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

11-1-1906 Volume 24, Number 11 (November 1906) Winton J. Baltzell

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Recommended Citation Baltzell, Winton J.. "Volume 24, Number 11 (November 1906)." , (1906). https://digitalcommons.gardner-webb.edu/etude/520

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. NOVEMBER 1906 PUBLISHED BT TNEO. FREER 012 OOMJT ST J^CENTS PER COPY p( ,I..PA Uo pER 685 Diligent Research Fails to Find Better Books Than These THE ETUDE = FO R - CONTENTS Instruction Books “THE ETUDE,” November, 1906

Kichard Strauss. A Study of the Man and His Music.F. S. Law ( Prize Essay Competition.. < Inspiration Column.F. S. Davis < How to Study the Piano. ..Isidor Philipp ( Hungarian Music and. the Gipsies. Ottokar Wbber-Szegcdin I The Education of the Masters: Mendels¬ sohn and Schumann.... U. T. Finch 1 FUNDAMENTAL MUSIC STUD! Music and Mental Science. . ./'. VP. Hurry I ^PUBLISHED BY = How Some Pupils Answered Examination Questions .... • • * The Babylonian Origin of Music as an Art and Science.H- Butk-a Touch in Piano Playing. ..IV’. L. Calhoun Mozart as a Teacher. Player and Piano Composer. II.Anna Morsoh THE JOHN CHURCH COMPANY Our Coming Audience. .Gertrude G. Bunts The Instability of Methods of Teaching Music.7. Francis Cooke What is Good Taste in Music? CINCINNATI NEW YORK CHICAGO Belle Squire Humors of Orchestral Life...... - Teachers’ Round Table.A. ./. Corey Editorial Vocal Deparl W. Wodell MALE QUARTETS Organ and C F. It. Kroeger A DICTIONARY of MUSIC GRIMM’S MUSICAL Violin Departme ■onjc Lehmann From our catalog that are being sung Children’s Page ‘The Best Musical Dictionary this season by the celebrated Publisher’s Notes.. < WRITING BOOK European Musical Topics. .Arthur Elson _ By W. S. B. MATHEWS and EMIL LIEBLING A Practical Method qf Learning tht Principle, and Notation rf ,* Musical Items. J Science qf Music v WEBER MALE QUARTET Home Notes . J Questions and Answers .. > limr w"|,a?,d ^efininS Dictionary by Mathews and Lieb- OF BOSTON By CARL W. GRIMM Reviews of New Publications. . Z, ;h V " ‘ beSt vocabulary of musical terms ever pub- The judgment of this organization Recital Programs. 1 Pronunciation of each word The explana- ; r In tlrese music writing .. Mr. Grit. ..anfollr *1.. regarding the selection of their mu¬ MUSIC latest thouirht mwl i. eJ.ery l)ai titular, embodying the results of the from an abundance of knowledge und a long experienee and with Postilion from “Magic Lantern,” Op. 55, sic is based upon long experience Besides tho Lr ,nves.t,«at,on of niusical scientists the world over. curate grasp of the subject which I.uttj , „k.. taJZ No. 1.B. Godard Joy of the Hunt, Op. 131, No. 8. as instructive. Nothing so impresses^ a ,.,v, • C. Gurlitt Wayside Flowers, Op. 5, No. 1.77. Engel Hungarian Dance, No. 2 (1 hands), ifflSfflsri-asws th,£™ have n?WlS^%T Joh. Brahms Serenade d’Amour .F. von Bio n Price, 81.00 In the Smithy.E. Parlow CLAYTON F.SUMMY CO. Vision. Op. 124, No.14_,R. Schumann No. 220 Wabash Ave. CHICAGO Price, each, 25 cent. Soldiers’ March, Op. 11, No. 2. II. Bergthal SendtSendfus' On the Levee, Op. 41-F. A. Franklin Mountain Echoes, Op. 150.. . .0. W. Kern Once in the Bygone Days. .. R. M. Stults Michette ..Geo. Lowell Tracy MASON & MATHEWS QUARTET BOOKS The Robin, (vocal or instrumental) R. E. DeReef PRIMER of MUSIC FIRST PEDAL STUDIES GEIBEL’S MALE QUARTET OEMS For the Piano By WILLIAM MASON and W. S. B. MATHEWS By JESSIE L. GAYNOR PALMER’S PIANO PRIMER STEELE’S HUMOROUS GEMS Prominent Piano Players Prefer Palmer’s Piano Primer- It is Progressively Plan’d Practical Pianists Pronounce il distinct advance in the tlieoretical works It is n primer Clarks a Peerless, Perfect Pupils Pejus^U vvdth pr'j“Up'|pg1dcP™^ NEW OPERETTA having in it the foundations of harmony musLZTI ^US1Ci.ansh,p’ the last permitted? Why^For’fh •V01Inir "Indent wants to of elementary material have ,Zne„h*1"1 SUITABLE FOR THE of phrasing, the correct way of playing all the imh ir? the pnnciPles H H extent ate"1 have Prevent* rnents, the principles of piano technic and much n'Sh”entS and orna' to an extent, disarm™, n.ted\. * he first '1 AMATEUR STAGE mind-awakening instruction. With such a primcrZe^tT lnterestinR and Mrs. Gaynor’s uniqiZ"Firet'’lVdaIC„ntip,‘ly "i,h the" ad^roT'.lf pupil grows interested and longs to know more the most apathetic her rare teaching qualities m ?• Studies. The author is noted Ur ness'oV/® exeei)tional1y mepitwiouRU|,nrfiy •Wlt,h th° •vo,,n*r- an'1 r,,,s‘ Price. 50 cents “SYLVIA” f demonstration and aptneZ off iilusImion.illustration. °f nrra~nt- Price. 50 cent. MEV?D£ PICTURES FOR SEND tor, LITTLE PLAYERS G?ded St«dieS in the -OUR,' Hundreds of Teachers 'Eir!Sg|SSssr-b- Princip.es By JESSIE L. GAYNOR n„3 MARGARET R. MARTIN^ Qf Reading Music at Sight ra CATALOGS NEW COLLECTIONS with air^Zereises”/1et>uaI p>a- Mus. Doc auth ^ "* R' PALMER FOR VIOLIN AND PIANO b<»k has been prepared from work done with eh idrZ this c*’ author of “ e price,P ’ are specie?Spec,al features of “MeCy prising a ehniZ°'’ to whieh is added n "vf!*' "n"' "18tltu,,‘s- temperr P reference is given glees, anthemsCe colIection of sacred 8cel,nm'“"s IVpartment. ■ Price. 60 cents exerniorv« * seDtences...... and secular ehorusi»s. imrt-: WHITE=SMITH MUSIC PUBLISHING CO. J. FISCHER Lr BRO. THE GEO. B. JENNINGS CO. 7 and 11, Bible House - NEW YORK >eSt. 13 E. 17th St. THE ETUDE 687 686 THE ETUDE

RECENT IMPORTANT A NEW WORK “Mansfeldt COMPOSED BY PUBLICATIONS OF New Issues SIR EDWARD ELGAR New Publications Technic” MANSFELDT THE MOST VALUABLE TEXT¬ Standard Compositions A. L. BROWN THE KINGDOM BOOK OF MUSICAL HISTORY For the Piano Breitkopfs (Part 3 of The Apostles) IN THE ENGLISH LANGUAGE Vol. I—First Grade Price, 50 cents A COMPLETE LIBRARY of Op. 32 Graded and Compiled by For Solo Chorus and Orchestra TECHNICAL EXERCISES W. S. B. MATHEWS Popular Edition Price, $2.50 History of Music A Text- Book for Classes The Pixies’ Carnival Compositions for Piano A Manual for Private Reading A Perfect Finger Development For Colleges, Conservatories and Clubs In the Shortest Possible Time By SIR EDWARD ELGAR PIANO SOLO Canto Popolare (In Moonlight) (from the Comprehensive—Concise—Practical It ii as useful to the novice as to the ad¬ vanced student. 2101. BENDEL. FR. Selected Com¬ TEN TEACHING PIECES IN A History of Music brought up to date, arranged It is a concentration of common sense positions (X. Scharwenka). GRADES I and II In lessons of suitable length, so that two can easily Vol. I Nr. 1. Ricordanza—2. In Sen- Contrasts—The Gavotte, A. D. 1700 and be prepared every week, with helps for teachers tuition and guarantees perfection in finger- Op. 10, No. 3. Handel Album dexterity. All technical problems are given a tas Spinnstube. (Spinnradchett) 1. Pixies’ Waltz Song.. “Froissart,” Concert Overture Op. 19. . . and students, questions on the lessons, review A collection of favorite pieces for the ready solution in this, the greatest system of —3. Silberquelleim Chamounv-Tal. 2. Pixies’ Prize Song...- Funeral March (Hum “Crania and Diarir outlines, topics for essays, tables and complete Piano, with Portrait and Biographical technic. (Schweizer Bilder Nr. 4.)—4. Am 3. Pixies in the Indian Villag .2\ .40 indexes, Including pronunciation of names. Copi¬ Sketch Franz Liszt eulogized the book in most Genfer See. Mondscheinfahrt nach 4. The Melancholy Pixie. . ously Illustrated. Each lesson has a number of Selected and Edited by THEO. PRESSER emphatic terms. der Liebesinsel, Op. 139 Nr. 3.— 5. Pixies’ Ballet . paragraph heads, giving an outline for study and Teachers simply glorify it because of its 5. Am Genfer See. Wasserfall von 6. Pixies in the Menagerie, Mazurka, Op. 10, No. J. Chaudron, Op. 139 Nr. 4. $1.00 Meditation (from the ‘Light of Life"), O] This work, under the editorial direction ol Mr. intelligent and valuable conciseness. 7. Pixies on the Midway.. .. Prelude and Angel’s Farewell (from “Mansfeldt Technic” lias created more ac¬ 2102. -Vol. II. Nr. 6. Dornroschen. 8. Pixies in the Giant Swing ’ Op. 38. W. J. Baitzeil ol THE ETUDE staff, contains the above and more admirable pedagogic ideas and is complished and masterful pianists since its —7. Deutsche Marchenbilder. 9. Pixies’ Gavotte . publication than all the old-time “methods fully illustrated. The contributors are: Dr. H. A. (Schneewittchen, Op. 135 Nr. 2.) — 10. Pixies’ Good Night Song to, Inti and studies” combined, and accomplished it 8. Deutsche Marchenbilder. (Die Clarke, Mr. Arthur Elson, Mr. C. G. Hamilton, in such briefhrifif timet.imA that even nmmoioonnroconnoisseurs of Bremer Stadtmusikanten Op. 135 Complete In one volume (Edition Wood, Mr. E. B. Hill, Mr. A. L. Judson, Mr. F. S. Law, thee art are marvelling. Nr. 4.-9. Friihlingsmorgen.— 10. No. 416), $1.00. Mr. Preston Ware Orem and Mr. W. J. Baltzell- Thousands are now in use by scores of the Der kleipe Fahnrich, Op. 107 Nr. The New Music Review all teachers and writers of experience in historical -noted conservatories and instructors of The composer of this important set is A monthly review of the news and activities of work. It is recognized that every pupil of music 2.—11. Andante favori von W. A. widely known through the suet the world, and within another decade it will Mozart.) . ... 1.00 the Music World. Yearly subscription, $1.00. needs a knowledge of the history of music. This be the only system of technical exercises rec¬ earlier compositions. Of this latest opus we Single copies, 10 cents. book will enable any teacher to conduct a class 2103-4. BERLIOZ, H. Overtures. 2 cannot speak too highly, for it is fully as ognized among musicians. No other book has Vols. each 1.50 with successful results. Price, $1.75. met with such a sincere welcome from the valuable for teaching purposes at--: New Anthems The Art Melodious guild. 2068. BURQMULLER, F. Selected cally, even more interesting than the well- Atkins, I. Behold I Come Quickly.$0.08 Observations of a Musician Piano Compositions. (X. Schar- known Op. 16. Price: In order to supply an urgent de¬ Atkins, I. There Is None That Can Eesist By LOUIS LOMBARD Price, $1.00 mand for this eminent work in separate sec¬ wenka). 1.00 Thy Voice.15 Blair, H. The Joy of the Lord is Your tions the publisher is now issuing it in three 2071. -Selected Etudes. (X. Schar- Strength.05 Gurlitt Album distinct books—One Dollar each. The three wenka). 1.00 Brahms, J. Lord We Leave Thy Servant Sleeping.12 books are also published complete in one vol¬ 2018-20. CLEMENTI - MUGELLINI. THE B. F. WOOD IHIISK a. FOR THE PIANO ume—Two Dollars and Fifty Cents. Ask Button, H. E. Exalt Ye the Lord.12 Gradusad Parnassum, 3 Vol. each 1.50 Button, H. E. Who Is This So Weak and Carefully selected, edited and annotated your dealer to order one for you on approval. BOSTON: NEW YORK: Helpless.12 from various works of this Guarantee: Mansfeldt Technic is always 2030. CZERNY, CH. Op. 849. Thirty Button, H. E. Peace I Leave With You.05 favorite author by sold under the positive guarantee that if not New Studies for the Develop¬ 246 Summer Street 6 East 17th Street Foster, M. B. Look Ye Saints.12 Fox, W. Teach Me Thy Way.08 W. S. B. MATHEWS entirely satisfactory your money will be cheer¬ ment of Pianoforte Technic, (G. LONDON: 12 Rathbone Place, Oxford St., W. Gadsby, H. 1 Will Go Unto the Attar of the fully refunded. Tyson-Wolf) . 50 Lord .08 Price, 75 cents. 2046. RAMANN, L. Erste Elementar- Gaul, A. R. 0 Be Joyful in the Lord.05 This is a volume of rare educational value stufe des Klavierspiels.. 1 50 Gibbons, O. This Is the Record of John.08 and superior attractiveness. Hall, E. V. Love Divine.12 The numbers, all interesting and useful, have been 2032. SCHUBERT, FR. Album of Se¬ Hall, E. V. Ten Thousand Times Ten Thou¬ selected with greatest care from all the popular writ¬ lected Pieces. (Album for the sand .12 ings of this prolific composer The editorial work has Young. Book III) . 75 Hauptmann, M. Firm Is Our Will To Serve been most thorough each piece is accompanied by The Lord.05 explanatory and analytical text. The pieces are 1990. SKANDINAVIAN MUSIC. Se¬ Hoffman, H. Come Hither Ye Faithful.12 Macpherson, C. If Christ Be Not Raised.15 jargely of the second and third degree of difficulty. lected Original Piano Pieces A Holiday Gift This book can he used to good advantage in con¬ Palestrina. Come, Holy Ghost.06 and Arrangements. 1 50 Sure to please any musical friend would be Sullivan, A. Saviour, 1hv Children Keep.12- junction with Mathews’ “Standard Graded Course” Tschaikovsky. P. Hymn to the Trinity.05 2058. SALON MUSIC. Selected Pieces of the following volumes, in West, J. E. Most Glorious Lord of Life.05 of Modern Composers. (Yule- C1oth°n Wo?.d’- handsomely bound in Full West, J. E. Sing and Rejoice.05 West, J. E. 0 Everlasting Light.12 ne Hundred Specially Selected Standard tide) . 1.50 West, J. E. Praise to God.to !. WIEHMAYER, THEO. School Williams, C. L. O Lord Thou Art My God. . .15 Modern Compositions in all Grades of Scales (according to new prin¬ Williams, C. L. Cast Me Not Away.08 Selected “Czerny” Studies Each number published separately. ciples). Part I. Single Scales. Part II. Scales in Thirds. Part III. A Graded Course CORRECTLY FINGERED THE H. W. GRAY CO. Scales in Sixths. Supplement: SPECIAL OFFER Sole Agents for School of Arpeggios. Complete ' Edited, Annotated, Explained, Fingered by EMIT- LIEBLING CAREFULLY PHRASED Until January 1st, 1907, will supply NOVELLO & COMPANY IN THREE BOOKS. 90 CENTS EACH. GRADES II TO VI COMPLETELY REVISED 2.50 any of these volumes for ^ONE-HALF THE LIMITED meet the requirements of both teacher and pupil. le addition to the < sducational literature of the pianoforte. A graded course in Czerny, with copious PIANO DUETS REGULAR PRICE. Express ten cents extra. 21 East 17th Street - NEW YORK ory text, editing,: :ingering and phrasing by Emil Liebling. This work represents a careful sifting it ire works of Czei ny. In addition to the more popular opus numbers ot this voluminous writer cf LfZ GRADED (Four Hands) lV/r j Reg. Price. sen selected rrom irany tess^known but equally valuable works. The editorial work has been dene ty 2069. ARMAND, J. o. Op. 20. Ten Ch^Tw1?’ “SongS Without Words”.$2.00 Chopin, Waltzes (15) Complete. 1.50 chnical and musical interpretation. The explanatory annotations are interesting and tb?I^oint,8snd • I • EDITION Phantasie Pieces of Medium hints as to practice, study and rendition. The three volumes have been very carefully and progres- Difficulty Without Octaves 2 .. Nocturnes (19) Complete. 1.75 I begins at about Grade IlandVolume III ends at about Grade VI. The grading is very close throughout ATTRACTIVE books. Each... j 0Q “ Polonaises (11) Complete. 1.75 a valuable and conden: m of his very bes Mazurkas (51) Complete. 2.00 • of piano ' 1 INTERESTING Free/ ADVANCE, OFFER ON BOOK Ills 25c POSTPAID INSTRUCTIVE VIOLIN AND CELLO TEtmiy'SeVen Etudes (d new These three books if ordered together, 75c ; cash to accompany all orders. MUSIC Schumann, 'Op.“J and 68:.. 3 TO TEACHERS ONLY hivhpit above volumes represents the THE STAR OP THE NIGHT. obJTSJSb* IN PRESS 2041. KLENGEL, JUL. Technical SELECTED "CZERNY” STUDIES. Lieb- Studies. Vol. II. ” * C 3 I HARMONY AND MUSICAL COMPOSI¬ ™ Sb1nd1nhg.eVement in thc ling, 3 books. Book 3. TION. W. T. Giffe. 2059. Lyrical Pieces for Violin and STANDARD COMPOSITIONS FOR THE OUR TEACHERS’ SAMPLE VOLUMES WIT des're.d we will stamp any name STANDARD CONCERT ETUDES FOR Piano. (Fr. Hermann).... SECOND GRADE. Mathews. THE PIANO. MAKE SELECTIONS EASY A HANDY additional Cr 111 gold for twcnty-five ce,,ts EXERCISES IN THE SYNTHETIC They should be on every dealer’s 2°51' i?nrHChv-Sfi-a Studies for the Sec- PIANO TUNING, REGULATING AND ond Violin. (Fr, Hermann). 150 METHOD OF VOCALIZATION. F. REPAIRING. Fischer. counter; if not there—please write W. Root. and mention the name of your dealer. isL^goy0^ WU1 be wi*drawn January EASY DANCE ALBUM FOR PIANO. VIOLIN METHOD. Geo. Lehman. PRACTICAL SIGHT SINGING METH¬ MUSIC SENT “ ON APPROVAL ! ” OTHER GOOD “SELLERS” EASY SONATINAS FOR THE PIANO. OD. F. Reddall. "Love’s Consolation”.50c "Moonlight Kisses”. WRITE FOR CATALOGUES ! "Annabelle” (School March) 50c "Osceola”. ‘Brown of Harvard Waltz"..60c “Silver Leaves" (Just Out LEO. FEIST im"-'™0*NEff YORK THE B. F. WOOD MUSIC CO. "Ye Olde Mill Stream" (New). Better than "t ailing Water.”. t solicited. We prefer that yc SPECIAL INTRODUCTORY PRICE 10c EACH ns from your dealer: but if BRE1TKOPF & HARTEL i want, please order direct. 11 E. 16th Street, . NEW YORK ?ii:«BOSTON: NEW YORK: THEODORE PRESSER , nSJ'™er Street 6 East 17th Street WILL ROSSITER, 225 Washington St?,'CHICAGO, ILL. 1712 Chestnut Street Philadelphia, Pa. LONDON: 12 Rathbone Place, Oxford St, W. ,n THE ETUDE when addres 689 688 THE ETUDE THE ETUDE

SONGS BY Herbert Johnson METRONOMES LOOK HERE . rf> High. Medium, Face to race, and Low Voice « OUR METRONOMES are of the finest qualtiy Tt,. Homeland. High, Medium, and Low Voice . made, and are guaranteed for one year against Christmas Anthems Lm a pSrim. High. Medium, and Low Voice any defect in manufacture. WAVING PALMS Th^FtanS?1Goodness. High, Medium, and Low Votes. ^0 Transportation Not Included Th» New World. High. Medium, and Low Voice . -m These Christmas Anthems will be sent you for EXAMINA¬ IS® Fndless Day. High, Medium, and Low Voice With Bell - - $3.25 Without Bell - *2.25 T he1 Broken runPin ton. or the Bird with a Broken W TION. Return what you do not want and order more copies High, Mediui and Low Voice French - 3.50 French - - - 2.50 ) May My Walk Close With Cod. High, Medium ind Low Voice . • • of those you do want. A postal order will answer. i' Be Forgotten High M; , and Low Voice ' ' ' Voice

CHRISTMAS ANTH EMS ThereEa'Land. High.Medium.^dLow’Voto

* THEO. PRESSER MUSIC SATCHELS BUTTERCUP WALTZ tsM6S.nr.is.ms Musical Euchre By CARL W. GRIMM *22&£.,**•““r.-.''r’“?"& ... aaa’».v SPECIAL

