNrCTION! COLORADO •No PACiFIC COAST POINT.S books. Henselt's revised and annotated edi "TIIUOLORA.DO SI10KT LINE• tion of Moscheles' great studies. WI OODDRIOGD H.C.TOWMSitl(D ~~C"· ,fffl.,.,.. ... 1kYrAIIIC Book I. Uontaining: No. 1-Woodland Brook. TRADE MARKS Sl .l.OIIU Me J\o. 2-Hercules. No. 3-Rustling Pines. DESIGNS COPYRIGHTS &c. No. 4-Eolian Whispers. No. 5-A Winter's Anvone sending a sltetcb and description may qulclrly ascertain our opinion free whether an Tale. No. 6-.Perpetual Motion. [R. E.] invention is probn.bly patentable. Communica tions strictly confidential. Handbook on Patents Book II. Containing: No. 7- Village Holiday. sent free. Olctest agency for securing patents. Patents taken through Munn & Co. receive Agents Wanted No. 8-Mazeppa. No. 9-Romf\nza. No. 10 special notice, wit.bout cba.rge, in the -Fluttering Butterflies. No. 11-Stormy FOR Ocean. No. 12-Whispering Waves. [R. E.] Sci~ntifit Jlmtrican. A h11.nctsomely illustrated weekly. J,arp:est clr· These studies are indispensable to the higher art culation of any scientific journal. 'l'erms, $3 a year: four months, $1. So1d by all newsdealers. Kunkel's Musical Review, of piano playing, and form the stepping stone from MUNN &Co.astsroadway, New York Cramer to Chopin, BrauQil omce, 625 F St., W~l!hington, D. c. In every City and Town in the United States. 32 IiUNKEL'S MUSICAL REVIEW, APRIL, 1899. Books are a fa.vorite subject with :Moriz Rosen A PLACE TO GO. thal, tho great pianist. An intellectual athlete is Ball's rare enough in the universities; as to the musical In answer to the many and repeated inquiries as Vegetable 5icilian professiou one would scarcely look for the anomaly to where to stop, or at what restaurant to eat while there. in St. Louis, we advise you, if stopping for several en~wer -~~\ "Kipling," said Rosenthal, "I like best of !~nglish or more days, to go to any hotel and engage a room l)air writers. He is colossally strong intallectually. I on-the European plan, and eat at Frank A. Nagel's read all I can get of his. Howells is fine, but be is Restaurant, 6th and St. Charles streets. Ladies out Look up that word Renew. too quiet. Byron I admire greatly, but there is too much sameness in him. He was always writing of shopping will find at Nagel's Restaurant an elegant "Restored to freshness." Ladies' Dining Room on second floor, and will be a young man with a palo face and brown eyes who delighted witfi the table and service, which are the ''Gives new life/' That's went about looking very sad and nobody knew best in St. Louis. what he was sad about. Dickens I admired greatly just what it does. No gray in my early days, but not so much now He has feeling, humor, heart, but he is so unreal. Of Are you looking for an acceptable present? hair. No dandruff. course, I know much less of EDglish and American Go to Erker Bros. Optical Co., 608 Olive street, and literature than I do of my owu, but to me of all look over their large and most attractive stock of American writers Brei Harte is the best. I like opera glasses, shell and silver lorgnettes, gold spec him infinitely better than Howells. Of the German tacles, eye-glasses, kodaks, magic lanterns, and WHERE WAGNER LOST, GRAU GAINS. poets I like Heine and Lenau best. Heine I place fancy articles too numerous to mention. first. Pes, I know him by heart, but anyone can Do you want a most acceptable and useful pres Richard ';y agner received from his publishers do that. It is merely a matter of metuory. ent ? N amendorfs have it at their elegant store, 519 $t0,000 for the four dralllas constituting the "Nibe "When is my reading done? Between Limes, on Locust street. You will find the choicest line of lungen Ring." When he prodnced these dramas in the cars, in the evening when I am not playing in Umbrellas, Parasols and Canes in theWest . Namen B:'tyreuth, in a specially constructed theatre, the concert. It has been stated that I practice all day dorfs make them, and their prices are right. expenses exceecled the receipts by $37,000; so he i ong, that l am at it all the time. That is not true. had to pay the world just $27,000 for the privilege I study a great deal, but not the same old things. I Try Cook's Extra Dry Imperial Champagne. There of devoting twenty-five years of his life to com play new ones. A man must go ahead and not re- is no foreign wine that has its boquet or any that is posing the tetralogy. It was predicted on all sides, main in one spot. What is the secret of ~uccess in as pure. Forty years in the market and not an thirty years ago, that these clramas would never be piano playing? The same that is the secret of suc adulteration. "Strictly pure" is the motto. Cook's profitable. But m :my things have happened in cess in everything-do not get discouraged when