MOLINEUX’ and instructive musical games. Four Good Teaching Numbers The game is played similar to the ordi- Graded Anthem By MARIE LOUKA Fleeting Houri (reverie) ARNO Hour of Prayer (reverie) Dance of the Snow Flakes (characteristic) are named after orchestral instruments, GRADEpTHREE, VO! a Prima Donna being used instead of a Japanese Fire Dance (characteristic) Joker, and the sequence of the cards is s copy only of e. represented by the circle of fifths. JIGS AND REELS This-game will prove most interesting and fascinating as well as musically in¬ structive. The cards are handsomely and substantially gotten up. SHEET MUSIC SIZE EVERY ORGANIST, Professional or Amateur LAST HOPE Should have “MOLINEUX’ ORGAN FOLIO.” Each of the three volumes contains 62 pages, Marches, WEYMANN & SON Voluntaries, etc. Per volume, 5# cents. Introductory price, until further notice, 35 centsea@h or the =—— PUBLISHERS * 1712 Chestnut St., Phiia. three for $1.00. Also “THE ORGAN,” published every two months, contains in each number an average of 13 pieces of Good Organ Music, Easy to Play'. Single copies, 25 cents: one vear. $1 00 923 Market Street, Philadelphia, Pa. Year Books from 1890 to 1905: Vols. No. 1 to 16, bound in heavy paper covers, $1.25 each. Send 20 cents, special price, for a trial 25 cent copy, or 50 cents for a trial copy and one volume of “ORGAN TRANSCRIPTIONS. Grade 5. cRMS-n Vu0lTfl e and 5 °C‘ORG^N. F°LI°” are aIs° published. MOLINEUX’ SACRED MJLOb (book of 13 Soprano or Tenor Solos), introductory price, 40 cents, by mail The Moon Queen .. MOLINEUX’™- SIX-HAND COLLECTION’ performers on one Piano). Vols. 1 or 2 By will be mailed for 40 cents, or both Vols. for 75 cents. Will Keep W H o’er Thy Sleep GARDNER and GOTTSCHALK iVhat do The, ► in By-lo4ancl GEO. MOLINEUX 148-150 Fifth Avenue, New York A Vain Quest RAGTIME TWOSTEPS to Sleepy-town - Price, 50 cents Spanish Boat Song (Concert number. Two Keys) . .50 Only 18 cents a copy, postpaid, till January 1. North Publishing Co. - - Bradford. Pa. YI0LIN TALKS JUST PUBLISHED Containing suggestions for teachers 'v& hfidren^inalyst TEACHERS and PIANISTS NEW MEDLEY TWOSTEPS of important teaching works, practical information cor The Best Waltz of the Season either for Teaching or Playing is the earning technic, bowing, intonation, and othtr subieel THEO. PRESSER - PHILADELPHIA, PA. related to violin study as well as a short treatise on th THEO. PRESSER, 1112 Chestnut St., PHILADELPHIA, PA. Joachim and Sevcik Schools of Violin Playing. 50 English Son^s and Ballads Dancing Girl Neto - Catchy Dreamy (From the 13th to the 19th Century) Introductory Price Postpaid 20c. Published by FIVE PLAYTIME PIECES THE TREAT & SHEPARD CO., New H.ven, Conn. EDITED Vocal Studies for Soprano and Tenor FIVE NEW TRANSCRIPTIONS By GEORGE WHELPTON (Grade IV.) and accompaniments and symphonies written by ORGANISTS J. W. JEUDWINE Write for Free sample book of Floyd J. St. Clnlr’n (Ex President of the Southern Music Teachers Association) OrSan Compositions tor Grand Organ, Volumes DAILY EXERCISES one and two, as played and endorsed by Edwin H. ■WESf* For Violinists and the Three Octave Scales, by Edith Prefaced by a Few Observations i-emare-aiia other noted organists. L- Winn. Intended to develop strength, agility, freedom and independence of the fingers of the left hand. on the BALLAD H. N. WHITE. PUBLISHER FOR CABINET ORGAN Price, $1.00 1870 East gilt st., X. Cleveland, Ohio PHILADELPHIA, PA. PRICE INTONATION STUDIES WATCH THIS SPACE Paper, $1.00 Cloth, $2.00 A COMPLETE LISZT REPERTOIRE IN ONE VOLUME set 5°studii'°or ch?lKDWINt'I?UBEE ^SI>''™11y valuable BREHM’-S MONTHLY BARGAIN the 7th position. Price. $1.00 For a limited period copies will Echoes of tlie Wll. tive set of six easy mi off the^above* price * T**]* estine und instructive FRANZ LISZT ALBUM introduce among teachers set of six on receipt of 22c. A COLLECTION OF CELEBRATED ORIGINAL WORKS f-fc » . AND TRANSCRIPTIONS FOR THE PIANO ifTlCG , $1.00 . C. F. MONARCH BRAND STRINGS WM. A. POND & CO URIC IIM e BRIE, PA. A collection of the most admired and generally A superb volume in everyway. The selection has 148 Fifth Ave. NEW YORK popular works of this great composer, both of his been made with great discrimination. The editing original works as well as the transcriptions of famous and revision has been most carefully done. The Album introductory offer of songs and operatic airs. on the whole, has been substantially and artistically Gaining in'favor as are the works of Liszt, this made, and will make an important addition to the CARL FISCHER SIX BRILLIANT PIANO PIECES volume containing all of his favorite works under one library of every pianist, student and teacher It E v E R Y B O u Y Especially Good for Teaching Purposes rnvAr cannot but be received with enthusiasm. contains 16 compositions on over ioo pages G. V. MECKEL (COOPER SQUARE) ggjjjS ,, Merriment11 Hcitnar. Gavotte ’Springtime, "Sprutkfc. CascaSr wTT' Dreamland Warn, Sprattit'e. THEODORE PRESSER, Publisher, 1712 Chestnut Street, Philadelphia, Pa 845 Eighth Avenue : New York BAUER. IBS ‘’°mv f»rPi>sfS!.r. ’’,l Th««, ’ Sp ^kll‘ American Cadet’s March, Sprinkle. mmWAUER E.1? M RAM'LLrentduring l’tihiisher, N,,,m“' E.)er 11thfor ^ St.. lnJianapulis.6c-eMh Iml. j i V ‘

THE ETUDE 691

THE DEMON’S LAUGH THANKSGIVING MUSIC THE ART OF THE SINGER In anticipation of the annual demand for music JUST PUBLISHED suitable for Thanksgiving Services, we have Practical Hints about Vocal Technics and Style. By W. J. HENDERSON prepared the following selected list of Anthems EDUARDO MARZO and solos, any of which we hp "leased to MARY TURNER SALTER send' '-r- A NIGHT IN SONGS FOR NAISH API) R YOUNG PEOPLE Cycle of Six Songs for Low Voice WORDS BY ,-5”Mr' 1 WORDS BY MARGARET E. LACEY NATHAN HASKELL DOLE Our clock Starlight CHARLES SCRIBNER'S SONS nnWS&u. NEW YORK 1. Long, long ago *****-%% - I!. In the city the misgar Nowhere to go Large or small ? III. The song Deo in F, °® LEONCAVALLO’S “AVE MARIA’ AL'AME A” “ vTv rTc mm * Rejoice tatteLoi fridge!!!! !!!! !!!! ill

Crown Him M of All (1^ F0RM' G. SCHIRMER NEW YORK Oro^^Lom'of'Ali

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Post Paid H. ENGELMANN’S LATEST HIT The School of the Piano Pedal ANTHEMS La Petite By W. S. B. MATHEWS Of MODERN MUSIC Harmony Text Books Harmony Blank Books De butante >HE pedals of the pianoforte are a vital part of INTERMEZZO the tone controlling mechanism, since they add to the tonal effect elements which cannot be 50c. Piece O ^ IN STAMPS put there from the keyboard. Composers since COMPLETE OCTAVO COLLECTION each person Chopin have not written the notes in all instances THE BEST TEACHING as they mean to sound, but as the hands have to play them. The remainder is left to the uncertain indi- ssbs $ “E1“ cB? PIECE EXTANT p-jssas Ths b“—- M"k *— - *— - — For discounts to the trade and profession—address the publisher Artistic pedaling, therefore, is not only a question of making the playing sound better, but often of A. G. COMINGS, Pub. and Music Dealer, OBERLIN, O. bringing out an idea, which, but for the pedal, would not be heard at all. Pedaling is an art requiring as careful and systematic study as scale-work, ar¬ peggios, or any element of the technique. Fine THE DIAPASON playing is impossible without pedals. HALL-MACK CO. By E. L. ASHFORD The School of the Piano Pedal by W. S. B. Mathews PUBLISHERS contains complete explanations of the best usage of the pedal. The work is fully illustrated by many original studies and by numerous selections from Bach, Beethoven, Heller, Liszt, Tchaikovsky, Schu¬ mann, and Chopin. The studies range in difficulty from the second to the fifth grades. The work is cents each for Sheet Music. particularly rich in easy pieces of fine quality. Mrs. 5 ■ II Wholesale Prices on all Popular Sheet 6 ■ wr Music and Instruction Boots. Blanche Dingley-Mathews’ valuable co-operation 3 I Vm Send three two cent stamps for Sample has made the work especially practical for use with ▼ I nc, UBU. JftDERU imj&ic LU., TheiLSNPhono§raPh Successes children. 121 W. Seventh St. Cincinnati Ohio. ELDOREY ^ aORA Trice, $1.25 post-paid L “ Tull BAND or Full ORCHESTRA SPeCiach :^eS±US°C" Pian° S°'°. SPecUI. ,5c. “The Pianist’s Mental Velocity” OLIVER DITSON COMPANY. Boston By SILAS G. PRATT A guide to sight-reading. Every Teacher and Student of rSllllllBS Music should have it. Write for descriptive circular Vol. XXIV. PHILADELPHIA, PA,, NOVEMBER, 1906. No. 11. — RICHARD STRAUSS— A Short Story of the Composer Whom James Huneker Calls “An Anarch in Art99 - BY FREDERIC S. LAW "

schlaeht after Kaulbach’s picture—anything, in short, that arouses the imagination and kindles the fancy to such a point that the reaction spontaneously seeks ex-

A A 694 THE ETUDE trouble forced him to spend a year mamly m Egypt His Career. though his scores may be, quarrel as one may with and southern Europe. During tins time he composed 695 their audacities, there is always a remarkable sim¬ Richard Strauss was born in Munich, June 11, his first opera, G untram, which was brought out in THE ETUDE plicity of effect in the result; one is never in doubt 1864. The two traditions of his birthplace, beer Weimar in 1894. The principal soprano part was as to what he means to say. One may not, one can¬ sung by Pauline de Ahna, whom he afterward mar- and music, were happily united in his family; his to sing or play; their richness of modulation, their INSPIRATION COLUMN. not, grasp all its intricacies after one or perhaps even mother was a daughter of the well-known brewer, had its first performance under the composer’s direc¬ tion, during his visit to America in 1904, more nearly rhythmic subtleties and strongly dramatic character a dozen hearings, but there is nothing obscure in the Pschorr; his father was first horn player at the Royal ried’ His Orchestral Works. BY FAY SIMMONS DAVIS. general ensemble; it tells the story clearly—only of approach the traditional form of the symphony than require sterling musicianship and high interpretative Opera, an artist of high rank on his instrument and a The young composer’s association with von Biilow power in the singer, while the accompaniments are course in broad, sweeping outline; the apprehension classicist of the determined type, entirely out of their predecessors. The latter uses all the resources not only broadened and developed his musical outlook, conceived in a broad orchestral, almost symphonic, It is the desire to get somewhere—to DO something, of details is a different matter. Doubtless the ever sympathy with the school of which his son was to be of the modern orchestra to describe a day in a baby's but gave him in particular an invaluable experience style which often taxes the ability of the most prac¬ which gives one the propelling force which makes increasing extension of harmonic relationship tends the most extreme representative- He was a member life. The father is represented by a theme entrusted in conducting. He had not yet, however, so to speak, ticed pianist. As some one remarks, the customary success. We are a menace to ourselves and to society to bring about an acquiescence in much that at first of the orchestra in the first Munich performance to the violoncello, the mother by one on the violin, found himself. He had passed from the severely title, “Song with Piano Accompaniment,” is not fairly if we sit on doorsteps and dream when we know how appears a wilful and unpardonable infraction of es¬ of Tristan und Isolde and Die Meistersinger, and while the obsolete oboe d’amore is. resurrected to give classical training of his youth to the study and ap¬ descriptive of the Strauss song; “Song for Voice and to walk and run. The fault of retrogression and the tablished laws. We have only to read what Weber played under Wagner’s direction. He took no pains characteristic voice to their infant. The aunts and preciation of the earlier romanticists—through Men¬ Piano,” which was used by Hugo Wolf, is more ac¬ virtue of progression are alike our own. wrote about Beethoven’s Seventh Symphony to realize to conceal his aversion to the music, yet played it uncles discuss the child’s likeness. The former cry— delssohn, Chopin and Schumann to Brahms. Distinct curate, since the piano is not infrequently more im¬ In proportion as we admire energy, so do we all that changes wrought by time. so finely that the composer, surprised, once asked him, “The image of his father!” (Ganz der Papa!) to traces of all these composers are to be found in his which the men reply—“The image of his mother!” portant than the voice. Many were originally pro¬ love things which sparkle; we are attracted by many Personality. “How is it, Strauss, that you dislike my music so works up to his first symphonic poem, Macbeth (Ganz die Mama!) These exclamations appear as vided with orchestral accompaniment and others have inanimate objects, such as rhinestones and diamonds. much and yet play it so beautifully?” “That has Personally Strauss is singularly wanting in the (1887), in which he struck the individual note that .annotations in tile score. After a night of dreams the been scored for the orchestra to their invariable im¬ But only diamonds endure in our affections, because self-assertion that one generally associates with the nothing to do with it,” dryly retorted the musician. was to characterize him. This is clock strikes seven, the baby awakens with a cry (a provement, showing the essentially orchestral charac¬ the rays are genuine, and deep as the stone itself. innovator. Unlike Berlioz, Liszt dedicated to Alexander Ritter, who trill on the sourdined trumpet and the wood wind), a ter of Strauss’s musical conceptions. Bo it is with people; brilliant, energetic and sparkling and Wagner, all of whom wielded stands for much in the direction dispute between the parents finds expression in a Strauss’s songs particularly deserve attention, since people—those who scintillate with new ideas, origi¬ trenchant pens and furthered their now taken by Strauss. Ritter, who fugue—altogether, it can only be taken as a huge they reveal the more winning side of his personality nality and individuality, are the ones who hold us and theories by precept as well as by was married to a niece of Wagner’s musical joke. as well as the one that appeals most sensibly to the influence us to a wonderful degree. example, there is nothing of the was much older than he; a man of average hearer- They can be sung where it is out of Music Dramas. Business Methods. polemic in him; he refuses to enter wide, comprehensive culture, not the question for liis orchestral ’ works to be heard. into any discussion or defence of Until recently the mhsic drama has played but a Decision, alertness and attention to all financial alone in music but in literature, subordinate part in Strauss’s career. Neither Gun- These will necessarily be always confined to the his art. What he has to say he interests are requisites if one would avoid the great philosophy and art in general. He tram nor Fenersnoth has been played outside of Ger¬ largest centers, where their exacting requirements for says in his music. Thus, for in¬ chasm marked “failure.” The artistic temperament urged Strauss to seek for the many. and but infrequently there on account of their performance can be met. As a guide to those unfamil¬ stance, the scene of his music can no longer fall back upon its emotions—its many expression of the poetic in music great difficulty. His Salome was produced last spring iar with them the names of a few representative songs drama, Fenersnoth (Fire Famine), wavering moods and tenses, and depend wholly upon after the examples given by Berlioz, in Dresden and proved the musical sensation of the follow: Serenade, Allerseelen (All Souls’ Day). i$ laid in medieval Munich, the city them to win laurels. The practical attributes which Liszt and Wagner. His enthusiasm season. It has already been given in a number of Heimliche Aufforderung (Secret Invitation), Traurn that drove Wagner forth and would make a business man successful, are equally necessary for these exponents of the new German cities, and it is said will soon be heard in durch die Ddmmcrwng (Dream at Twilight—this ap¬ none of him nor of his music. The for a student’s success; and only when a musician school aroused corresponding fervor this country. Its repulsive plot, founded on the dance pears in Heldenleben), Ruhe, meine Seele (Rest sorcerer, through whose magic the becomes successful, financially, can he afford to re¬ in the young artist. Macbeth was by the daughter of Herodias with added and loath¬ Thee, my Spirit), Morgen (Morning), Lied des Stein- inhabitants are deprived of fire and linquish to others the dry, uninteresting, practical followed by Don Juan (1888) and some details; the bewildering complexity and unex¬ klopfers (Song of the Stone Breaker), Cradle Song, of the power to produce it, finally details of his work. Tod und Verkliirung (Death and ampled dissonances of the score; the magnitude of the Cdcilie. yields to their entreaties and breaks For one always to be on “time” means much for Apotheosis, 1889), a work of great means employed, though it requires but a hundred Summary. the spell, but not until he has re¬ the success of any man. Teachers and students who beauty. In TillEulenspicgeTs Lus- minutes for the single act to which it is limited, have proached them bitterly for their Enough has been said, even within the limits of a are punctilious about observing appointments will tige Streiche (Till Eulenspiegel’s drawn universal attention and occasioned much specu¬ treatment of genius. The allusions necessarily condensed account of Strauss's many-sided greatly increase their professional worth. To keep Merry Pranks, 1894), which illus¬ lation as to whether it indicates a new direction for of his tirade are so pointed and activity, to show that the position he held at the end engagements by the tick of the clock is as imperative trates, and sparkles with the mor¬ the restless genius of the composer. He is now said unmistakable that no one can of the nineteenth century as on the whole the leading as keeping time in music to the tick of the metronome. dant humor peculiar to Strauss, the to be engaged on a fourth opera, also in one act, remain in doubt that they apply exponent of modern musical thought has been main¬ To be late to a church rehearsal is as inexcusable as escapades of a medieval jester he ■called Elektra, based on the tragedy by Sophocles. to the contemned musician of the tained well into the twentieth century. Whatever one to be late to the regular musical service itself on adopts the form of a rondo; in Don This has to do with the fate of Elektra the daughter nineteenth century. Then in the may think of the direction he has taken, no living Sunday. Delay in being ready for lessons at the Quixote (1898) that of the varia¬ of Agamemnon, who incited her brother Orestes to fifth division of his Heldenleben, en¬ composer can show such a scope and sweep of creative tion. The crack-brained knight of avenge the death of his father by the assassination of planned-for time is forgivable only in case of illness. titled “The Hero’s Works of Peace,” power, representing as it does practically all the styles Teachers who are negligent in keeping appointments La Mancha is typified by a theme ■C’lytemnestra, their mother. the themes are significantly taken that have prevailed during the last hundred years. are usually just a little behind every other teacher, and each variation represents one The choice of such subjects hardly seems a happy from his own works. Thus he Though the “dead line of forty” may have touched his in their recitals and class meetings: just a little late of his exploits—sometimes with augury for the music drama of the future. Salome defends himself in characteristic art with the artificial bloom of decadence, it is to be in having the piece or study ready for their pupils at fashion without opening his mouth. startling and not altogether agree¬ far surpasses the short, brutal melodramas of Mas¬ hoped that the aberration will prove but temporary the time promised. able realism, for example, the en¬ cagni, Leoncavallo, and their confreres in giving a As a leader Strauss has a rare and that the composer of Salome may yet return to One day I observed two little children aged four counter with the sheep and the frank, undisguised picture of dissoluteness and per¬ gift of absorption in the music the nobility and dignity of many of his earlier works. and five, who had just returned from a kindergarten before him. Most conductors im¬ magic ride through the air. Still, verted impulses hitherto without a parallel on the Sunday-school, talking in their sweet, innocent way press one as having rehearsed their notwithtstanding these eccentricities, operatic stage. Moreover, Strauss has by no means about what they had learned there. Soon one said music; they have the appearance the instinctive skill of his Italian contemporaries in Don Quixote contains some of to the other, “Did you know that teacher said that of knowing what effects they are Strauss’s most genial inspirations, writing for the voice. Even more than Wagner he PRIZE ESSAY CONTEST. God made everything in this world—the trees and going to make and bow to make regards the voice as but one instrument the more in notably in the finale, which repre¬ flowers and everything? And He made Himself, too, them. Strauss gives the impression his orchestra scheme. In a rehearsal of Salome he sents the whilom defender of chiv¬ An important feature in educational work in and how do you expect He could do that?” A silence of originating the work he is lead¬ •exclaimed, “In this opera there is no consideration alry restored to reason and breath¬ schools and colleges is teaching pupils to think logic¬ Tollowed, and then I heard an earnest little voice say: ing ; there is nothing cut and dry in whatever for the singer!” In another passage, com¬ ing his last. This is distinguished ally and to express themselves clearly in writing and “I’ll tell you how He did it—He was smart, that’s his manner—he seems to be assisting by a tenderness and pathos of plaining of a lack of force in the orchestra, he said, in speech. The number of well-educated young men in the birth of an actually new “Go to the zoo and listen to the wild beasts there. all, just simply smart!” The man who makes him¬ expression that fitly symbolizes the and young women in the musical profession is increas¬ self, by. creating the necessary qualities upon which creation. It is through this power truly lovable character of the mis¬ That is the way it must sound.” Thus it will be seen ing every year. These persons are alert in thought, of fusing his own personality into that the question has its serious side for the singer. success depends, is “smart, that’s all.” Even a guided enthusiast. keen in observation and thorough in the tests they child’s mind which cannot comprehend Deity grasps that of the composer he is inter¬ .1 Iso Sprach Zarathustra (1895) Instrumental music, indeed, is not unlike the camel in may make of educational methods and devices. The preting that he has won the distinc¬ the fable who crowded the philanthropist from his the meaning of “making” something, and realizes that called forth a storm of hostile criti¬ Etude, from time to time, has stimulated teachers to it takes “smartness” to do it. tion of being one of the great con¬ cism comparable only to that awak¬ tent after receiving permission to lay merely his nose the careful, thoughtful expression of their views on ductors of the world. Those who saw him during his ened a generation earlier by Wagner’s theories of the inside. Once the slavish imitator of vocal effects, it is educational matters in music, by the offer of liberal Failure. visit to this country two or three seasons ago will re¬ fast pushing the voice into an imitation of purely music drama. Strauss’s attempt to represent Nietz¬ prizes for articles suited to its columns. By this, Failure to succeed at first, in anything, is, however, member how he approached his stand—with a certain sche s primeval man and his efforts to solve the instrumental effects, heedless of the natural limita¬ means a number of persons whose communications are eagerness, his head in advance of his body, projecting tions of the vocal organs. often the forerunner of ultimate success. One of my riddle of the universe still remains the most radical highly valued by our readers were interested in educa¬ pupils last year was a gifted young fellow, but he from between the slightly drooping shoulders, as if A Remarkable Portrait of the Most Notable Figure fn endeavor of the new school to extend the limits of tional musical literature. anticipating and thinking of nothing but beginning Modern Music. By Farrago. Piano Music. stammered badly. His specialty was history of music, absolute music. To portray mental processes, to The editor is pleased to announce a new competition his task. Strauss’s piano music may be dismissed as an and he desired to give some illustrative talks. What trace the convolutions of abstract thought by means in which there will be As a boy, his father insisted on his making a thor¬ almost negligible quantity. It belongs to his early did he do? Give up his hopes and ambitions in dis¬ The boy’s musical education began at an early age. of inarticulate tone, is something that had never be¬ ough study of the classics, and this he declares the When he was four years old he had his first piano years and is mainly confined to his Op. 3 and Op. 9. Five Frizes, $25.00 Each, couragement? No indeed! Like Demosthenes of fore occurred to the most ardent advocate of program old, he read aloud hours and hours each day. His only way to understand the music of the present; he lessons, from his mother, and two years later had al¬ two groups of short pieces, of which the latter contains for the best five articles on topics suitable for the music. In spite of this transcendentalism there is no first lecture was a disappointment. He gritted his yields to none in his admiration and reverence for the ready composed little dances, which were soon followed several charming numbers of no great technical diffi¬ pages of The Etude. Hitherto some experienced disputing the innate power and elevation of the work teeth, stuck spurs into himself, and began again to old masters. “Young composers,” he says, “often by songs, piano pieces, and even an attempt at an culty. Traumerci, Auf Stillem Waldespfad (On writers have been unwilling to send us essays, under as a whole. In Heldenleben (189S) Strauss pictures rehearse, alone and also before many of his friends. bring me their works in manuscript and ask my opin¬ overture for the orchestra. During his school days Quiet Forest Path), Intermezzo, the last displaying prize conditions, as they did not care to be rated the battle and conflict, the final triumph and retire- His second lecture showed an improvement, and hi:s ion of them. I look over them and generally see that and his attendance at the university he kept up his some interesting rhythmical peculiarities. The inci¬ second or third to some other person. The present ment to peace of a noble soul wearied with the strife fifth and sixth were delivered with much success. they begin where Wagner left off. Then I say: ‘My musical studies—piano, violin, harmony; and com¬ dental music to Tennyson’s “Enoch Arden” is too contest places all who win prizes on the same footing; of life. The battle scene is his climax of realism. He fairly electrified even himself before he finished. dear fellow, go home and study Bach, the Haydn, posed many works—songs, choruses, chamber music well known to require more than mention. Notwith¬ the awards will be equal in value and rank. Mozart, and Beethoven symphonies—when you have in different forms, a symphony, all after strictly Mis standpoint is evidently this; Since “war is hell." standing the generally inartistic effect of such at¬ mastered them come back to me- Until you under¬ i s representation in tone must be discord; accord- Progress. classical models. His Op. 7, a suite for wind instru¬ tempts to reconcile the fixed intervals of the scale SUGGESTIONS, stand the significance of the development from Haydn ments, attracted the attention of Hans von Biilow, ingly discords of the most blood-curdling character are with the indefinite modulations of the speaking voice, The advice to tread the straight and narrow path and Mozart to Beethoven and Wagner, it is impossibie then musical director at Meiningen. Recognizing the Piled, Ossa on Pelion. Of this one of the most bril- a capable and sympathetic pianist and a reader gifted • Articles may contain 1,500 to 2,000 words. is all right when one is working for better morals, to form a competent judgment either of Wagner or of lad’s talent, he engaged him as assistant and on his lant erte of to-day says: “Snch an exposition, it with a musical ear and a sense of rhythm can hardly The competition will be open until January 15, 1907. but provides pretty poor walking for one seeking to any of his predecessors.’ They all think it strange resignation Strauss succeeded to his position. In 1886 sa e to say. has never been heard since saurians fail in making a deep impression in a performance of Writers may send more than one essay. improve his business methods. Narrow paths, old that I, Strauss, give them such counsel—but I advise he went to Munich as assistant conductor at the oare in the steaming marshes of the young planet, this poem, so intimate and touching is the connec¬ Do not send historical or biographical articles, or ruts, old behind-time things are not for such. The broad them from my own experience.” His own works he Opera under Levi and Fischer, three years later ac¬ r when prehistoric man met in a multitudinous and tion between word and tone. discussions of a critical or esthetic nature. paths, the paths that grow wider with the growth of the considers the outcome of evolution, not of revolution. cepted a call to Weimar. In 1892 symptoms of lung shrieking combat.” The most desirable topics are those connected with world, are the only ones to follow. Progressive spirits Heldenleben and the Symphonia Domestica, which practical work in the teaching and study of music or must explore all the new wide highways, where im¬ That Strauss has lyrical gifts is evident by his success in professional life. mense possibilities lie, and where a bright awakening songs, more than a hundred in number. These show Write on one side of the sheet only. Do not roll the is found for all that is novel and instructive. that he is no stranger to the melodic beauty and grace manuscript It costs something to make progress; not so much of expression, often denied him by those familiar only Be sure to piace your name and address on the in money, however, if one is a great worker, a keen with his larger works. They are not as a rule easy observer, and an intelligent “absorber.” 697 696 THE ETUDE THE ETUDE . . . thp theme in E in the Fantaisie Bon- Rubinstein or the^them ^ arm ^ ^ pieces in their entirety, but contents himself for the most part with ornamentation of familiar tunes. The exerted! but these two examples of extraordinary force first violius, the two D clarinets and the cymbalom** HOW TO STUDY THE PIANO are exceptional. Moreover, one can play with the arm Hungarian Music and the Gypsies and not stiffen the wrist. At all events, the tone must take possession of the melody, and add if possible at every note short runs, arpeggios, tremolos, trills, mor¬ BY ISIDOR PHILIPP always be studied. One must always play on the : By OTTOKAR WOBER-SZEGEDIN : dents and grace notes, while the other instruments, cushion of the finger. Rubinstein had m the chord Translated by Philip H. Goepp passages of great power, an excellent habit, that of second violins, violas, ‘cellos and double basses, in¬ THE pianist must use his instrument to express known. It is important of course that the teacher, or resting the muscles by closing the fingers tightly after stinctively compose new melodies in pure counterpoint. the sentiments, the impressions, the ideas of (better yet) the pupil, should originate variations, ad¬ the stroke. I adwise the following exercise with its These give to the whole piece a certain magic of wild Thebe is no other race in the world, with whom some such graceful oath, as: “May I never succeed in the music he interprets. But to express these ditional exercises. Let us consider, for example, what variations' in all keys ; motion, and it is here that we perceive its highest sentiments, these impressions, these ideas, he must be could be done in the way of practising the passage of folk-song and the national music (that takes its root another theft; my horse shall turn into a donkey; may master of his fingers. At every page in the works of the thumb in the preceeding arpeggio : in the former) are so closely related to the popular I rot upon the gallows, if I have told you a lie.” originality. ancient or modern masters there arise such diffi¬ Retentiveness of Ear. life and character, as with the Hungarians. Just as the Origin of the Gypsies. culties that one must absolutely be the posesssor of Hungarian language and Hungarian costume still At the same time the gypsy can boast a marvelous The reason why gypsies are usually regarded as a technic which will overcome them. cling to their oriental type, as they have maintained musical melody. A well-known chief asked me to It is therefore necessary to acquire before all a com¬ decendants of the Egyptians, may lie in the fact teach him a “nota” and for this purpose, to pay him their individuality most clearly among all European that their wives are expert in chiromancy and in the plete technic. Nowadays it is considered proper to The trill, double notes, thirds, fourths, sixths, should the honor of a visit. I willingly consented from pure disdain virtuosity. It is, however, important; for the be practised as directed in the works whose titles are tongues aud fashions of dress, so Hungarian music interpretation of dreams. In reality the gypsies are can boast a character of its own that we do not en¬ curiosity to see a gypsy home. I was much astonished virtuosos have always contributed to the progress of given below. the hordes of Hindus, who were driven out by Timur art. Fancy the sonata, Op. 106, of Beethoven played counter in the folk-songs of other nations. In keeping in 1398. Starting from the Ganges river they to be led into a luxurious parlor, appointed in the by an amateur—“scoffer” of virtuosity! » asss with the Kalpak, the Attila, the bent sabre, with travelled through Asia, overran Turkey and spread best modern taste, where the housewife, the daughter The technic must be a means not an end, that is BStUSfSa&i fHfe'tfSVoS&.te which the Hungarian adorns his person on festive themselves throughout Europe. Their complexion is of a highly respected citizen, did the honors of the plain, but still the simple difficulties of the fingers re¬ er) •’ Philipp : Exercises, Examples, Studies (Schirmer) ; occasions, it is first of all a wealth of ornamentation dark brown; their teeth, even in extreme age, are coffee most charmingly. The “nota” that I was to School of Octaves : Double Notes (Schirmer): Moszkow- main to be conquered. What would Busoni do with slu: Double Notes (Enoch) ; Schmidt: The Pedals of the that gives its stamp to Hungarian music, that distin¬ white as alabaster. They have an extraordinarily teach, was a very long potpourri from “Tristan and his subtle intelligence, his astonishing and analytical guishes it sharply from all other manners and schools. fine ear, a sharp sight and a keen sense of smell. Isolde.” After I had played it once, the chief giving mind, if he did not have at his command his marvel¬ The scales in sixths practised in all keys ff and They are born thieves, being gifted with an incredible utmost heed to every note, every position of the lous virtuosity, his science of tone, his endurance? staccato, legato or legatissimo with the following Elegiac in Mood. deftness, which comes in good stead in a better cause fingers, every bowing and shade of expression, he I repeat then, first of all, mechanism must be ac¬ —on the violin. They speak a language of thieves, fingering will be of great usefulness: The prevailing mood of Hungarian music is elegiac. declared that he had the “nota” all in his head. To quired. It must be explained to the intelligent pupil compact of many idioms, and their discourse is my surprise he immediately played the whole melody that with that mechanism he should make himself sub¬ Whether the Hungarian sings of longing for his love, attended with a wealth of gestures. Of religion they servient to music and not music to him. his home, or his wine, there is always the profound- know nothing, in reality; for they will profess in without a single mistake. To increase the “musicalite” of the pupil, .works of est sorrow! And yet a masterful defiance rings succession and in confusion the Catholic creed, the Striking Traits of Gypsy Music. various epochs—but few modern ones—should be through it all, a haughty pride. To myself, who have Lutheran, and both varieties of the Greek; gypsies taken up as soon as he displays some ability. In the lived in Southern Hungary for many years, intimately that live in German countries may even be Jews—all I have sketched the nature of Hungarian music in classical works the form, the plan, the development in touch with Hungarian folk music, these songs according to the faith of the community where they very general lines. I shall now try to suggest its will be easily explained by the teacher and readily make an irresistible appeal: as of a band of heroes, happen to be staying, and still one or more of the special character with the mention of a few striking A fingering is good when it is convenient but ii understood by the pupil. In modern works, on the girded for the fight, brave to the death; of drops of children of their rude wedlock happen to be born. traits. Naturally we must first concern ourselves must have been reasoned out and based on the con¬ contrary, .the more complicated plan, the more complex blood from wounded hearts; of tears from, flaming And these brown “sons of the Puszta* who, like the formation of the hand. Admirable examples ol with the Hungarian folk-song, together with the development, the often formless form would require, eyes ; of sparks from the sword that is brandished with “Wandering Jew,” traverse all Europe, these pariahs pianistie fingerings will be found in the works ol interpreting words. Here, in distinction from the on the part of the teacher too many subtle explanations a mighty hand. If ever a note of joy is mingled with are elect of Providence to utter the glorious feelings Alkan. songs of other nations, is contained a piece of the which often would not even be understood by the pupil. these lays of grief, it was awakened by some ecstasy of of a noble race in the most fitting language—in music. I think it is necessary to perfect certain works, to The pedal requires long and serious study; then, sensuous excitement, such as the revel to which Faust world’s history. It is a kind of symphony of its own, go to the extreme limit of what the pupil can do. finally, after long thought, experiment and systematic abandons himself, when Mefistofeles leads him astray. The Gypsy as a Musician. with a story of a fine rage for liberty and of unstilled Certain others can be passed over quickly. All works practice the player will use it instinctively. At all Hungarian music is quite inconceivable without the longing. The song takes us from the illimitable plains do not require the same attention. It is the duty of events, it is better to use it too little than too much. Peculiarities of Structure. gypsy. By very early and sustained practice, the of Asia through an age of barbarians and Tartars to the teacher to make the choice. To oblige the pupil to I am sometimes asked liow the memory is developed. If we wish to give an account of the peculiarities of gypsy attains his marvellous acuteness of hearing, the “Scourge of God,” Etzel,*** King of the Huns. It practise a long time on the same selection may be very Unfortunately, a bad memory will never become a good Hungarian music, and in particular of the folk-song, whereby he is enabled to dispense with a knowledge creeps over the battlefields of Mohat and Amselfeld, profitable—if he understands it and likes it. one! But try the following device: Practise, by we must mention first of all that the latter can not of notes and with all our theoretical apparatus. Shut to rise proudly before the shades of King Arpad, The pure technical work—that is to say, the exer¬ heart, eight or sixteen measures of a selection, every¬ possibly be noted down as it is actually played. And out in childhood from society and from every civic Ludwig, Mathias, before the heroes Hunyadi and cises absolutely necessary—must always be repeated. day add the same number of measures, and after a this is the main reason why these truly original works pursuit, he finds a last resort in the fiddle or the Zringi. Then are heard new melodies of lamentation ; The pupil will meet constantly with new difficulties, while you will possess a number of pieces. At first of art are hardly known at all in other lands. A clarinet, and tries his hand at the old familiar tunes and his technic will develop quickly and surely. It play these selections slowly, endeavoring to recall all Hungarian score cannot be written because it is quite with accompanying figures, until he is qualified to the hated yoke of the Turks weighs upon the walls will also be extremely useful to go over and over the the notes, all the shades of expression without hunting impossible to put down in black and white the subtle enter the circle of the elder and the experienced of his of Buda, and the Magyars are languishing for redemp¬ difficult fragments of the works already learned; an around with the fingers, then in true time and with ornamentations and grace-notes, all the tempi rubati, tion. But hark! a fresh, clear, exulting rhythm! excellent method would be to copy them and to have true expression. The memory will also lie improved the accents, the strange, ever changing rhythms, ' And so at a single bound he stands at a point that The clash and ring of the battle songs of Tokeli, of them thus always under the eyes. by practising by heart technical fragments from pieces, the sudden stops, and moveover to write them in such many reach only after years of toil and strain, or do Rakoczy, of Kossuth. The songs that follow are It is true that all hands are not alike and that they exercises and studies, and the improvement will lie in a way that they will be read, understood and per¬ not reach at all. In the very technic as well as in melancholy plaints for a vision of happiness beyond do not need the same drill; fat hands, thin hands, proportion to the carefulness and persistence with formed alike by everybody. And then, Hungarian the interpretation, he seems to the manner born. the last bounds of hope. All the noble and uplifting bony hands, supple hands, stiff hands, long hands, short which the work is done. Reading (at sight) is essen¬ Trills, mordents, arpeggios, runs, tremolos, etc. are the joys that life offers and that life denies to man, all hands, small hands, large hands, each must be guided music moves only in even measures (of 2/4, 4/8, 4/4). tial. A good reader is always a good musician. The Some whimsical addition or intrusion will result in an commonest idioms of the gypsy. He knows scarcely these the Hungarian has uttered in his song. The differently. What differences in facility, in tone, in pupil must be accustomed to read so as to give easily extension! IIow many pupils have naturally a good uneven number of measures in the various divisions; any limits in the use of these ornaments, and it Hungarian folk-song is indeed a piece of the world’s and without hesitation a general idea of the work. tone, great suppleness, an easy extension, a certain in¬ and thus there is an irregularity in the big design and often takes a practised ear to follow the main history,in, a far higher degree than the songs of other The education of a musician—pianist—must be based dependence? How many hands do naturally the trill in the small detail. Such incidents as a constant melody in such a whirlwind of tones. nations. Those that sprang from German soil are, to on Bach, on the one hand, and on Clementi, Cramer. or play octaves easily, for instance? syncopation, dotted eighth and sixteenth notes, con¬ be' sure, unequaled in respect of their naive, sponta¬ Czerny and the modern writers on the other. Of Complicated Character of the Music. Special attention should always be given to the left flicting rhythms, parallel fifths and octaves, an unpre¬ neous, bewitching melodies. The Slavic races, with a Bach it is necessary to practise the Inventions, the hand. I find that the practice of scales is abused. It pared use of chords of the seventh and of the ninth— I say “the main melodyfor it were quite beside certain strain of elegy and a rare scheme of harmony, id understood that the knowledge of scales is necessary Drench Suites, the Partitas, the English Suites (Edi- all these are but a small part of these technical pecul¬ the mark to speak in gypsy-music of a tune and of the are perhaps closest akin to the Hungarians. The but how careful one should be to practise them so as f M^Bieerdi,, the Preludes or Fugues iarities. To be sure it would be impossible to give an accompaniment as separate things. To be sure, the Roman nations, above ail the Spaniards, are quite to derive real benefit! To run scales for hours on the (KroH-Busoni), the Toccatas and the Concertos: of approximate notation of Hungarian music, and we leading violin, especially of the first violins, has the apart from the others in the wild passion‘and stirring piano without listening to one’s self, without criticis¬ These variations, practised i: e difficult forms. Clement, the Grains (Ed. Mugellini) ; of Cramer, the do possess editions of Hungarian melodies that show main rdle. But all the other accompanying instru¬ rhythm of their songs, still more of their dances. ing one’s self has no sense or value whatever, and yet ] * ff whlf «Qe should endeavor to transpose into a fine perception of the true effect. Only, the striving ments have secondary melodies. As these cross or The Italians, on the other hand, are distinguished it is called “scale practice !” of/ Zerny’ Op. 740. the Toccata. Op. 02. for “correct” progressions is a constant source of overtake each other, as they meet or retire one before mainly by the intrinsic emptiness and frivolity of the other, they form that marvellous tonal picture To play scales well it is important to practise them Hand Ctb0l«!0f the Virtuoso’ nmI that for the O-ft error. The very terms that are right in every other their insinuating tunes. with the same fingering in all keys, with various tint, P?!6 d Etut is important to . translating into German, they lose all their charm telligence. Whoever is not on very intimate terms In Playing octaves ano in all use of the wrist the cism Ono -f, lgently auci with constant self criti- as soon as one tries to graft them on a foreign stock. n all parts of the keyboard, in all the keys, hand should be light, the wrist, the arm, the bodv with this kind of music, will, after listening a little •The Hungarian plains.—P. H. G. And all this is as true of the music as of the poetry. ame fingering, is one of the best exercises absolutely free. But whatever may he said on tl a ■' * t" while, have a sense of physical discomfort, of a cer¬ than with "renter mo,,('rate degree of talent They thrive only under an Hungarian sky, where the subject, I am sure that every one who has a fairly ••The cymbalom of the Magyars (probably derived from tain mental indisposition, a kind of musical sea-sick- •See Phili,. to have talent , ,Ient and littIe work. But better the Italian cembalo) is a rare sur vival in modern music air is charged with the fragrance of the heather, before Maniere de Travailler les Gammes supple wrist, can succeed in playing octaves with the of the ancient dulcimer, a stringed Janin) ; Exercisesses _Pratiques. Chapitre Gammes the straw-thatched hut of lime, in the midst of a (Durand)■ --, .; La GammeGamine ChromatiqmCbromatique (Heugel) • Exercises wrist in every shade from pp. to the most powerful played, not with keys, hut with s mall hammers held in How the Gypsies Score. -- to an the readers of The Etude. each hand. The dulcimer is usilally regarded as the boundless horizon, stirred by the burning glances of Techniques pour la Main Gauche (Durand); ReitUnger® ff. It is absolutely wrong for a teacher to compel prototype of the piano—P. H. G. - I'hromatiques (Costallat) : Tausig^ Daily The moment of performance is for the gypsy the eyes dipped in the glow of the Sun, where the cup Studies ; Brahms : sH^ExercfsesT PfficW:"60*SExer< pupils to stiffen the wrist to play f or ff. ft is very Pieces, %hD^\5m!lvMe£iC1Sv JDuran<1) : Joseffy: Seven (Edited by Philipp Heugel). Etudes Techniques '( Hinnrrri0teSTT ,Schlrmer l : Philipp: *** Attila, as the name is handed down from the Romans. moment of creation. He seldom invents original passes in a circle of hot-blooded sons of the Puszta. evident that, m the beginning of the 4th concerto of Music (Scribner)- e S?) 1 Huneker: Mezzotints m (Church). l h,liPP : Fragments of Concertos THE ETUDE 699