Extra Dry Imperial Champagne. three decades. Ml'. Maurice Grau has given the bh.d times come, but go straight ahead." complete tetralogy twice. The house was full each time, and the receipts for the eight performances are probably not far from $80,000. The Metropoli KUNKEL'S ROYAL PIANO METHOD. tan Opera Company, in other words, has earned as A correspondent of the Sun, speaking of the Kunkel's Royal Piano Method is destined to super much in two weeks with the "Nib~.lungen Ring" popularity of inane songs, says :- Songs absolutely oede all the methods now in use, and ought to be (the profit cannot be much under $27,000) as Wag dle are displayed in store windows, warbled in our used by every teacher and pupil appreciating the ner lo t on it in 1876. theatres, and in devious ways soon are found in most modern method of piano teaching. homes to pollute our daughters and sons. The Kunkel's Royal Piano Method is founded on the The '' Menestrel" announces that two mann many pretty little love songs and old-time ballads principles of piano playing which have produced scripts of Wagtter have recent~y been sold at are seldom heard where formerly they exerted such such great masters as Rubinstein, Paderewski, Von Vienna. The oue, of six pages, contains the first an influence for good. Buelow, Gottschalk, Liszt, etc. violin part of the overture "Polonia," the other, of There must be a fearless and general crusade A wonderful exposition of piano playing. Takes three pages, the 'cello part of the overture q Colum against the unholy plague of the debasing soug a pupil from the very groundwork; starts with the bus." The autograph parts of these two youthful miasma. One would suppose the nuisance would simplest studies; explains everything as the pupil works of the master, the Menestrel" continues, re have exhaust\ d itself ere this, hut, ' ' coon song" progresses, and, while maintaining the interest, de· ma.iued in Paris nntil after the war, and vYere then singers and similar twitterers appear never to reach velops a fine technic and lays a foundation for the returned to Bayreuth. Mr. E. Dannreuther, in his the end of their tether ; au contrai1·e, their bawdy most Artistic Piano Playing. '' Wagnt>r" arLicle in Sir G. Grove's ''Dictionary," mouthings are stimulated with each successive Its valuable features : mentions that the score of "Polonia '' is at Bay sewer exudation. ''Cry 'havoc,' and let. slip the The studies and pieces throughout the book are of reuth; of'' Columhus," he states, that after its per dogs of war." the most interesting and developing charactflr. formance at Paris in 1841 ''score and parts disap They are fingered according to modern researches peared, and have not been heard of since." as exemplified by such masters as Hans Von Bue The outlay and iucome upon and from the Met low, Karl Klindworth, Franz Liszt, Carl Taussig, ropolitan opera season, Mr. Grau roughly estimates Etc., phrased, and accompanied with full explana John Sebastian Bach noticed in the opera-house at $650,000 and looks for gross receipts amounting tion of terms, notes, signs, etc., etc., as they occur. dining-room in Berlin (when he went to see King to something between $1,roo,ooo and $1,200,0JO. As The W1.'ist attack and the perfect legato, the two Frederick tho Great) an effect which he supposed it is expected that there will bo about 110 perform great factors in artistic piano playing, are fully de the architect had not intended to produce. When ances in all, this gives an average outlay of between veloped. These two features alone are of incalcula a speaker stood in one corner of the gallery of the $5,000 and $6,000 per perfomance. These 110 per ble ad vantage to the pupil. hall,--which was longer than square,- and whis formances include, beside the 68 regular operatic The position of the hands, tne touch, etc., are cor pered against the wall, another person, standing in anrl the 17 '' popu Jar-price" operatic performances, rectly and profusely illustrated. the corner diagonally opposite, with face to the 17 Sunday concertR and 8 special "Nibelungen" Each lesson is preceded by a magnificent portrait wall, could hear what was sairl, though no one else performances. The '.vriter doeR not pretend to give and biographical sketch of some great master, could. Bach detected this at a glance, and experi which is to form a part of the pupil's study. ment proved he was right. Another thing: Bach the salaries paid to the stars, hut guesses that they could calculate accurately how a great composition must ran12e from $800 to $1,800 for every perform would sound in a given space. ance. The orchc1 Ladies and Gentlemen will find in this elegant resort every dainty the market affords at most reasonable prices. OYSTERS AND SHELL FISH A $PECIAt-TY,