Though not musical, Schumann’s father neverthe¬ above the superficial. You must delve deep, and aim HOW SOME PUPILS ANSWEEED EXAMINA¬ less exerted an influence on his career through his love high. Let the word “infinite” take hold of you; and TION GUESTIONS. of poetry. He was a bookseller, and hat translated live from an infinite recognition. Know that all is some of Byron's poems, besides writing a few things eternal; that the will has no limits; that your na¬ 698 THE ETUDE An English musician who has conducted many to be said, for the simple reason that, like Mozart and of his own. Robert made good use of the opportunity ture is immortal; and express yourself accordingly. of browsing among his father's bookshelves. He You will do better than when you only lived among examinations of pupils transferred to his note book a Schubut he soon outstripped bis teachers. His first number of replies to questions on the history and THE EDUCATION OF THE MASTERS. lessons on the piano he received Iron, his mother, who, favored volumes of poetry, and from an early age wrote symbols, figures, illusions—the mere transitory show. theory of music. Wo quote some of them. We trust for years, always sat by him and Ins sister Fanny verses of his own. In 1827 lie set a number of these Get down to reality, where Truth abides. to music. Ilis favorite authors were Byron, Schulze, What glorious music you will then express! You our readers can correct the errors. Spellings are not By HENRY T. FINCK, when they practiced. Berger also gave him lessons on the piano, Henning on the violin, and Zelter in com¬ and above ail, Jean Paul, in whose fantastic romances take new views of life. There is harmony where altered; the pupils, were, as a rule, over fourteen position. But a lad who, at seventeen, could compose he revelled all his life. These experiences among the before you saw discord. Everything is benefited and years of age. A prominent English critic. Sir. E. A. Itaughan, de¬ branches of learning. To be with him was in itself an such a marvelously original and finished piece as the poets manifest themselves everywhere in the titles of blessed with the new view. Your own self, health, Goudimel was born in 1387, his father being a clares in his recent volume entitled “Music and Musi- education, for. as Felix wrote after his father’s death, overture to “Midsummer Night's Dream.” obviously Schumann’s pieces and their emotional peculiarities. work, teaching, practice—everything. stockbroker. His chief works were: the Messiah, “he was not only my father, but my teacher, both in Indeed, there is almost as important a poetic side to Music is the expression of character. An artist is cians" that “the gentleman by birth and training is had little need of an instructor in the art of writing the Crucifixion, Parermarsal, and the Elijah. the last man who should be a musician.” He tries to art and in life.” Schumann’s art as to Wagner’s. His poetic talpnt is a man of character. music. Monteverde was an Englishman who wrote many justify this assertion by explaining that the ideal of Plenty of other teachers were, however, provided, for Schumann. also manifested frequently in imaginate touches in the Concentrate! Look to those wandering thoughts. the gentleman's education is “a peculiar stoicism the family was well-to-do. One of them was the father criticisms he wrote for his periodical, the Neue Zeit- They sap up your energy, and make you nervous. You sonatas: he wrote many sonatas. He was tlie brother which forbids that he shall show emotion of any of the eminent novelist, Paul Heyse. With his sister, If Mendelssohn’s life was a bright, merry Allegro, xchrift fur Musik, which had an enormous influence in can do much more in an hour, even, with concen¬ of Beethoven. hindand as music is primarily a matter of feeling, as we learn from Schubring, Felix learned Greek, ad¬ Schumann’s was for the most part a pathetic Adagio. purifying the musical atmosphere in Germany tration ; more than you can have any idea of until you Palestrina did not sing comic songs in church. tlie gentleman is out of place in that art. vancing as far as the very difficult Aeschylus. In due At an age when Mendelssohn was idolized all over Schumann's passionate love of books is tlie more try. Quality and quantity ! Palestrina at first only used concords, but after¬ Europe, Robert Schumann was asked by the King of The argument seems plausible; but in reply it may time (1827) he entered the University of Berlin, comprehensible when we bear in mind that circum¬ And have patience. You can do a great deal almost wards it became rather slow work, so he began to use Holland, after his wife had played for him : “Are you be said that in the first place, it is only in England where his former private teacher, Heyse, was now a stances did not favor him, as they did Mendelssohn, in immediately, but the larger things take time. There a few discords. that gentlemen are expected to suppress all emotion ; professor. Felix’s matriculation essay was a transla¬ musical, too?” the wmy of meeting famous writers personally. His is the law of growth. And have you discovered the Bach’s preludes and fugues are not things you and in the second place, instead of excluding the gen¬ tion of Terence's “Andria,” the first one made in Ger¬ That was simply a particularly painful instance of own disposition also came into play here. Whereas pleasure to be gained by watching the unfolding pro¬ would like to play at a concert, but were more for tleman. from music, would it not be advisable for the many in the original metres. Experts have praised it the slights Schumann had to endure every day of his Mendelssohn was of an exceptionally sociable disposi¬ cess ; not only being a spectator, but an actor as well? exercises. English to modify their insular notion regarding the highly. Six years previously he had written a long life. While he heard—and was glad to hear—every¬ tion, Schumann was quite tlie reverse. He usually Control that sensitiveness—those nerves. Don’t Bach’s “smooth-tempered” preludes and fugues were display of emotion sufficiently to make it advisable to poem of his own, in hexameters, describing the imagin¬ body playing and singing the works of his fiiend Felix preferred to be alone, and even when he had good com¬ give way. Master the emotions. Let the mind rule. written in French first, and they were translated invite “gentlemen” to the ranks of musicians-? Jean ary comic adventures of his brother, and called the pany he was apt to remain silent, sometimes for hours. Your work requires all sorts and kinds of atten¬ afterwards. de Reszke and Paderewski are perfect gentlemen, yet “Paphleis.” Among lus compositions there are some— But his brain was always active. tion. See that it gets them. A time and place for Bach’s preludes and fugues are very clever, and if the keynote of their art is emotionalism. Chopin was “Antigone” and “Oedipus”—which recall his juvenile His parents not only were unmusical; they were everything; this is the way to success and achievement. every inch a gentleman, in the cosmic sense of the interest in the Greek classics. one wants clever work they would suit, but music both—especially the mother—opposed to his choosing Attention, concentration. that sounds well is preferred. word, vet he was the most emotional of composers. Beside Latin and Greek he learned several modem music for a career. Accordingly, notwithstanding his The average person does not work like this. In¬ Bach’s preludes and fugues are very pretty, almost Liszt was a king among kings, but he mirrored in his languages. To his perfect command of German his decided inclination to the tonal art, he consented to stead, he labors grudgingly, in fits and starts, without too nice for exercises. face, as well as his music, all the feelings of the soul. letters bear witness on every page. With Italian he study law, to please them. He prepared at the Zwickau interest or system. He fails to perceive the deeper Handel borrowed some few traits from Chopin, made himself so familiar that he could translate the Academy, and became a student at the University Mendelssohn. significance of his task. And so his productions are the first great violinists most difficult poems into German, and he spoke it of Leipzig in 1828. The next term he went to Heidel¬ Felix Mendelssohn and his art present an interest¬ just of the average sort, which is very far from what Whole pages of Handel’s works are inverted cords fluently. English he knew well enough to write let¬ berg, following the roving custom of German students. ing illustration of this thesis. The composer of the you would call a masterpiece. copied from other writers, especially Mozart and ters in it correctly and idiomatically. Among the uni¬ Following another custom of German students, he neg¬ “Songs Without Words” and "Elijah” was accepted The time is near when the popular demand will Haydn. versity courses he attended were Hegel’s in philosophy lected his legal studies to his heart’s content; but in¬ in England, as elsewhere, as a gentleman; lie set the be on a higher plane. Men are beginning to recognize The Seasons were established when Handle came and Carl Ritter’s in geography. Like most men of stead of wasting his time in taverns, like so many of fashion in music, as the royal family did in clothes. the divine life and power within them, the actually into the world, which was about four hundred years. artistic temperament, he could not comprehend the his colleagues, he practiced chamber music with several Wagner made a sarcastic reference to this by putting infinite resources; and they are beginning to express Gregorian music is very weird ; it ends in little wails abstruse science of mathematics; the artist mind other students, Schubert and Bach were particularly ou white gloves when conducting a Mendelssohn piece work of a higher order than formerly. Science and high up in the treble. usually prefers the pictorial. favored by them, and the influence of their works is at a Condon Philharmonic concert. And is not Men¬ Art are words heard everywhere. There is a univer¬ Beethoven's symphonies Were very pleasing. They I)r. Hanslick once said that he believed that most of felt in many of his own compositions. delssohn's music unemotional? It certainly does not sal desire for knowledge and a corresponding growing were mostly of the same constructure, but were very Wagner’s music was suggested by his pictorial sense—- It was not till the third year of his legal studies refinement. sound such heights of joy, such depths of soirow, as the scenes of his operas as Painted by his imagination. mournful. that Schumann at last decided for good that he could We must learn to sacrifice a few things in order the music of some other masters: but the reason for Mendelssohn’s pictorial sense also was remarkably Beethoven did not mind about how his things and would not be a lawyer. He was twenty years old, to get something better. We must cultivate more this is to be sought in the cloudless, happy life he led vivid, and it was carefully educated in his childhood. caused excitement; he put all his power into them, and felt that if he was to he a musician he must devote patience as well as promptness. The time flies quickly rather than in his training as a man and a musician. Landscape painting he practiced before he entered the and made them good. His sonatas were veiy good himself to the art'seriously and exclusively. Luckily, when we are engaged, bringing us very soon to our That training was calculated in every way to make a university. Italy, Scotland, and particularly Switzer¬ ones, which could be used instead of exercises. man and ail artist of sincere and deep feeling. Had he was aide to persuade his mother of the wisdom of land, furnished him his best subjects. During his first Music in England in Mozart's time was looked upon he suffered the fate of being ignored or assailed during this step, aided by the verdict of the famous teacher, This question of Time—have you noticed how trip to Switzerland, his favorite country (1822), he Friedrich Wieck, whose daughter he subsequently mar¬ as a great treat and a work of heart. made twenty-seven large and carefully finished pic¬ subjective it is? How an hour seems like a day under It was a pity Weber did not begin in his earlier ried. Under Wieck he studied on his return to Leipzig certain conditions; while several hours pass like so tures: during the last, in 1847, he added fourteen and also under Dorn; but for the most part it may be years, but I suppose he, like ourselves in tlie present Schumann. many minutes under others. All according to your more. One of his biographers, Bruno Schrader, regrets A LITTLE KNOWN PORTRAIT. said that he was self-taught. time, had to learn the words of our Poet—“What that the Mendelssohn pictures have never been made mental attitude. might have been.” accessible to the public; but I believe they have since the happy, he, Robert the unhappy, was negleete* So mental science is a very practical thing; and The chief characteristics of the works of Sphor is been printed in a volume. though he knew that some of his pieces at any rat. MUSIC AND MENTAL SCIENCE. does not belong to the realm of the shadow. Meta¬ his sound originality of tone, so many other eminent This phase of Mendelssohn’s education had an im¬ were better than most of Mendelssohn’s. Even th physics has something to do with your success. It composers have been able to take a few of his beauti¬ does matter what you think and how you think. portant influence on the character of not a few of his brilliant and magnetic Liszt was unable to interes By Frederic W. Burry. ful phrasings. A great number of the English chants compositions. Though a conservative in his respect audiences in Schumann’s pieces: their time had not ye Don’t become a machine, a mere echo of others, are taken from Sphor, they are full tones out of which for tradition, he had a strong liking for program with no thoughts of your own. Take the best out of Musicians are necessarily philosophical; their art we may have the melody combined with harmony. music, in the wider sense of the word. To Schneider Why is it that, while Mendelssohn was only sixteei the past and present—then be original. leads them into realms transcendental and celestial, The old Gregorians are mostly Sphor’s. he once said that since Beethoven had shown the way months older than Schumann, the latter had to wai Surely you have proved at different times how some and its tendency is in the direction of the romantic Guido Aretino, when very young, used to sit on the with his “Pastoral Symphony,” every one was at name than sixteen years longer for appreciation? individual move on your part has brought you results. hills and play his flute, and a great deal of our clas¬ and mysterious. , Perhaps you were forced to make such a daring move. liberty to follow. Grove cites a long letter written by Partly because Schumann’s music differed more radi sical violin music is written by him. cally from that of its predecessors, and because i Music carries you above the sordid atmospheie, and Take voluntary steps now; you will be compensated an English friend of Mendelssohn, illustrating how the In ancient times, before stringed instruments were was so highly condensed. It has been well said tha truly opens out new planes of consciousness. It is for what you may have to sacrifice. sight of a rivulet, a trumpet-like flower, a bunch of thought of, the viols were a great deal used. Stringed Mendelssohn would have made five p.eces with wha thus preeminently a means of all-round culture; and Musicians have generous and expansive natures. carnations, or a landscape, would tempt him to sketch is not a mere pastime. It has a sacred character instruments such as harp became more common in the Schumann put into one; and in those days the publi. They are emotional: but they ’ must direct these reign of King David. We suppose the other stringed with pencil, and then to translate his feelings into about it. It touches the soul. had not yet become accustomed to the Liebig’s extrae emotions, these forces of their being, which contain instruments, such as violins, banjos, etc., were brought realistic music. His “Calm Sea and Prosperous Voy¬ kind of musical pnbtihim. That is what Art is for. To interpret the Soul of so much possibility for them. Man. It is the voice of the spiritual. under notice by the Italians, who are the composers of age,” “Hebrides Overture,” “Italian” and “Scotch” In large part, however, the difference in the atti How much energy do we waste in worry? Have nearly all our grand music. Somewhere in every soul lies the germ of Music. symphonies, and many other works, belong in this cate¬ m e of the world was due to the fact that Schumani we learned to stifle that unproductive, wearing, anx¬ People first began to feel the Renaissance of music For is it not the divine utterance, and has but to be gory. actually came before the public many years later that ious, and diffusing habit of thinking? Do we economize when pieces were written by clever writers. The expressed and developed? Only the majority do not Mendelssohn. Portrait by Hensel. Of incalculable educational value was the opportun¬ iis nend, and then only as composer, whereas Men our mental energy, while using it plentifully at the beautiful grace notes, and changing of keys, soon think it worth the trouble. ■ ity Mendelssohn enjoyed from his childhood of asso¬ delssohn played the piano in public when he was onlj proper time and place? Do we recognize the pre¬ brought under people’s notice the charms of music, the great The difference between genius and mediocrity, be¬ part of his life, like Schubert, Schumann, nine years old. Schumann never became a conceri eminence of the mind, and the need of harnessing our also the lovely trills that send a dreamy sensation ciating daily with’ tlie most eminent men and women tween success and failure, is that one does not think Liszt. Wagner, his education would not have prevented Pianist at all, his plans in that direction having beet thought-forces? through the minds of the listeners. When modern of „is time. Goethe took him to heart at once, and a task is worth the trouble and the other does. him from giving expression to the anguish of his souf. u erly frustrated by his foolish experiment which per You can here gather, a hint how to make an hour, instruments were first invented, people would go in It is undeniable that the composers since the day of every one was delighted with his talent and his eager¬ Which class have you allied yourself with? manently crippled the third finger of his right hand a day, a month, a year worth double its previous large flocks to hear them. In King Richard's reign, Weber have been better educated than those before ness to learn all there was to learn. In 3824 his You know a great philosopher has said that “Genius And whereas Mendelssohn was only seventeen whet value. Yes, mental science means success, achieve¬ the Renaissance was very much felt in music, he was him, and that their music is at the same time the more father bought a fine mansion in one of the leading is only great patience.” Some one else hinted that an wrote his orchestral masterwork, Schumann was ment ; it means money for you. very fond of it himself. Also Hayden, when he was a emotional. If, therefore, there is any truth in Mr. streets in Berlin; in this house there was a room large inspiration was the result of perspiration. Have you You must simply forbid those useless thoughts to rise very little boy, would tramp about day and night with Raughan’s theory, it cannot be held that a university serMts^nty'SiX ,hpfore his SPni«s «**»„ f° » got the desire for hard work? In other words, have enough to hold several hundred persons. Here there . ■ ;, lf’.and then, for ten years, only in compose to the surface of your consciousness. Sometimes they his flute and play to the people in the towns and education in itself is inimical to success in music, but tions for pianoforte. you the ambition to show yourself a genius? was music in abundance, and here Felix learned to seem to possess a fairy enchantment; but you must villages, when people would assemble in large flocks only that a certain peculiarity in English ideals of Work makes you egotistical. You get enthused. know everybody worth knowing in Berlin—artists, betwethe r tel' °.f musi™‘ Question, too, the contrast be business-like, and think what the results are. to hear his charming sensational music. manners antagonizes it; and even this only with reser¬ authors, actors, poets, scholars, statesmen HiRt r 10hP two nion was great. Schumann says You commence to express your inner resources; and Here is a most practical philosophy for you—to vations. For it cannot be said that the higher educa¬ you cannot help being delighted with yourself and The older composers were mainly inveterate thieves, Wherevdr he went, from the 'beginning of his career wk-_-qi W-ff.?n seven when he began to compose; but combine muscle and mind: theory and technic; ail b >t Beethoven wrote most of his music himself. tion has prevented English poets from being emotional; what you can do. Yon are surprised at what you find to the end. the best families and the most famous peo¬ teach h* f 1X la^ Parents and professionals to round expression. Lightly—skirtzando. why should it prevent the musicians? you can do when you try. Then you. justly see in ple vied with each other to have him as their guest In hi* 11 ChiWhood’ “ohm «’as thrown entirely And there is no other way to success. It is the Subraediant—under a moderate speed. To return to Mendelssohn; lie was. like Mozart, ms own resources. His own narents w. re not yourself the possibilities of a master and a genius. royal road—the only road. All rests in and with Enharmonic means one sound running after another, fortunate in having a father who believed in a thor¬ In Rome, for instance, he associated with Bunsen You must get below the surface of things, and yourself. ough training from childhood; but while Leopold Vernet, Thonvaldsen, and men of that class. In Eng' mienTtb ^ U’e Slna11 to'vn of Zwickau, where he inc uding all the tenes and semitones. one to ^ his life, there was no Mozart limited his son's instruction to matters musi¬ land he was idolized—more than was good for him ;'for cal, the Hebrew banker. Abraham Mendelssohn, pro¬ he was human. It is ti m°re tllan t,le Winnings of the art. vided instruction for his talented Felix in diverse other who afv • noteworthy that the humble organist Concerning his musical education there is not much some Ao'-fu11511 P*ano Icssons predicted that he would some da> become a famous musician. THE ETUDE 701 700 THE ETUDE lence in the externals of piano playing. Here we find identical with palace music. Brought down to the TOUCH IN PIANOFORTE PLAYING. the tone develops proportionate in volume and quality. The aim is that each finger shall learn to act in the a basis for accurate judgment in the mooted question „raVe is the noise of thy harps' cries the prophet of “Methods.” The only question to be answered is Isaiah to the king of Babylon, thus indicating by same way and to produce the same volume and qual¬ BY WILLIAM LAWRENCE CALHOUN. this; "Is a given method of practice inconsistent, in The Babylonian Origin of Music name their characteristic instrument. When the great ity of tone as the other fingers. Without waiting for the long run, with freedom in the action of the playing kings of Assyria gained for themselves political ascen¬ the complete accomplishment of this result, a cor¬ The profitable discussion of any subject requires apparatus?” If so, it is worse than useless, no. dency over the whole of the Euphrates Valley, they relation or community in the action of the fingers as an Art and Science precise definitions. Before we can begin to think or matter who stands sponsor for it, and no matter how established a court orchestra which was unquestionably must early be established. In all conceivable combina¬ By DR. RICHARD BATKA talk intelligently about touch, we must hist decide bright the sunshine of popular favor. modelled after the Babylonian temple of music. The tions of the fingers there should exist the feeling of what touch is and what it is not. Why, then, is Freedom the essential quality of good (Translated from the Musikalische Rundschau by Cecile Ayres.) harp now was, and remained, the most important and reciprocation that manifests itself in a good trill. Throughout all the practice leading to these results touch and good technic? Because the lack of it ef¬ satisfactory instrument in the religious service, and ESSENTIAL ELEMENTS OF GOOD TOUCH. fectually prevents any high technical attainment; * was Invented by P 3f. Frederick Delitzscb, the great Assyriologist of Berlin, also in the entertainment of the royal household. the consciousness of the player must be focused at gave before the Germs n Oriental Society, in 1902, in the presence of the Lm- When a mere lad, beginning to. be interested in two points, the knuckle and the finger tip. The funda¬ because the lack of it results in a tone devoid of charm ie appealed to the moi uments to justify bis denial of the uniqueness of the Assyrian statues represent the king at his meal listen¬ piano practice, I used to hear my teacher say “What mental feelings to be awakened are 1, freedom of and deficient in power; because the lack of it reacts >Babylonian literature not only the stories o' ing to a choir of singers. Under the direction of time¬ " he Ten Commandments and the r ino theism a pretty touch Annie M. has.” This young girl, movement and 2, relaxation in repose. continuously upon the player in a sense of impotence keeping conductors, harp quartets are played at ban¬ a fellow student, played more gracefullj and ex¬ and defeat, absorbing his consciousness and quenching d a great sensation. .Other Assyriologists had found support forir traditionaltra views of HAND OB WBIST AND ABM TOUCH. ; ... .uuuumonts and inscriptions. Archaeology had been the most effective v> JSPBL quets. Or the whole court orchestra goes to meet the tracted a more agreeable tone from the instrument all spontaneity of musical thought; because the i against the Higher Criticism. Many came forward to answer Prof. Delitzscb. He was asked to repeat the victor on the battlefield with harps, cymbals, drums The essential qualities of a good hand touch or, as month later, lie then made another trip to Babylon and returned in time to answer his critics, and to de- than any one else in the class. We all recognized spectacle of ill-directed effort, of constrained or super¬ second “Babel and Bibel” lecture before the same Oriental Society. January 12, 1903. The Emperor published and double flute. In an Assyrian cuneiform letter the fact, but in expressing our gratification, we used it is called, wrist touch, are quite like those of a fluous motion itself excites an esthetic dissatisfaction on the subject, in which he look issue with the Professor. Since that time a great “Babel and Bibel ’ liter- which announces the death of a conqueror, these good finger touch. The upward movement of the i grown up In Germany and France. Much of it has been translated into English. , . . ilie word “touch” in the popular sense, and without even in those who. could net trace the sources of it. and Bibel in Music," the Berman title of the following article, is an attempt to show the Babylonian origin words are found: “Kisai, the music-teacher, to- reference to any well-defined methods of tone pro¬ hand hinges at the wrist. The wrist, therefore, must At the best, piano playing involves the most highly •t and science* of music. At the present time scholars are inclined to give credence to that view of the acquire elasticity if tlie hand stroke is to be marked -Prop. E. E. Ayres, Crozer Theological Seminary.] duction. In our view Annie M.’s “touch” was a gift special, if you like, the most artificial kind of physical of the gods, and we never thought of trying to rival by freedom and individuality. The effort is con¬ activity. Fingers, hands and arms, far better adapted f I “'(HERE is a peculiar charm in contemplating the those immoral musicians employed by the upper circles Origin of Jewish Music. centrated at the wrist. The l’ore-arm is quiet. The by Nature for climbing trees, after the manner of our I origin of things, a charm exercised over the at Rome, the flute continued to be the characteristic Were I to trace the sources of our pleasures in fingers, as such, do not participate in the touch. Tlie Simian ancestors, must be traiued to do a multitude investigator by the first faint glimmer of later instrument of the East. The temple, Esagila, was the great center of culture the girl’s playing, they would prove, I think, to have relation of fore-arm to hand is the same as that of of things that they never even began to do until key¬ illuminating thoughts, the first light rustle of after¬ at Babylon and, in fact, with its priests, its hymns, been two-fold. First, the tone itself, beautiful in hand to finger. The simple arm touch is, in principle, boards were invented a few hundred years ago. And wards stupendous intellectual movements, the first The Ancient Harp. and its harps, was the object of adoration throughout quality: Second, the recognition of an exquisite quite like the simple finger and hand touches. The ail this must be done in a period of study which, even the entire East. Its rays of culture shone far out axis of motion passes to the elbow’. The fore-arm, primitive formation of future symmetrical figures. Besides the folk-music which has prevailed there adaptation of means to end. The former was an in the case of professional artists, usually does not According to Goethe, one joyfully recognizes in the over all the surrounding races. It can readily be dis¬ object of sense, the latter of aesthetic perception. hand and finger act as one. exceed ten or fifteen years. What a wonder that in from time immemorial, there is one branch of tinguished that where the Semites have preserved countenance of the grandchild “the beloved features music mentioned in the oldest histories whose symbol In our experience we were conscious of the one, and, COMBINATION OF ACTION. a kind of physical exercise that fairly wrests the hand of the ancestor.” remnants of their primitive, orgiastic nature worship, no doubt, partially unconscious of the other element; from the course of its historical development, there is the harp. This is sacerdotal music. For, accord¬ the old national instruments are still standing in By this brief examination of the playing apparatus The origin of music has also been zealously inves¬ ing to Oriental ideas, all arts and sciences are iden¬ though, I remember, her playing “looked pretty.” is demanded the must watchful care, if, in the end, power; but where they have been influenced by Baby¬ as it is employed, simply, in the unmodified action of tigated, and it has long been supposed that music tical with religion and their chosen protectors are From this experience, by no means an uncommon we would attain conscious ease and apparent grace and lonian civilization, the harp is installed. After the finger, hand or arm, comparatively little is to be originated in no particular place. Music appeared in the priests. They also cultivate the theoretical knowl¬ one, we may learn something about the essential simplicity! Semitic word “kinnor” (which means harp), the learned of the actual processes of playing. In good some primitive form among early races of even the edge of the musical relations of the stars; and in •elements of good touch. It must sound well, and it At every stage of practice, then, let us keep in view priests in the Astarte-temple at Cyprus were called playing there are no hard and fast lines between the lowest pedigree. So the originators of music have the temples to Sumer and On there was a special must look well. In the recognition of these elements Freedom, the essential condition of a good touch. If kinnorites. Most of the investigators now accept it finger touches and the hand touches; between the never been discovered, nor is it perfectly clear where, liturgical music. The significant features of this the lay hearer of good piano playing will hot suffer we do not, there awaits us, sooner or later, the dis¬ for the first time in history, even superior and noble as a fact that the sacred music of the Hebrews took hand touches and tlie arm touches. Each variety is music were the recitative of the priest, the hymns of any great disadvantage as compared with the trained covery. that we have followed “strange gods.” If we music appeared, nor do we know where such music its pattern from that of Babylon. The attendant cir¬ often used simply; each is just as often used in com¬ the temple-singers, and the solemn, sweeping ac¬ pianist. Either can recognize a sensuously beautiful do not. there will come a time when we shall think •was first fostered by a particular class. cumstances here are also typically Oriental. In tone; either can recognize simplicity and freedom bination with one or both of the others. To illustrate : companiment of the harp. There has been excavated 1. In any short legato passage, the first and last notes to pluck the ripe fruit of artistic endeavor, and it will Recent excavations in the Orient have, however, at Tello a statue of the time of the priest-king Gudea Solomon’s temple the harp reigns supreme; in the in the externals of playing. It is only when we come turn to ashes upon our lips. nearly answered this question. Mesopotamia is the are apt to be played with a touch compounded of arm (4000 B. C.|), which represents several singers and a procession to the sanctuary the flute has the prefer¬ to a close analysis of causes and relations that we cradle of church music, and the Semitic races of and hand, while the body of the phrase may be musician holding an. eleven-stringed harp. This is ence (1 King 5: 40; Isaiah 30 : 29). There is one find ourselves in a field accessible only to a thorough anterior Asia are the ancestors of the Mesopotamians. executed with the finger touch, either simple or modi¬ the oldest record of music ever found. It shows that passage scarcely noticed in a cuneiform war record student of the piano art. A MUSICAL EDUCATION: WHAT IT But music was not discovered by the Semites; it was fied occasionally by upward and. downward movements the Babylonians had already a well-developed instru¬ of Sennacherib, which says that besides his treasure, MEANS. handed down from that ancient and mysterious branch DISTINCTION BETWEEN TOUCH AND TECHNIC. of the wrist. 2. In any short staccato phrase the first ment in the harp. With the exception of the flute, the wives, daughters, and musicians of both sexes be¬ of the Turkish race called the Sumerians, with whom Here we find that touch, in its strict sense, is and last notes may be played with combined arm the neighboring Bedouin tribes had for a thousand longing to King ITezekiah were delivered up as tribute BY W. D. AKMSTKONG. almost all of the intellectual life of the East seems tliii manner of contact "between the playing apparatus and hand touch, while the intervening notes are better years to come nothing nearer to it than the most to Nineveh. Probably two centuries later, during the and the piano. It involves a consideration of all the done with the simple hand touch. 3. In long legato to have originated. primitive zither. Babylonian imprisonment, temple singers and musi¬ The young child who is going about the house sing¬ conditions, positions and movements of the playing passages, the finger play, while it may not be inter¬ cians from Jerusalem were introduced into the court ing or imitating playing the piano, undoubtedly shows apparatus in so far as these affect the quality and rupted, is made more elastic and accentuation facili¬ The Flute in the Orient. Music in the Temple of Esagila. i orchestra at Babylon, since they were also able to signs of musical ability. At a later period, the im¬ quantity of the tone. tated by changes in the elevation of the wrist involv¬ play on the harp. This explains the following pas¬ portant question comes to the parents, When' or how As the climate is favorable, the greater part of an The Sumerians then entered Babylon,, transferring At this point one should sharply distinguish touch ing frequent touches compounded of finger and arm. sage in Psalm 137: shall I give my son or daughter a musical education? Easterner’s life is spent on the streets. His national with them all their culture—yes, even the Sumerian from technic. The latter involves a consideration of 4. In long staccato passages the same results, elasticity music, whether it accompanies religious or secular language remained, like church Latin, their liturgical “By the rivers of Babylon, there we sat down, yea, What am I Jed to expect? What will be the results? all conditions, positions and movements of the playing and ease in accentuation are secured by frequent celebrations, is always open air music, and for that tongue, even after the nation to which it belonged had we wept when we remembered Zion. We hanged our apparatus only as these affect the pitch and length changes of the wrist level, involving combined wrist In the first place we do not anticipate that all pupils reason the piercing flute and other noisy instruments been long conquered by the Semites. From the time harps upon the willows in the midst thereof. For they of tones. If these definitions prove too abstract, let and arm touches. will become professional pianists, singers, or teach¬ are preferred. Ecstasy and wonder are the prevailing of the great Hamurabbi (about 2200 B. C.), Babylon that carried us away captive required of us a song; us note that in a given piano performance, the com¬ So frecpient and so necessary are these modifications ers ; but we are aware that even a limited amount of emotions excited by an Asiatic festival. When the was regarded as the sacred city of Mesopotamia. Our and they that wasted us required of us mirth, saying, plement of touch appears, 1, in the dynamic arrange¬ of the simple touches that in a good performance correct musical knowledge brings endless enjoyment slaves of Astarte conducted their mad procession imagination supplies what the spade can only suggest. Sing us one of the songs of Zion. How shall we sing ment including balance of parts, shading, adjustment it would be difficult to find, at any given point, more to the home, is a great moral influence in the commun¬ through the Syrian towns, accompanied by fifes, cym¬ Out of the rubbish and ruin it reconstructs the far- the Lord’s song in a strange land?” •of accents, and. 2, in tone color, including all variety than a few consecutive notes executed with the pure ity, and may be a source of untold good along relig¬ bals and kettledrums, they smote themselves with famed temple, Esagila. When this was laid bare on After the return from exile the Babylonian harp and suggestions of variety in quality of tone; while finger, wrist or arm touch. Two important principles ious and civic lines. whips and lacerated themselves with knives. Amidst New Year’s day a few years ago, by the German completely triumphed and for a long while flute music the complement of technic appears in a correct expo¬ To begin with, the very first lessons are of the most the excruciating noise of flute and syrinx the Lydians Oriental Society, a great procession seemed to fill significantly disappeared from the Jewish ceremony. of teaching and practice follow; 1. The simple touches sition of the various figures employed by the com¬ must be completely established and made instantly importance. Even the most talented will need to be marched to battle, and the plaintive note of the flute the streets. Multitudes were accompanying their idols poser, including scales, arpeggii, octaves and chords subject to the will of the performer. 2. When this held down to the strictest mechanical and physical accompanied the festival of Springtide when the wo¬ into the Hall of Fate. Meanwhile, in the interior Extent of Babylonian Influence. in their multifarious forms and combinations. command of the simple touches has been secured, all rules, such as absolutely correct reading and count¬ men bemoaned the youthful Spring slain by the god of the high-towered temple, amidst harp music and ing, and the position of the fingers on the keys. After of Summer (the Syrians call him Adonis, the Baby¬ chorus-singing, the sacerdotal ritual was taking place. There are many proofs from a musical standpoint Since both touch and technic involve the inter¬ technical practice must be marked by the utmost action of the same factors, namely the playing ap¬ variety of touch. this has been accomplished—there is a long period in lonians, Tammuz; the Bythinians, Hylas, and the The city presented this priestly character amidst the that the influence of Babylonian culture extended far which the mental is the only growth perceptible. out into Asia Minor. The Chinese tradition says that paratus and the piano, it is easy to see how closely OCTAVE PLAYING. Egyptians, Linos). Flute-playing thus became a changing history of the rest of the country, and the Very precocious children give the impression of musical art was brought from the West by a wonder¬ they must be related. One needs only to pronounce Modern octave playing is better than the octave national cult and developed into a great art. It is endeavor of the Assyrian kings, by levying tribute, wonderful technical ability, but usually there is no ful bird into the midst of the kingdom. It is prob¬ the truisms: There can be no technic without playing of Moscheles and Kalkbrenner solely for the said that Asiatic virtuosos, who came to Greece in the to make their capital, Nineveh, the intellectual center soul. The only record we have of a combination of seventh century B. C., aroused there instanta¬ able that the Chinese, like the Babylonians, associated some kind of a touch; and 2, there can be no touch reason that these principles, in so far as they apply of Mesopotamia, was frustrated. Not until the Per¬ these gifts to a marked degree were in Mozart and neous enthusiasm. Up to the time of the Ambubaia.t sians brought their idol to Susa in 518 did the the laws of music with those of the planetary system. without some kind of a technic, and it instantly to octavos, have come into general practice. This is Liszt. Someone, in speaking to Madame Fanny religious prestige of Babylon terminate, and with it Another clear and unmistakable track leads us from appears that there can be no cultivation of touch due, in great part, to the fact that Kuliak formulated Bloomfield-Zeisler, about the difference in the interpre¬ * German for Babylon and the Bible. also the importance of the city in the history of the Orient to Gaul, to the Celtic Druids, whose favor¬ without the practice of the various technical figures. and made available as pedagogical material the tation of Chopin’s “Berceuse” in D flat major tThe Ambubaia were Syrian girls who were found in music. ite instrument was tha harp. And as the same five- From this it is an easy and necessary inference that experience of the greatest .-pianists. (Kuilak’s Octave large numbers at Court and in the homes of the rich in (“Slumber Song”) said, “Madame, you play it with toned scale is at the foundation of both Celtic and there can he no real comprehension of the principles Method, particularly tlie Preparatory School). When Rome In the first and second centuries of our era. such tenderness and feeling.” “Yes,” she replied, “I Foreshadowing the Christian Ritual. Chinese music, we need offer no better explanation qf touch without a close scrutiny of technical practice. the same principles are applied in the development of JThe best authorities, such as De Sarzee, Hummel, am a mother.” In other words—great emotion or Peters and Hilprecht agree in making the date for In Babylon there were three classes of priests: than to suggest a common origin. It is highly prob¬ From the standpoint, therefore, of a clear recogni¬ the whole technical apparatus, scales, arpeggii, chords, Gudea between 2500 and 3000 B. C. They would claim, expression comes through life’s experiences. conjurors, soothsayers and singers—the latter wor¬ able that there was some conneation between the tion of tlie interdependence of touch and technic, let octaves and all, the technical practice will become a In summing up the matter, we find that the first shipping Ea, the god of wisdom and skill. From the Oriental priest-guilds and the Doric priest-schools of us engage in a brief examination of the conditions, direct instead of an indirect preparation for the play¬ part of the musical life extends from about the age evident structure of the numerous cuneiform hymns ancient Greece. These schools of Delos and Delphi positions and movements of the playing apparatus, ing of pieces, and the student will be saved much time of three, four or five to twelve: in which the simple psalms of penitence, etc., which have been preserved’ championed the cithara as against the flute in relig¬ confining ourselves to the action involved in the execu¬ and pains now spent in the correction of stiffness discoveries at Tello (Lagnsh, _ „_ _ tion of the more important technical figures. rudiments are learned and applied. Following this history of art. They have revealed the exist! the conclusion has been reached that they were either ious service. It is also an interesting fact that and angularity. Southern Babylonia, in about 3000 B. C., of an art so sung as alternate choruses or divided between the comes the mental growth, the unfolding of all the highly developed that one must suppose it to have been ythagoras and Plato ascribed to the harp and not to FINGEE ACTION. FREEDOM A FUNDAMENTAL CONDITION. precentor and the choir. Thus, fundamental art- intricacies of music and the development of a plastic preceded by centuries of civilization. the flute a civilizing power and moral worth. Nor is Beginning then with simple finger action, observe From this brief discussion of the positions, con¬ style of playing. § Esagila was a great temple erected at Babylon in forms of the Christian ritual, such as antiphonal • IS*if TrP acc*dent, f°r these noble spirits, believing that it mnst be characterized by the following proper¬ honor of Bel-Marduk. It was in pyramidal form, rising ditions and movements of the playing apparatus as Last of all is interpretation, that intangible some¬ singing and the response, can be traced back into the m the harmony of the spheres, were well-nigh in- ties : 1, The utmost “vivacity of lift and fail;” 2, seven stories. Kings vied with each other in the at¬ grayest antiquity. they affect technical practice, it will be seen that thing which combines all there is in the history, tempt to make this the largest and most beautiful shrine oxicated with Oriental wisdom. And so whenever Utter repose during the act of pressing down the key. Fbeedom is the fundamental condition of good technic in the world. we discover the harp through the mist of antiquity, science and biography of the art. This goes on The festival of the New Year was regarded as most Palace Music at Nineveh. The powers of the untrained hand are thus developed as of good touch. However the condition may mani¬ maturing year after year, until we arrive at the sacred. At this festival Bel entered the holy assembly we are reminded that all paths lead back to Babylon. in two directions: 1, Enhanced activity, and 2, en¬ fest itself, in simplicity of movement, in the exquisite room in order to fix the fates of men, especially Here is the primitive home of blended intellectuality place where we can see how a Bach, Beethoven and the king, for the coming venr This foaHvnl woo v When the high priests of the Mesopotamian culture hanced passivity. While the fingers develop the two¬ adaptation of means to end in elasticity of touch, Wagner can give their whole lives to music, and still, cities donned royal dignity, sacerdotal music became and spirituality; here music as an art first opposed fold power of sensitive action and complete relaxation, in beautiful tone quality, it is the source of all excel¬ the music of the people. the great emotions would be waiting for expression. 702 THE ETUDE certos is, from the standpoint of mechanical activity alone, extraordinarily large. Mozart had no love for 03 repetition and it was given to his genius always to THE ETUDE create something new for his performances. lisher’s large investment, and deserving of attention. Mozart as a Teacher, Player and Piano Composer Careless and indifferent to things in general, a OUR COMING AUDIENCE. end, "I got so confused on the program, lor I never characteristic that constantly brought him into hot knew when the first numoer ended.” With the con¬ In the library of the Paris Conservatoire the present By ANNA MORSCH water he was curiously particular about his music sent of the teachers, the pupil should never attend a writer examined hundreds of systems of exercises BY GERTRUDE GILLETTE BURNS. which have come and gone. Each one had some point From the German by Theodore Stearns and understood how to protect the theft of his manu¬ concert until the entire program has been studied. scripts prefectly. He possessed such an astounding The significance of the words Berceuse, Barcarolle, of excellence. Yet I was assured by an old professor memory that he wrote out only the orchestra parts in We have read for a long time in the musical novel Rhapsodie and the like should be explained, while the that the exercises used to-day were but little different of the highly-organized and soulful young being who in principle from those of one hundred years ago. earthly wants. Two years later death’s angel merci¬ his scores, playing his concertos from a figured bass, character of tile composition, the rhythm best suited His Concert Playing. The advance has been along the line of increased dif- ■ fully spared him the pain of witnessing the descending above which the principal themes only were indicated. comes for the hrst time into a concert. He sheds tears to its needs, and the form in which it is oftenest writ¬ ficulty and superiority of teaching methods. Les- Mozart’s great brilliancy as a virtuoso could not be star whose radiancy seemed to be set in a crown of There was thus no danger of his music being pur¬ of joy, emits sighs of despair and perforins all the ten throw new light and interest on the number. overshadowed or molested by the cares of teaching undying happiness and splendor. Only a year later loined. Figurations, passages, modulations, transitory emotional feats for which the music calls. He sits Almost every program offers examples for the study chetizky's great revolution of teaching methods de¬ and the dreary daily work to make both ends meet. the sun began to set, for while “Figaro’s Hochzeit” phrases, all were played from his never-failing memory. in a trance while the audience departs, and although of the different schools of music, polyphonic, classic, pended not upon the actual exercises themselves. The As a magnificent pianist he was appreciated by the met with stormy applause the long-hoped for position Mozart had promised the violinist, Regina Strina- he finally gets away with the help of the usher he romantic, realistic and national. elementary exercises he employs may be found in emperor, but unfortunately only as a pianist. failed to materialize and hunger, sickness, debts and sachi. a sonata for violin and piano in time for her continues to tremble with delight for some distance Let us lend to a composition any legitimate charm Herz's “Exercises” and similar publications, but his It was about this time that Clementi was hailed ill-luck generally drove Mozart back to giving lessons, concert at Vienna. It was not until the day before the up the street. which we may gather from the stories of the composers’ method of giving these exercises has proven wonder¬ The enjoyment which the student gets from the as the greatest pianist in the world; fresh fTom Paris, composing hack pieces and to ill-conducted and un- concert, however, that he sketched on paper the sonata lives and surroundings. That Beethoven said of the fully successful and herein exists the essence of the music which he hears does not depend so entirely Leschetizky Method. where he was fairly worshiped as a god, he came to business-like concert tours. which was all worked out in his head. He hastily four great notes upon which the first movement of the transcribed the violin part which Fraulein Strinasaclii upon temperament as we might suppose from this “The way of the innovator is hard.” He finds dif¬ Vienna. The emperor ordered the two great virtuosi A journey to Prague brought him two well filled C minor symphony is built, “So fate knocks at the concerts which were important for his further activity. must, perforce, practice alone, and the next night Mo¬ style of picture. Too often he comes inadequately ficulties at every step. The public is so certain that to appear before him in his palace in a trial of skill, door,” gives better than anything could an idea of the Then the following winter set in with all interest in zart accompanied her without rehearsal, a blank sheet equipped to understand or enjoy what has been pro¬ things are settled forever that “The Old German and he was privileged to witness Mozart’s brilliant relentless and inexorable character of the motive. We him and for his concerts at a stand-still, and the fickle of music paper before him on the piano rack. vided for him. In speaking of the education of a catch the breath of the morning in “Hark, Hark the Method” or the "Old Italian Method” have become the victory over his rival. enthusiasm of the Viennese luke-warm and effer¬ From his box Emperor Joseph remarked this extra¬ daughter, Iiuskin says: “Teach her to understand Lark 1” and we cover it with the all-embracing word, “sterling” marks upon teachers pretensions. The old Clementi was forced to declare himself utterly van¬ vescing. Of what use was it that with Gluck dead ordinary performance and ordered Mozart to show him more than she accomplishes,” and this is the right “Genius.” The impressionable youth prefers to account German method and the old Italian method, so called, quished. “Until then,” he wrote, “I never heard any¬ Mozart was now honored with the title of “Royal Im¬ the piano part. The music paper was brought and principle for all art-education. for its spontaneity and exuberance by the picture of the are parts of an evolution which has not ceased at this one play with such divine grace and expression. In perial Chamber Musician” (paying only 800 gulden, found to be covered with nothing but the lines divid¬ That pleasure may be had from the mere sense- near-sighted little Schubert scribbling away on the day. Time was when the Richardson “Piano In¬ turn I was amazed at an Adagio and more at his ex¬ where Gluck had drawn 2,000). ing off the empty measures. But these lines were so elements of music—rhythm and melody— is shown by back of his breakfast bill-of-fare after a long morning structor” was almost exclusively used in America. temporized variations of a theme which the emperor correctly spaced that afterwards when the part was the savage at his war-dance and the child beside the The Ebb-Tide. walk in the suburbs of Vienna. Then followed a wave of German methods, including gave us and which each of us played whilst the other written out every note of the accompaniment fitted in street organ. If we add to this tonal satisfaction, aD the famous “Stuttgart Method” of Lebert and Stark, The spring of 1789 found Mozart in Berlin where But let us beware of creating with these stories extemporized.” perfectly. appreciation of the symmetry of form, the ingenuity which was supposed to represent the ultimate limit in Duport and Reichardt (the Kapellemeister) intrigued a sensational or fictitious atmosphere or of allowing Mozart’s criticism, however, was not so favorable Most of his piano pieces of this period are incidental of figure treatment, and all that goes to make up the systems of pianoforte teaching. Since then so many against him, unsuccessfully, for the emperor, Friedrich the pupil to depend for his interest in the work on to his rival. He praised dementi’s execution, but compositions written for pupils, friends and for his intellectual side of music, our pleasure becomes en¬ “a pretty story”. methods have appeared which are so obviously superior Wilhelm, could not be turned from his appreciation of own concerts. A steady flow of variations, fantasies, joyment; but only when our feelings are refined and thought him mechanical and vyitliout taste. Ditters Mozart's genius. Absolute music is impressive enough to hold the in every way that these methods with all of their ex¬ fugues, sonatas for two and four hands, and concertos heightened by the emotional element, which we our¬ von Dittersdorf, the popular opera composer, claimed In the next year the coronation of Leopold II, as hearer without any aid from the imagination. cellent features have become “passe.” formed an uninterrupted stream that speaks thunder¬ selves must add, does music rise to its highest in us. that, “In dementi’s playing, art only predominates; German Kmperor, at Frankfort, drew Mozart irresist¬ For the many who have access to orchestral concerts, That sense of the practical, which is the first trait ously for his creative ability when one considers that The study of nature, literature, and the other arts in Mozart’s, both art and taste.” ibly into undertaking another concert tour to that city. an insight into the mechanism of the individual in¬ of the American usually noticed by Europeans, is find¬ besides all these he wrote his symphonies, chamber enriches the mind and fosters esthetic feeling; but In spite of all this royal honor Mozart was offered Recurring failures, disappointments, and ill-luck struments, their different tone-colors and the varying ing its way into our musical educational work. It is music and, above all, his immortal operas. for the musician these must have a groundwork of no suitable position, one worthy his great talents. As generally which had attended his money-making ways in which the masters have used these to get the said that a good teacher should have six senses—the Never satisfied with a perfectly legitimate self¬ is well known, he remained in Vienna until 1787 with¬ schemes had well-nigh rendered his domestic conditions theoretical knowledge and systematic training upon effects they wished, are all essential to high apprecia¬ sixth being horse sense. That faculty of seeing at a plagiarism he was constantly alert and seeking new out the pecuniary recognition which his genius de¬ desperate, and the few remaining jewels, by which he which to rest. As a beginning for this foundation tion. These details should be learned and then for¬ glance the main features of the new method and the ways and means of expression, whether the composi¬ served. At times, it is true, his concerts were gener¬ had been so royally decorated, must be pawned to pay such an intimate and reliable relationship must be gotten, for the orchestra should be regarded as one best means of applying these features profitably has tion at hand was a little one or a great. In his free ously attended and richly productive from a worldly the first expenses of the trip; but what of that 1 established between eye and ear, that the pupil is great marvelous voice. made the American teacher successful in all branches fantasies on the -concert stage he frequently adopted point of view. Thus he writes of one appearance: Mozart argued that the omnipotency of music must enabled, by looking at the printed page, to realize how If we could but persuade the mass of pupils to re¬ of learning on both sides of the Atlantic. Many Eu¬ the variation form ; he used simple, homely melodies ‘‘The theater was very full and I was received in such and would rise over all difficulties and what more fit¬ the music should sound, and vice versa, to reproduce place the thought of being artists with the desire to ropean centres now have successful American teachers and popular folksongs and clothed them with the prod¬ a splendid manner that it was a real pleasure to me. I ting occasion than at the coronation of an emperor. on paper at least the rhythm and melody of what he become intelligent listeners, they would thus, increase who vie with the phenomenally fortunate young men igal magic of his modulations, rhythms and brilliant was called back and had to repeat the Eondo (from Alas, for the sanguineness of genius 1 He could their capacity for happiness and incidentally enhance who practice dentistry abroad. One of the principal technic. Nearly all of his contemporaneous com¬ a newly composed piano concerto)—it was a genuine scarcely obtain permission in the over-crowded city Just this is being attempted by what we call “Music reasons why these American musicians have- been so petitors—Wanhal. Kirmair, Gelineck, Steibelt. Ilerz the value of their performance. cloudburst.” to rent a hall or secure an orchestra, and while roaring in Public Schools,” but in order to find out what the successful is that they are not bound by tradition and and others, who attempted to ape his methods, vanished By this introduction Mozart paved the way for a thousands spent gold and silver for viewpoints from practical result of this has been up to this time, we do not look upon a music method as immutable. They as quickly as their works did from the music racks grand concert which was a veritable triumph. The which to see the emperor and his train, only a scat¬ have only to talk with some choir-master of our ac¬ employ every legitimate means to advance a pupil ir¬ emperor, with his court, was present, and was demon¬ of the players. tered few applauded the young master’s heavenly con¬ quaintance. He recruits his singers from the ranks THE INSTABILITY OF METHODS OF TEACH¬ respective of whether it is the dictum of some distin¬ strative in his outspoken praise. Cramer’s Magazin Taking the outline prescribed by Domenico Scar¬ cert that was all but drowned by the braying huzzas of those whose eyes and ears have been trained in ING MUSIC. guished master or not. They are ever willing to ex¬ fur Mvsik contained this criticism: “To-day the latti and the brothers Philipp Emanuel and Johann in the surrounding streets. the public schools. He will rail out that they know change new ideas for old and at the same time have famous Herr Chevalier Mozart gave a concert in the “My darling little wife of my heart,” wrote Mo¬ Christian Bach, Mozart took up the accepted sonata nothing of intervals and absolutely nothing of rhythm. National Theater, on which occasion a number of his form with a loving hand, conscious of its particular BY JAMES FRANCIS COOKE. sufficient good judgment—“horse sense”—to avoid any zart, still undismayed ; “to-day at 11 o’clock my con¬ The promoters of this system urge as one reason pseudo-scientific pitfalls. most popular compositions were produced. The con¬ cert occurred which brought me honor but no money duty towards art. But how wondrously he trans¬ for this partial failure, lack of sufficient time to give We should learn to look upon changes in musical cert was unusually honored by a crowded audience ... I was so delighted and in such good spirits formed it. From the polite, staid, conventional awk¬ to the work, and we who understand how very long “It was clearer than crystal to the lords of the methods as a natural part of the growth of our art— and two new concertos, played by Herr Mozart, won that we expect to give another concert Sunday.” More wardness of that period it emerged from his hands, like this particular branch of art is, should be the first to state—that things in general were settled forever.” and not as uncomfortable conditions which demand heavy applause. Our Monarch and the entire public touching and resigned is a second letter to his wife: a released bird fluttering with the joy and happiness concede this. —A Tale of Two Cities. extra study, thought and industry. A fixed method is were signally so enthusiastic that one knows not of “I will work, work so that I shall not again get my¬ of life, color and beauty. His second themes in the But the individual teacher should see to it that Dickens’ gentle irony could find no more pertinent such an example before.” liable to be dangerously inelastic. The laws of musical self into such a fatal scrape ... If the people were principal sections are not only independent but are in no sins of this kind can be laid at his door. A larger application than to the many methods of teaching It was, however, reserved for another triumph to theory have been broken at every step. Our law able to see into my heart I would be filled with characteristic contrast. He laid much stress on their proportion of the time spent with the pupil should be music. Few realize that the various systems that fulfil Mozart's greatest longings, which was to con¬ breakers have been our Bachs, our Beethovens, our shame for it is all cold—ice cold.” This was our melodious, singing quality, and he understood the art given to the cultivation of the ear, since it is in itself appear and disappear are simply part of the great for¬ vince his father of his fame and success as an inde¬ of “spinning” them out with a wealth of subordinate Wagners and our Brahms. There is no inertia in our artist’s last flight into the world, his last vanishing a source of pleasure and is the channel through which ward progress in Art, which is natural and self-evident pendent bread winner and a self-supporting artist, melodies so perfectly interwoven that each note seems art, and its evolution is as beautifully progressive as dream of fortune. the mind is reached. to the experienced. It is interesting to note the con¬ qualities which the elder Mozart, with an old man’s to beckon the other onward. To this is added that that of the great cosmic advance. Yet we hear once more of him as a practicing artist. An insight into musical form is a prime essential tinual changes and improvements that are being con¬ secret misgivings, had long questioned in his son’s This was in a concert arranged by Joseph Beer, the wonderful symmetry and easy simplicity which so in mental musical training. stantly made in the very midst of so many methods character. Of the “boy wonder” he had been con¬ Imperial Russian chamber musician, for which Mo¬ noticeably marks all of Mozart’s work. The study of simple poems which correspond ex¬ which were and are still considered immutable by their fident, but the disheartening battles of manhood ho zart composed still another piano concerto. . The His piano concertos may be regarded as almost actly to the compositions under analysis will prove admirers. The tenacity with which many of our edu¬ PRACTICING IN THE DARK. had, for some time, viewed with sorrow and mistrust. Wiener Zeitung of March 12, 1791, said: -“Mozart new creations, and at once stamp Mozart as the peer the most natural introduction to this branch of the cational workers hold to some time-worn method under His visit occurred in the height of the concert season played a new concerto—his execution, his composition of piano composers. The piano part, in spite of its work. The youngest pupil will readily grasp the the delusion that they are thereby “conservative,” By Maggie W. Ross. and found Mozart surrounded by a populace who, aroused our wonder.” This brief notice is the last great charm and expression was not reckoned for it¬ likeness between the line and the phrase, the stanza borders on the ludicrous. A new method appears and hailed him not only as the first virtuoso of the world, one published concerning the artist’s virtuosity, mar¬ self alone as Mozart conceived it, nor for the selfish and the complete period. He will observe and mark it meets with cries of holy horror by the elect. “Why Did you ever suggest to your pupils the plan of but also as the greatest of all creative masters. Joseph velous to the last. It sounded the tragic knell to the purpose of merely showing off the virtuoso, but rather off with the utmost nicety the contrasting themes of should we have anything new when our own method practicing in the dark? You would be surprised how Haydn said to Mozart, the elder: one-time deified wonder-child and the transfigured ns a factor in the general effect, to which was linked the three-part song or rondo which furnishes his first is the very last word.” There is an idea that to much it will help to make sure the fingers, and over¬ “I declare to you, before God, as an honorable man, revelation of the finished master. the orchestra as an independent body with all its sub¬ “piece.” Then he will listen for like divisions in the change is to vacillate. come the bad habit of watching the hand. Because that your son is the greatest composer I know. He What a long list of discouraging life battles be¬ limity of tone color. Each instrument in the orchestra they have no sight and must cultivate the sense of has taste, and over and above that, the greatest under¬ tween the little boy, the youth and the young man, who was regarded by him as a single, soulful voice singing studies of his fellow-students and will unconsciously A more palpable error could not be. As the standing for composition.” stepped forth in the world so bravely—who scattered Its own song, uttering its own thought while still but and naturally learn phrasing. If his attention is methods of musical composition change—as change feeling, the blind are peculiarly sensitive in touch. Old Leopold straightway wrote to his daughter: such a sunny wealth of melody over the land which a part of the perfect whole. called to the musical figure in the first of his sonatina, they must or suffer monotony, so must the methods of The average piano student can profit by this “Wolfgang gave- a new piano concerto upon which he will look eagerly for its reappearance and note in¬ musical instruction change. It cannot hope or expect knowledge, and help himself more than he realizes by bore him down and back into darkness 1 His understanding of the various values of light “he copyist was still working the night before the telligently the various ways in which the composer has stability. We must he accustomed to look for new a few minutes of nightly practice without the aid of Haydn, then an old, old man, wept feebly over the and shade—of the little, finer ramifications of the en¬ concert. Your brother had not even time to play over ideas with every revolution of the printing press. artificial light. untimely decease of the struggling genius. “Mo¬ tire scheme is inimitable, and never do his contrapun- the Rondo before be appeared on the stage. The con¬ As the work advances and the pupil’s mind develops, Try going to the piano “when the lights are low” zart’s playing” he said, “will never be forgotten by a devices pass beyond or even disturb the soft, grace¬ There are in fart no fixed stars to guide the musician certo is in D minor.” me, because it touched my heart.” ful beauty line of perfect taste. In this manner the he is introduced to the great sonata forms. He grasps over the ocean of experience. It is true that with all or not at all, and run over the scales in consecutive Again, the father sat near the royal box, saw the the ideas of contrast in tempo and character of the of the many new publications there is very little in¬ order. Then play the arpeggios and running chords emperor wave his hand and cry, “Bravo. Mozart!” As a Piano Composer. orchestral voices are matchlessly woven about the piano Part. When one thinks of Mozart himself, sit- different movements, which is the essence of form, and deed really and entirely new. The substance is in of the dominant seventh and diminished fifth. Then and saw diplomats and princes swayed with uncon¬ Let us glance at the piano compositions, especially endeavors to fit his mood for the perception of these. most cases the same. The improvement lies along the let yourself go on the pieces you have memorized. You trollable enthusiasm by his son’s mature genius. He mg at the piano, imbued with the enthusiasm he pos¬ those composed during the Vienna period, the richest It is not an extreme case to see an “advanced” pupil line of better classification, of clearer exposition and will find yourself musically awakened, for you can oaw all this and parted from his son feeling that at sessed for his work, for his art and its sacred mission and most productive creative years of Mozart’s life. look at a recital program beginning for instance—Son¬ superior gradation. Sometimes the advent of a great hear better when you are not distracted by what you last his boy was at the summit and secure from all The number of his piano works, particularly his con¬ in this world, is it any wonder that he could sway multitudes with the magic of his personality? ata—Allegro—Andante—Scherzo—Allegro ma non technician, such as Franz Liszt, will demand a revolu¬ see, and your touch will become more firm and sure troppo—in hopeless bewilderment. If the soloist cares tion of the methods of technical training, but the main and your dependence on printed notes will gradually so little for the applause of the initiated that he does facts remain the same. grow less. Encourage your pupils who persist in bob¬ not rise and bow at the end of the entire number, as However, the teacher can not afford to neglect in¬ bing the head up and down in looking from page to is sometimes the case, the pupil remains groping in the vestigating new methods, as each succeeding one has key-board to adopt this simple and interesting method dark thorugh the entire recital, and confesses at the some feature which must make it worthy of the pub¬ of practice. It will help them. 705 704 THE ETUDE THE ETUDE menta in scant time for the train, he directed a porter subjects treated during that time, for the pupils have WHAT IS GOOD TASTE IN MUSIC ? sound. In explanation it can be said that the first to take his luggage forward to that part of the train program music was music set to a program of events, the information at hand. The students will gradually where he had espied some of bis players. “Beg grow from the point where biography is as high as BY BELLE SQUIBB. that notes, telling what was in the composer’s mind pardon sir," replied the zealous railway servant, when he wrote that particular music, were given to they can reach, to subjects in the range of aesthetics, “there is a’ crowd of bandsmen in that part of the and in the province of the better essayists. With the listeners, that they might interpret the various train sir; I wouldn’t go there.” Just then two of It may not lie amiss to offer a few words on a hursts of sound. For want of a better name it was younger pupils, the methods frequently outlined for the bandsmen passed w-ith a cheery “Gaul morning. their progress and enjoyment iriiiy. be. tried, but the subject that often puzzles the initiated, as well as the ■called program music, and the name has been applied, gir _n to their conductor. Considerably uninitiated in musical matters. As nearly every inno¬ older ones should be encouraged to tchd and think for .unfortunately, to all music in which imagination plays abashed, the porter hurriedly caught up the luggage, vation in the art was first considered an offence any part. themselves, for a disagreement with the statement of a saying apologetically; “Beg pardon, sir; I didn’t writer is generally more of a sign Of mental awaken¬ against good taBte, it is not surprising that there Not understanding the principles which underlie know that you teas one of them!” ing than is a slavish acceptance of his opinions/’— should still be confusion on the subject. those works of art called alternately “tone poems” Everyone knows how the foreigner is welcomed in W. F. Gates. or “tone pictures,” there was a deluge of inartistic To take songs first. Music from its very nature, England, and many have experienced his good fellow¬ Mr. Gates’ suggestions are excellent. The custom music by composers who knew something of musical should be used only to express exalted ideas or at least, ship and his social proclivities. One such, a merry CONDUCTED BY N, J, COREY of holding class recitals is one that is gaining ground composition, but were deficient in their knowledge of ideas that are fanciful or poetical, but most of the talkative fellow, was never tired of spinning yarns every year. It prepares and trains pupils for more popular songs of the day are flagrant violations of this art, its limitations and its ideals. They grasped eager¬ to his English companions in, as he thought, the Hadow; “Chopin and Other Musical Essays,” H. T. pretentious appearances later. A similar class in rule. Humor, if it is of the right kind, is legitimate per¬ ly at what seemed the chance to distinguish themselves Musical Reading. English tongue. Now, as his knowledge of our many conservatories is called the Concert Training haps, for a certain style of songs; but songs that tell in the new field of program music, and the result was “In a recent number of The Etude was a request language was extremely limited and was correspond¬ The article on memorizing in the July Round Class. All teachers do not possess ideal studios in some commonplace or harrowing story in commonplace a deluge of “battles,” “silvery thistles,” “waves of for a course in musical reading. Sucli a course would ingly inaccurate, it may be surmised that this did not Table is not absolutely clear apparently, as the follow¬ which to conduct such classes, but have to make the or worse than commonplace la.ijuage, such songs sin the ocean,” “dying poets,” “showers of roses,” “pearls” be a great help to teachers and pupils living at a carry him far. It followed therefore that, as his ing letter would indicate: best of such room as they may have in their homes. against the laws not only of music, but of poetry as or “blossoms,” that are very bad taste in music as an distance from the large cities. An elementary course eloquence gathered strength, first a word or two of “In the July Etude is an article on How to Sometimes certain of their pupils have homes with well. The literary value of a song should at least art. To make the bass roar for thunder and the Italian, then phrase after phrase would take the for country readers is very much needed, beginning treble shriek for lightning to imitate a storm, was one Memorize Music. I would like to be able to analyse the large double parlors which they will occasionally allow be taken into consideration. It is safe to say that place of the broken English, until, with plentiful with fundamental principles. Of course the high many of the popular songs, with lurid covers, are in of the tricks of these composers. grade musicians need no advice, but those living at a schedule of numbers correctly. Do you mean to divide their teacher to make use of, although this may make gesticulation, he would be pouring out an unbroken the music into sections, say 1, 2, 3, 4, 5, and 1, 3, the occasiou seem more pretentious than is desirable. decidedly poor taste. The music that accompanies Such devices are all right as accessoijes to the distance from conservatories and colleges of music stream of his native tongue to the huge delight of his 4, 5, G, 7, 8,-1, 4, 5, etc.? Do you mean so many Not every teacher can have so comfortable and com¬ these poetic effusions is usually on a par with the drama and grand opera, but are out of place in piano need to be told how to do things.” English auditors, whose shrieks of laughter he in¬ measures in a section of so many numbers governed modious a studio as E. E. Slemons, who writes the words, nnd as weak and trivial as it is possible for music, at least. A “mountain stream” or a “storm” I received the foregoing letter some little time ago, variably took as a compliment to his powers as a by the length and grade of the music? Also why do Round Table as follows in regard to it: piece that goes into details is like a Bertha M. Clay narrator, having apparently no suspicion that he had and will now make a few suggestions. It is not so very many years since books on musical topics that you begin at the end and work backwards? Have “My studio, when the folding doors arc opened into As music is above the region of morals, and is novel that depends for its effectiveness upon cheap, not made himself perfectly clear. So they would urge were worth reading were comparatively scarce. But I analyzed this correctly? I like this very much, but the large room back of it, has a seating capacity of therefore neither moral nor immoral, it is Impossible melo-dramatic situations. A true artist in colors will him to tell tale after tale— knowing just suf¬ now that is all changed. The number of books on want to understand it well.” two hundred. I have a portable stage large enough for it to express anything low or degrading. Of in¬ choose artistic subjects for his paintings; an artist ficient of his favorite stories to suggest a start¬ music is increasing so rapidly that it is impossible I have another letter expressing confusion in regard for two pianos, and then have plenty of room left. strumental music, the worst that can be said is that in drama will choose artistic situations for his play; ing point—to the uproarious entei tainment of all to keep pace with them. It has come to be simply a to the numbering in this same article. I can only an¬ Through the winter season my class average is twenty it is trivial from an artistic standpoint, or bad from an artist in literature will know what to pick and new acquaintances who were let into the secret. question of the survival of the fittest. We are even swer as I understand it, as I did not write the article. pupils, all taking two lessons a week and the fore¬ a theoretical one. Apart from words it cannot be bad what to reject to make his creation a work of art; A young fiddle “deputy” got on so badly when beginning to need lists of the “best one hundred” It states, however, that the composition may be divided going studio arrangement gives them fine opportunity in an immoral or impure sense. It is in bad taste so the artist in tones will choose appropriate subjects sent to a theatre that he rather shamefacedly ap¬ for his expression. The composers of these inartistic books on music, although attempts at such lists would into short arbitrary sections as suits the player’s for practice.” only when it falls below a certain standard of exeel- proached the conductor after the performance and pieces did not understand the principles of poetic no doubt result as variously as did the attempt to convenience. These sections are marked 1, 2, 3, etc., A teacher does not need to be discouraged, however, asked if he should continue to come for the four nights music, and in their ignorance, they offered to the make a list of the best “one hundred books” of beginning at the last one and numbering them back¬ with less suitable accommodations, for the main thing for which he had been engaged by the principal. “Oh, When it is remembered how many of our great world compositions that are poetic music no more than standard literature. wards. It then says practice section 1, then section 2; is letting the pupils play for one another, and this yes, my lad,” said the conductor kindly, “come on; geniuses suffered from lack of publishers wise enough a doggerel is a poem. For a single season’s work an elementary course then sections 1 and 3; then 1 and 4, and so on. Next can easily be brought about in a single room, and but,” he added as if struck by an after-thought, "I to take their works; that some of them suffered actual in musical reading should consist of a limited number practice sections 2 and 3; then 2 and 4, and so on. that frequently, leaving the more pretentious occasions Every student of rhetoric knows how much stress w-ould not bring my fiddle!” starvation, and were hurried from this unappreciative of books, and those should be thoroughly understood Then practice section 3 with preceding sections in when parents and friends are invited to the times is laid upon originality, either in thought or expres¬ Excessive indulgence in liquors other than teetotal world, simply because they could not sell their im¬ and mastered. A second year might be devoted to same manner, and so on through them all. The when larger quarters can be secured sion. You can remember, no doubt, how your most sometimes causes the offender to figure in irresistibly mortal tone productions, or at best could get only a more advanced works along the same or similar lines. numbers are only used as a convenient means of Conducting classes like the foregoing will help cherished productions were scored and underlined with comie situations. Undoubtedly, intemperance is trifle for them, it is to be deplored that so many im¬ The course may be selected from four departments; identifying the sections that yon have decided to mark toward the attainment of the ends which M. Fulton the blue pencil, a phrase here labelled trite, one there, far rarer now than in bygone days, yet occasionally mature and blundering writers can to-day get their Theory, History, Biography, Aesthetics or Criticism. off. I know no reason why you should not begin at writes of in the following article : hackneyed, another commonplace. If imitation is the a more than usually susceptible or artistic soul will stuff printed. Never having mastered anything more For the first season Elson’s “Theory of Music” will the beginning and work forward if you prefer. The than the bare rudiments of musical composition, sincerest form of flattery in other things, in litera¬ prove to be an embarrassingly irresponsible person. Raising the Standard of Taste. be found most excellent, and it may be supplemented writer’s reason for recommending the consecutive these writers rush into print. It is as if the com¬ ture, you learned, it is a sin against good taste, while Thus a flute player one night reached his theatre in a plagiarism is a moral crime. by “Theory of Interpretation,” by A. J. Goodrich. practicing of phrases that do not belong together, may “Considerable discussion among musicians is being positions of our school days, with all their platitudes more or less “soaked” condition; in spite of which he As a fundamental basis for a course of historical be an attempt to help students to learn to be able to carried on all over the country in regard to raising and immaturity, should be considered literature, and- took his seat in the orchestra, and as he showed a great class of inartistic music, the mere tinkling pieces wit! reading, there is nothing superior to Baltzell’s “His¬ begin playing at any point in a piece. You know it the public standard of music, especially that of the thrust in essay form upon an already overburdened tendency to doze it was thought he would be quite pretty names, the various battle pieces, ocean waves tory of Music.” It is a copious and well illustrated is a very common fault with pupils, that if they stop young student-teacher, but if one should go into the and unhappy world. unobtrusive; so no one interfered with him. Soon golden rains and many of the variations on well compendium of the main facts in the musical progress anywhere during the course of a piece, they are communities where the most talking is being done, he was comfortably asleep, and for a time all went Then there are composers, who, having no original¬ known songs. They are hackneyed, commonplace of the world. Each chapter should be studied until obliged to go back to the beginning and get a fresh we would not find, in most cases, the things being well; but suddenly this harmless flutist, smitten with ity themselves, nor any call to the profession, openly display no originality of style or thought. Not onl all the questions can be answered. Nothing is gained start before they can continue. The foregoing practice done that are productive of the best results. We a hazy idea that he ought to be doing something, pilfer from other composers, stealing not,only their have these composers imitated the thought and sty! from reading unless the reader’s mind is enriched might teach them how to take up the thread at any cannot reform other people’s ideals by continually raised the flute to his lips and played the scale of C ideas thinly disguised in another key, perhaps, but of better writers, but they have tried to imitate th thereby. To be truly profitable there should be a place. bewailing the fact that we are not appreciated, nor major f f with astonishing vigor and accuracy. sometimes outright, trusting to the general ignorance of sounds of Nature, and have shown no discriminatioi combination of reading and study. There is too much Teachers will take pleasure in reading the following by affecting a very superior air when in the presence the public for freedom from detection. In literature, in the subjects they have chosen, and little taste i Merely glancing down, the conductor said laconically, reading in which the common aim seems to be to get article on of those who may know less than we. But by organ¬ such a theft would be noted and condemned; in music their methods of treatment. It cannot be too strongl “Take away his flute.” So they gently deprived him as quickly as possible from the beginning to the end Class Recital Suggestions: izing music ciubs, and arranging recitals of good of his instrument and he contentedly dozed again. it is often passed over without a protest. As an in¬ asserted that the composer who enters the field o of a chapter, and in some manner to the end of the “As the new year of teaching opens many a teacher music, well within the understanding of the average An excellent wind instrumentalist similarly erratic stance, there is a barbarous piece of so-called “pro¬ poetic music, must know more than the science o book. If one does not succeed in adding to one’s store will be laying his plans for the betterment of his person, in our own towns or those near by, we will in habits was at last, after repeated warnings, dis¬ gram music” entitled “The - Flood.” The composition. He must be an artist as well of knowledge, it would be just as well not to read at pupils, and of his own standing in the eyes of the gradually but surely help to bring about the desired charged by his conductor and another player was en¬ text is liberally supplied w-ith notes to show the all, except it might be that which one does for mere public. This is most wise, as the campaigns that are results. At least it would be a start1 in the right gaged. On the first night of the new player’s appear¬ progress of the flood. When the composer was musi¬ amusement. There are many books suggested in conducted without design and which are left to the direction, and nearly all of life’s progress has to begin ance, at the end of a long and important solo which cally describing the preliminary scenes, he used, as Baltzell’s History for collateral reading, although accident of the moment are very liable to result in in a small way. far as I could tell, his own poverty stricken idea's; HUMORS OF ORCHESTRAL LIFE. he had to play, a high pitched voice from the stalls many of them are too advanced for elementary readers, “We may also accomplish a great deal through our but to suggest the scene of death and horror when the exclaimed emphatically, “Not a bit like it; not a and would better be left for the second year’s course. “Among the features which every teacher should pupils, hut we cannot do it by giving large doses’ of flood had done its worst, he inserted bodily, with no little bit like it!” And, to the intense amusement of Even before Dr. Richard Strauss showed that tl Biographical works will be found more entertaining plan to incorporate in his work is that of the class Bach or Beethoven to a young child whose mind apologies to the original owner, a little minor rondo the orchestra, the dismissed player was discovered in orchestra could be made systematically ridiculous ai the first year, and will prepare the mind for more recital. There is far too much made of the public longs for a stirring march or a dreamy lullaby with from one of Mozart’s early piano sonatas. How he the front row, got up for the occasion, and from that without taking into account the gentle fun of Hayd advanced reading later. Therefore the following may recital, and not enough stress given to the frequent a ‘tune’ within his grasp; or to an older one who escaped detection, or how he ever induced a pub¬ vantage point severely and audibly criticising the the more incisive if less matured “fakes” be recommended: “The Great Musicians” series in class recital. The public recital is good but for two’ really craves ‘The Maiden’s Pl-ayer,’ or variations of lisher to print such stuff, is one of the mysteries of performance of his successor. fourteen volumes, being biographies of Bach, things, to create a sensational and feverish interest ‘Home Sweet Home;’ only by tact and • diplomacy, the world. Think of putting in a Mozart rondo to Beethoven or the subtle points of humorous orche The case of an oboeist who deputized for one Beethoven, Cherubini, English Church Composers. in the minds of the pupils, and to advertise the mixed with a large amount of patience, can we bring suggest the scene of woe that followed that terrible tration often so happily manifested in Sullivan operatic work, and the like, it may reasonably be su ot our best known players was a singularly hard one. Handel, Haydn, Mendelssohn. Mozart, Purcell, teacher. It does not work for the best interest of either the pupils or parents to appreciate anything disaster! And think of daring to depict such a The performance was one of a series of daily concerts scene in music! posed that orchestral musicians were not left pinii Rossini, Schubert, Schumann, Wagner and Weber. the student. But the class, or semi-private recital is of a higher nature. As soon as a child can read for lack of mirth-provoking incidents, judging by tl at which high class music ruled and where much These may be purchased for the small sum of one of a different sort. For it, there need be no departure notes fairly well, give him bright, pretty pieces, With This brings us up to another class of offenders many laughable occurrences that one can think of manuscript copy of special arrangement was used. It dollar each. If this makes a more burdensome ex¬ from the regular and solid curriculum that every easily understood melodies, something the average against good taste. In the last century or so, a new can remember to liave heard about. was one of these unknown parts that the deputy on pense than the student wishes to assume, the follow¬ teacher is supposed to maintain. The time of the parent will enjoy after a hard day’s work. Children element has come into music, a direct product of that It happened that a bassoon player (who was sor turning the leaf found himself unexpectedly con¬ ing most excellent biographies, being the “Life and pupils is not taken Up with ‘show-pieces.’ They are and parents interested, the first step in progress is Romanticism which has swept everything before it. degrees removed from a virtuoso on his instrumen fronted with a formidable cadenza practically cover¬ Works of Handel,” Haydn, Weber, Beethoven, Men¬ not made nervous by being suddenly thrust before the taken. There are plenty of good, melodious, easy It is to be doubted if even Beethoven, himself one of was taking a bass player to task for being o ing the whole page. Here indeed was an unenviable delssohn, Chopin, Liszt, Wagner and Mozart, by footlights. Yet they may acquire confidence and self- pieces written for children, so that even the young the greatest, if not the greatest exponent of the new of the orchestra so much during a miscellaneo position : a long and difficult cadenza to read at sight Edward Francis, may be purchased of the publisher control, and much more surely. teacher may not be at a loss for material. Do not force in music, realized the full significance of this concert, and he went on to say that some amate at a public performance. I„ desperation he attacked of The Etude for thirty-five cents each, or in box “Another feature about the class recital is what may give the heavy classics too soon; be content to teach great movement, the products of which have all members of the orchestra had been making open coi H eJl>S a?

707 THE ETUDE r THE ETUDE 706 lost in the dull level of uninspired grind. So much and a few hardly learned pieces represent the musical • * inevitable under the law of shrinkage. entertainment possible. The present writer "as e Our ideals and the enthusiasm they inspire in us to this reflection by looking back over the record o bold us up to the high mark which alone is worthy a numoernumber orof young women wuowho played piano, married,—— . ti„, educator, wmenwhich everyeveiy teachertcatuu* should set beforeuciure POSTILLON and withvitli the coming of family cares, dropped theirt ieir keep us from discouragement when the dull days music.isic. Theine little boy,ooy, thetne littlemue gmgirl mightuugut ask -mamma help usug totQ maintainmaintain a broad look upon life, iitsls A MONTHL JOURNAL FOR THE MUSICIAN. T play a piece, but mamma, acknowledging the its duties, upon our work and its opportunities; from “MAGIC LANTERN’' MUSIC STUDENT, AND ALL MUSIC LOVERS. ability of unaccustomed fingers to do what the eye Is to keep away the dreariness of a fossilizing old iscriptton. $1.50 recognized or the memory recalled, had to own tha instead always to keep our hearts and spirits At galop,at galop, lat the little ones asked, To horse, postillion, of the many that could be called To the road,to the road! Postillion, away! The morning breeze is fresh and fragrant. The sun shines o’er the sweet-scented1 fields. Mount your steed Not a moment to linger, And crack the whip ! Bear me onward to her, The joyous birds sing in the tree tops. Faster, still faster, to my own sweet’love. 'English by W.

.orttoTnlo impatiently of those who subtle emotional or poet- HHifz,sr!i itions; Godard once pre- Symphony” to a circle of f the great cathedrals they

le slyly admitted that he

cultivate their appreem^tion^0^ music ^as listeners^ there must be a melody that endures for more than a He can then attempt to reproduce the intellectual. c^ompo- or^two^to s^ttrset and^hold^tbe^average lay- esthatic and emotional .xpertaam. ot ft. «mp6a

goes^ right to the heart of present difficulties, for it ^inthSymphony0 stays^ wdHi^he''one6 who ^e^tlloypn.® ^ says to Alice, “Take care of the sense and the

trouhle of knittina their instruction intrf n close re- ^ tl,e music education of the day becoming too re- It is true Hint”in n _a

respectable musical composition there is thought, an emotion for which the music vehicle. The sound is simply the med sense. The composer is trying to say t ot depends

It is e **oe-interpretation, but the great trouble is that wh per~ormers think their work is completed do th they hf" e ,Pt IO°Se the torrpnt of sounds. What a s°unds tones—mean ? should be the question. 'Vhat is the composer saying? In the for the emotional idea that the compo< o present is found the ultimate studv of to which one should strive to come as quickly I

THE ETUDE 709

fpF j: ^ ^ PS pfe ■ TJ 8- S' 5- »•- ppp ppp

iJ'r^ fil =pJ =pj =fcpd ^ 1 J): THE ETUDE 711 710 the etude

Joy Of The Hunt WAYSIDE FLOWERS

The sound of the hunting horn awakens the hunter from his revery.and he thirts for the pleasures of the chase. From different quarters of the forest he hears the resound^ ing chorus, of the hunters horns,and he longs to be with them, a) This horn motive very full, free, bounding and but -- nspiring. b) The changes of harmony in the accompani¬ are superfluous to the rhythm, and good rhythmic play - ment very clear,but crisp and in good time, c) The pedal ers will at first be disturbed by them. no longer than marked by the pedal line.This F might be taken by the tone-sustaining pedal and held all

m k 1 ^—f-i*-

\ ==— tri!!P f7r'n■ f ffff „„r

5 a tempo 3 1 5, 4 3 4 5 3 4 1 4 1 — | I k. 1 1 13t 132123 —J J j) IJ j- TT

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j u fp-ttep- rffffft f" "i mfT’l \ i r r

L—1 L-U-'tw A 3 1 3 5 4 3 2 1 • ^4 3

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5 4 3 poco rit. 5 » Ji 1 2 1 3 4 3 1 #■ 4— flit1 jV—£ i \*7 •*/ 1 j—*—« — —i-:—

__ - -JPP rit \ 'S»- __ J _ -9-

^“i 3 ~ CXU^ LaJ~1 000 7 * THE ETUDE 713 712 THE ET|JDE

HUNGARIAN DANCE No.2 JOH. BRAHMS HUNGARIAN DANCE No.2 SECONDO Allegro non assai M M. J= 104-112 5 3

V) poco sost. * r it. dim. -ny-1 |' ;::r- —1-- = ~~T-- U« § mz==i i U—=Jl

last time to Coda THE ETUDE 715

PRIMO

Vivo M M J= 120 THE ETUDE 717 716 THE ETUDE II

SERENADE D AMOUR

FRAN7 VOX BLON

* ! THE ETUDE 719 718 THE ETUDE

IN THE SMITHY IN DER SCHMIDE

EDMUND PARLOW

I

a 3 ^ 721 720 THE ETUDE THE ETUDE

VISION _r Rut, not alone,-one after the other. In the next room my friend is playing Schumann’s “Vision.’' It And there it is sure fnrtwrora -behind the trees,and on each of the little steeds dash f gauze. But so tiny, so very tiny. SOLDIERS’ MARCH seems to have made its appeal; for he repeats it several times. them a Wy. woman flu ering ^ r5ght in Strange how the little piece takes on definite Shape to me. • I lie back on the.lounge in the corner and listen. And lol there is the The one with the silver bel , ^ uttle crown binds her veil HUGO BERGTHAL.Op.il, No.2 •Vision’.’ front ofme ^wThear no more bells, but all about me,always Deep in the heart of the wood I am lying on the soft sward,awood to her head. NowUiear; m and the,robes flut. like the one Bdcklin saw when he painted his“Silence'.’Fine grass, In lively March t ime m.m. 120^. 4 -2^-- delicate as moss,covers the spot,rounded like a circle,inthemidst of the clearing. The old women in the village say that the witch¬ ’X?,?rWth. poe. W.. ,.g«: h.r. es dance there _ that is why the place is perfectly round. The village teacher tells the children that a kiln once stood here , 7a. where they used to burn charcoal. My friend the poet says that / >- > > y > > > > : the fairies dance here when the moon is full. fairies. lt ls qui p^ | aJr*)Stangely, mysteriously the tune I'agree with my friend,the poet. A green shimmer, a blending feVems to fIv thro^h the afr at the beat of the hoofs,again and of golden sun,rays and of shining leaves trembles all about me, seems to t ug „ go clearly that I could almost count the as I think of the fairies. Dreamily I gaze into the thicketof inter¬ ShellsIn the rein of the fair/ queen,if there were not quite 5 lacing branches. What if the Fairy Queen should chance to come. I am Almost too tired even to smile at such childish thoughts.The SN^athe°queernods to the others, and then to me, in a f riendly days Of fairy tales were beautiful,but they have surely vanished “farewell’.’ I want to shout a word of homage,of admiration, but long ago.-But what is this? A deep tone hums through the forest. Whence did it come? It sounds so soft and distant, and yet it fills ’sheTides Lwly*md’ again the hetts sound clear and silvery, all the woods, sounds here and there, and yonder, just as if at iust as before, only more and more distant; and very softly home, late in the night, when the house is still, you should strike strikes.in again the fairy song,only it sounds a little lower the lowest F on the piano and let it die away. Now the tone has before it is quite hushed. They are all gone -Then the deep Ceased. tone starts once more and fills all the woods,my ear listens But quite a new sound strikes in the forest-delicate little bells, like the fine souvenir bells of silver>that one brings home from and strains in the direction where the fairies vanished. Do I hear anything more?- nothing at all.-Yea outof the deep the Alps.The music comes nearer; now I can catch the tempo, tone(F) rises a chord; it is the choir of fairies.And why does always very fast and very even: one, two,three; one, two, three; it die away in the third? Is that a riddle? as if a swift little steed were coursing headlong upon the clear¬ From the German, of FiKerst by Philip H. Goepp. ing with little bells on the saddle and bridle.

Molto vivace 136 R.SCHUMANN, Op. 124, No. 14 (Composed in 1838)

L A THE ETUDE 723 722 THE ETUDE

ON THE LEVEE 725 724 THE ETUDE THE ETUDE

To Miss Lillie Bindkeute. MOUNTAIN ECHOES 727 726 THE ETUDE THE ETU DE

ONCE IN THE BYGONE DAYS BALLAD Words and Music by R.M. STULTS Anuanie f?\

/) 1 , 4

rit. ft PP JR P [ispress. s =: S f ,

Fragrant was. the air with per-fume la From the wild flow’rs growings by the stream. Side by side a-mong the fragrant bios - There I learned the les-son sweet from * you._

Y In the trees the birds were sing-ing Summer’s glo _ ry glis-tenecj ev -’ry - Where the brooklet soft - ly> gen - tly Crooning o’er the pebbles clear and. 729 728 THE ETUDE THE ETUDE

MICHETTE A Creole Love Song Wm.H. Gardner . CEO. LOWELL TRACY Moderato misterioso THE ETUDE 731 30 THE ETUDE remember that someone is trying to get away from her the small means with which she is presumably furnished, and that some exceedingly brilliant fairy tales will be spun for her entertainment while the de¬ QCAIj monetizing process is going on. Everything depends on how she chooses the man to whom she intends intrusting her voice. She must remember that he will either make it or break it.” The American girl should, THE ROBIN LPARJMENT if at all possible, go to Italy with father or mother. Her difficulties will then be minimized, and some of For some months to come the VOCAL DEPARTMENT will VOCAL or INSTRUMENTAL r.E. DE REEF be conducted by special editors, who are well known as experienced the worst wili disappear altogether. and successful educators in vocal music. The vocal material in the present issue was prepared under the editorial supervision of Mr. F. ENGLISH IN SONG. The Department for December will be c onducted by Mr. Louis Arthur Russell, of New York. An old lady remarked, with a smile, that she ~ 1 “ ' ' " n leader in matters vocal. Other names will be announced later. “always did like to sit under Parson Price’s preaching, for he spoke so plainly you could always tell what he was talking about.” COMMENT ON TIMELY TOPICS. of sincere, honest study, he might have traveled a long Singers may accept it as a fact that people in way on the road toward genuine artistry, and a perma¬ general like to know what vocalists are talking about BY F. W. WODELL. nent place among the elect. when they sing. A sweet voice of but moderate power Sincerity in approaching the study of singing, in and compass, coupled with the ability to enunciate dealing with the teacher; during the lesson hour; in distinctly and with refinement, has given general satis¬ SINCERITY. the practice room; in the life of the artist; this must faction, where a superior voice has failed of apprecia¬ Now singing is an art, and an art is something not be overlooked if there is to be genuine success in tion because its possessor was careless or ignorant as which has to be learned. We are not born with the the artist-career, to the utterance of language in song. power of artistic song. Before that is acquired there For the same reason the general public in this must be the exercise of patience and perseverance in STUDY IN ITALY. country enjoys songs in English, more or less, while traveling a long road of study and practice. That there are vocal teachers in America in every songs in foreign tongues are merely tolerated. The art of singing demands of those who study and way the equals of the best in Europe is a fact. If, There is of course much to be said in favor of practice it intelligence, imagination, fancy, feeling, pa¬ however, for any reason, it is thought best to go singing songs in the language for which the music tience, perseverance and sincerity—that quality of abroad for vocal study, it is well to knew something, was written. The stock arguments against transla¬ honest, straight-forward thinking and acting with sin¬ beforehand, of the conditions. In a recent official tions, as to their inadequacy and lack of agreement gleness of purpose which characterizes the true and ef¬ report by United States Consul E. J. Dunning, sta¬ between words and music in the matter of accentua¬ fective man and woman in every walk of life. It tioned at Milan, Italy, that gentleman, evidently think¬ tion, are not lightly to be ignored. Yet the fact re¬ takes courage, at the beginning of vocal study, to ing of the operatic career, says, among other things, mains that our concert-going public in general most face and answer the question : Am I sincere in this that Milan is still the musical center of Europe, al¬ enjoys numbers sung in English, and the singer is that I propose to do; is it art that I would serve, and though the influence of La Scala is not what it used wise who takes notice of that fact and governs him¬ through it my feilow men, or is it not art of which I to be. It is in Milan, however, that the ambitious stu¬ self accordingly. A special audience in Boston, New am thinking, but of self-exploitation, self-aggrandize¬ dent can work into intimate touch with managers and York, or some other large center, assembled to listen ment, the satisfaction of personal vanity? Do I want impresarii. The girl student ought first to make sure to a song recital by an eminent artist, is exceptional, to be applauded by the great audience, whether I have that she has a voice worth while. The study of Ital¬ and outside the case. Such a gathering is presupposed been true to artistic ideals or not; to gain applause ian is of course essential, and board should be secured to be more or less familiar with modern languages, and somehow, by trickery, by the mere display of vocal in a good Italian family. This is difficult to obtain, to be able to understand and enjoy songs in German, fireworks, of a note of extreme pitch or power, irre¬ but is important. There is a local prejudice in Milan French or Italian, in addition to songs in English. spective of whether or not I have given an artistic in¬ against singers and students. As to the safety of Even when going before such select audiences, the terpretation of a composition? Is that my mastering young ladies alone in the city, Milan is the same in singer will do well to remember that English is the desire? Then I am not sincere. this regard as Boston or New York. Practically every¬ language of this country, and that it is, of itself, an How great is the temptation, as the student works thing depends upon the girl herself. If she will mind excellent language for singing, superior in certain along the path of experience in the studio and before her own business and in case of accident use her respects to German and French, if not to the Italian. the public, to pretend! How strongly is he tempted American common sense she will come out all right. The usual concert audience, the country through, is to place upon a program works of a caliber which he The cheapest price at which a student can live is not, however, made up of persons who are skilled in knows are far beyond his powers, for the sake of mak¬ $1 a day, and this not as good as can be obtained in modem languages. These do not enjoy having a ing an impression upon an ignorant public which America for the same money. Laundry costs one- foreign language thrust upon them, too often by those barely knows that great singers sing those numbers; third American prices; car and cab fares are cheap, who themselves understand and pronounce it more to chatter songs in a foreign tongue, trusting to gen¬ but theatre going is expensive, and the only way an or less imperfectly. It is unwise for the vocalist who eral public ignorance of Italian, French or German to American girl can see operas cheaply is to go into has but a parrot’s acquaintance with Italian, for prevent his own lack of knowledge from appearing; to parts of the houses where she would not wish to be instance, to air her lack of knowledge in public. claim a higher or lower range of voice than really be¬ seen if at home. Singing lessons from a good teacher The true flavor of a poem in a foreign language, longs to him, and sing songs out of his class because amount to $30 per month for daily lessons. The stu¬ to which music is set, can only t>e brought out by a he thinks such selections will bring more applause dent ought to have at least $75 per month for all singer who understands that language well enough to than those for which his voice is naturally fitted! expenses, and $100 a month will not be any too much appreciate the finer shades of meaning in the text, What is all this, when yielded to, but insincerity, the for common comforts. In winter the dress must be as and who is skilled in its utterance. commou passion for bringing self forward, to the ex¬ warm as for the New England climate, and there is If a singer in this country wishes to gain popularity, clusion of the claims of art? also extra expense for fires in the student’s room, to he will do well to use English texts to a large extent, There is a proverb which runs something like this: do without which would be to invite sickness. Clothes and to make sure that when he does sing in a foreign He who is his own lawyer has a fool for his client. cost about the same as in America. There are only tongue he knows what he is talking about and can There is much truth in it. He who deceives himself a few good teachers in Milan out of the large number pronounce sufficiently well to enable others to under¬ is certainly a fool, and the insincere student of vocal living there. The student will encounter all sorts of stand him art is a self-deceiver. He may succeed in fooling for unscrupulous efforts to get her into the hands of one A PRESCRIPTION. a time the general public (it is to be kept in mind, teacher or another, and she should come to this part Time was when every Spring the small boy was however, that there is in practically every audience of her problem with a strongly suspicious mind, and obliged to take his dose of “Spring medicine” whether someone who knows the difference between good and relax only for very good reasons. “If it were proper he wanted to or not. Generally he took his sulphur bad art) but he gains nothing of value. He does and permissible,” says the consul, “I could give am¬ and treacle without a murmur; not that he cared for not become an artist by the applause of the ignorant bitious students some very sobering tales of American sulphur much, but that he liked the treacle more. multitude, no matter how loud or oft-repeated, but by girls who have come to Europe and fallen into the Vocal teachers in the smaller centers are often dis¬ sincere, straight-forward, honest endeavor in his hands of music teachers who have kept them going turbed by demands from pupils for songs of a class studies. The best of it is that the genuine rewards, until their funds were exhausted and then dropped them known as “popular”—effusions which have little or no those that are worth while, as growth in self-ex¬ out into the cold world with neither voice nor money poetic or musical worth. Some friends of the pupils pression, in power to interpret the great things in art, left. There are good men here, but the newcomer sing these ditties, and many other friends like them, yes, and in money-earning power, if that has to be must not take anything at first sight. She should and want to know why the pupils do not sing them! taken into account, come to just that student who is seek the advice of impartial and experienced persons These have not attained to that stage of musical cul¬ sincere, who forgets self in the pursuit of the best before taking any step, and in this way the consulate ture which would enable them to appreciate songs of things in his art. is always at her service. From the time she makes a high class. The vocal fakir, who has been boosted to a certain herself known as a seeker after honors until the hour Indeed, the pupil himself may, at the time, really height of public favor, is never sure of his position. before she goes on the stage for her debut in some prefer the “popular” song, and insist on having some¬ Sooner or later he will descend to his true level. And up-country opera house before a merciless crowd of thing of the kind as part of his lesson. although he may have enjoyed a temporary popularity provincial critics, she will find herself the subject of To roughly chide him for his preference, to make and prosperity, at the end what is he?—an artist, a constant demands for money. Getting a theatre means him feel his inferiority in culture, by word or act so fine singer, a good teacher? No, nothing but a fakir, that half a dozen men must be hired to let the debut that he is humiliated; to refuse to give him songs with and an insincere man still. What a pity! Because it proceed, else they will ruin everything in one way or “tunes” in them, is not the way in which to win him may well have been that had he put forth no more another. Costuming is expensive, and dressmakers to the study and appreciation of the better class of energy and thought than it took to secure his false po¬ are quarrelsome and avaricious. In short, from the vocal music. And it is not necessary to pursue this sition and maintain it for a time, but in the direction moment the American girl sets foot in Italy, she must course. Take a hint from the sulphur and treacle THE ETUDE 733 732 THE ETUDE ginning. Where the word, are of great importance of Italian opera and its exponents. The consequence mento, agility, etc; and then comes a consideration of studies in music, or more properly in Music—-with the minor mode, and three-fourths of his vocal solos are Handel conformed more to the modern standard of practice of oirr wise grandmothers. Give the pupil is that while many of his choruses are built in mas¬ tile vowels and consonants. It will be seen that the artistic eminence which the large M suggests. Of in minor keys. Handel generally chose major keys, setting not more than two or three notes to each syl¬ not his trashy “popular” song, but a song that is sive, immobile dimensions, his solos are characterized scheme of vocal technics laid down is orderly and pro¬ course, besides her vocal work, the young woman ought and only when something bold and striking was re¬ lable, and thus he produced a large number of varia¬ simple, lias a well-defined melody, an easy accompani¬ by the warmth and lightness and sometimes the sen¬ gressive, and while, of course, it is not possible to learn to become a musician, if she means to be an artist, quired did he write in the minor. Now, to the person tions of style. Bach wrote more consistently in one ment which he or his lady friend who has not taken suousness of the reigning Italian school. Nothing to sing from any book, the explanations are so lucid, because her songs and arias are always going to consist many lessons can play, and a text which is written who, with some labor, slowly learns a tune at the style bnt in detail and in expression, by always treat¬ could be further removed from this Btyle than that of the language so free from technical terms, that the of a musical part, meant as the musical equivalent of grammatically, and is at least, not silly doggerel. Also piano, a minor key always sounds sad, and sometimes ing the words as of equal or greater importance than the stay-at-home German, who knew and cared little reader can hardly fail to gain a fairly adequate idea the poetical spirit of the song, or its dramatic spirit, give him, at the same time, a song of higher grade, miserable If it is to sound cheerful it must be brisk ; the music, he was able to obtain an infinite variety. about opera, and whose sphere of operations was of the scope of study demanded from the would-be in those cases where the emotion lies more in the sit¬ one a little finer in concept and workmanship, one that if noble, sustained; and the limitations of a learner of Their syllabic division and accentuation are diflicult bounded by the limits of his church and home circle. singer. The faulty translation of a quotation from uation than in the poetry. And her interpretations will compel him to do some thinking to get at its the class mentioned prevent the former characteristic to compare, owing to the fact that the words set by The appeal of Bach’s songs, just as that of his Mancini, however, leads to a misapprehension of what are always going to demand musical insight and musi¬ meaning, and yet which has a tune he can enjoy. Per¬ from appealing, while the limitations of the ordinary Bach were generally in German while those set by other music, is not, and was not intended to be to the this writer really did say. The original runs as fol¬ cal experience, which in the case of great songs will suade him that you sympathize with his desire for household pianoforte prevent the latter. Handel were in English. The general principles seem, primary emotions. Probably no more beautiful air lows: “£/» vero ed ottimo artista se ne serve in qual- rise to very great demands upon her. “a song with a tung to it,” and that you will find for however, to have been alike in the main. Both were Handel’s songs, too, as a rule are easier to learn, so has been composed than the wonderfully sweet and unque nota di valorc la messa di vocc■” This reads: In place of this equipment, the young woman is him many such. Further, show him that the tune is careful to have an open vowel sound for long sustained far as the notes are concerned, and less difficult to stately slumber song in the “Christmas Oratorio,” or “A true artist avails himself of the messa di voce on generally turned over, when already a mature vocal¬ not always .in the upper voice, where he has been ac¬ sing when once learned than those of Bach. On the notes or for long passages on a single syllable. than several of the songs in “The Passion” according every tone,” which Mr. Henderson says is going too ist (and consequently preoccupied with her throat, and customed to look for It, but that it Is sometimes found other hand, there is more scope for individual taste Handel was more successful in this than Bach, prob¬ to St. Matthew. The emotions stirred in us by these far—but what Mancini says is “every note of value” intractable musically) to learn the few songs her in an Inner part, as played by the piano, and thus call in the performance of those of Handel. He invariably ably because open vowels are more common in our songs are just as deep as those which Handel’s fa¬ (qualunquc nota di valore) ; that is, “every note of repertory is destined to contain, to learn them with all out his power of observation and analysis. In this left something to be supplied by the singer, while Bach own language than in that of our cousins across the vorite airs arouse, but the immediate effect' is quite length,” to which no exception can be taken. those little graces and qualities administered to her in way more and more complex songs can be made as never did so. Even in coloratura passages, that is in German Ocean. Handel learned from the English com¬ different. No one, save those who have wholly lost It is, however, in the final chapters, when he leaves lesson capsules; she is made to “increase here,” to interesting to the pupil as the simple ones now are, passages abounding with ornamental turns and shakes posers the art of punctuation, which is of greater im¬ the sense of beauty of emotional sound, can hear the questions of voice production and technic, and dis¬ “accent here,” to rise to her highest powers here, and and he will feel a pride in the growth of his own power and roulades of elaborate design he did not bind the portance in the English than in tile German language. best songs of either master unmoved; yet while those cusses matters of style and musicianship in singing, so on all through the song, merely because her teacher of appreciation of the better things in music. Point singer absolutely to the copy, so long as nothing out Little turns of melody at the end of interrogatory of Handel will draw frenetic acclamation from most that Mr. Henderson makes his most authoritative con¬ tells her to do so; and after studying a half dozen out to him that the “popular” song belongs to the of keeping with what he wrote was introduced. of those who hear them, those of Bach leave us breath¬ clauses, the commencement of a syllable on tile second tribution to vocal literature. primer class, both as regards both words and music, Much of the strength of Handel lay in the sugges¬ songs in this way, she has merely six songs, learned less in awe at their chaste serenity and comeliness. half of the beat, which divides the parts of a sentence, The question of style in its prominent divisions i9 and that as he would not wish at school to remain tiveness of his solos which contain all the background laboriously as to interpretation and feeling, which These differences arise mainly from the different na¬ the use of several notes on a final syllable which gives thus considered—the Recitative, strict and free; lyric year after year in that class, without promotion, so and outlines of what he wished for, and require the throw not the slightest light upon what she ought to tures and circumstances of the two composers, their the sentence a kind of tentative force, were additions singing; the singing of Wagner; and in conclusion a he, as a singer, of course does not wish to remain coloring to be put in by the singer. How much, for undertake herself without the teacher’s help. workmanship having but a slight bearing on them. to his means of expression which he acquired through strong plea is made for musicianship on the part of in the primer class. instance, cannot an artist make out of such a song as Suppose that during the three years when the voice his knowledge of the works of Henry Purcell and his the singer. The author would have the vocal artist The feeling of the uncultivated yet naturally musical “I Know That My Redeemer Liveth” by simply carry¬ The use of a solo instrument to accompany a single is forming she were to study harmony, and then take compatriots, and which helped to make his own work form his taste by the hearing of all sorts of music, by soul for real melody and definite rhythm is a legitimate ing out the obviouB suggestions of the composer? Yet voice belongs more to Bach than to Handel. Every¬ up the musical study of a sufficient repertory of stand¬ wider in its embodiment and more catholic in its ap- tlie study of the characteristic effects produced on one. All musicians, indeed, admit the charm of genu¬ each artist will carry out these suggestions in a differ¬ body, of course, knows “The Trumpet Shall Sound” in ard song. She need not sing them. She may study ine melody, no matter though it may be simple in The Messiah and “In Honor let Desert be Crowned” different instruments. He counsels him to learn to them, analyze them, hum the melodies while playing ent way and we may have a score of readings all He was on the whole less original, or at least less construction and harmonization. It will not do to in Judas Maccabeus with their solo trumpet ac¬ play the piano, not merely for accompaniment but to the accompaniment (for she must learn piano if she quite in keeping with the spirit of the work and its prolific of original ideas than Bach, but his great deny the pupil the “popular” song without giving him, companiments, but the many accompaniments for solo play music written for it—not necessarily to become a means to be self-moving in her heart) and so ac¬ author. Handel himself always expected certain ability in the way of adapting everything that came from the abundant resources of musical literature, violin and solo ‘cello and other' lighter toned instru¬ virtuoso on the instrument, but for the sake of added quire in this way a degree of familiarity with the “liberties” to be taken with his songs. It is time he to hand to his own purposes made his work more ac¬ something in the way of a song which he can, at that ments pass almost unnoticed. Bach wrote a very large breadth of musical culture. Harmony, the principles best songs, and get a feeling for them, both from the did upt approve of the fashion then in vogue amongst ceptable. Handel was the one whose work was the stage of his progress, understand and appreciate. number of such movements in which the two solo parts of musical form, the history of music, especially that musical standpoint and from the poetical, in a way the Italian opera singers of covering a melody with more acceptable, while Bach was the One whose work There are many songs by such writers as Dudley Buck, (the voice and the instrument) are more nearly equal connected with his own branch of the art, sight sing¬ which will tend to develop musical feeling and taste. fioritura until the original was unrecognizable by its requires and repays the most study, while it can hard¬ Willeby, De Koven, Tosti, Denza, Hawley, Bischoff, originator. A certain amount of freedom for the in importance than the majority of those which Han¬ ing of course, he considers necessary to the singer’s ly be said that either was the greater genius. Bach Gerald Lane, Woodman, Slater, Bartlett, Metcalf, Lit¬ purpose of enforcing the effect of the words, words, del wrote. If it were not for the wonderful effective¬ curriculum. He pointedly says that he has seen QUESTIONS AND ANSWERS. was the greatest of German composers, while Handel tle, Macy, Nevin, Cowen, Newcomb, Trotere, Aldrich, however, he not only condoned, but actually an¬ ness of these works we should say that the instru¬ hundreds of singers fail, through want of musical was one of the greatest of world-artists. which make no great demands upon the pupil’s skill ticipated. Appoggiaturas, both real and by suspen¬ mental portion was put in for the sole purpose of con¬ knowledge, but has yet to see the singer who has de¬ J B.—Various reasons are assigned for the admit¬ and musical knowledge, which are vocal (singable), sion, he rarely wrote, but left them for insertion founding the singer, for Bach anticipated Wagner to stroyed the precious gift of temperament and voice ted scarcity of good tenor voices in this country. The pleasing in melody, and not “trashy” in content or by the singer at discretion. Pauses, accellerandos, the extent of making the voice merely one among sev¬ THE ART OF THE SINGER. through excess of scholarship. most potent causes undoubtedly are bad speech habits, workmanship, as is the ordinary “popular” song. ritardandos, and all the varying means of expression eral independently moving and sometimes closely This standard is high and may appear exaggerated whereby the throat is closed and the vowels crushed; Probably most if not all of the readers of The A wise choice of songs from the works of these, among were treated in the same way, and while forte meant imitative parts. to many, but it can hardly be questioned that the sing¬ unfavorable climate, tending to nasal catarrh and in¬ many composers who could be named in this connect loud and piano soft, he assumed that those who essayed While Handel in these as in other compositions Etude are familiar with the name of William J. er who would stand in all respects fully abreast with terference with the proper reasonance of the higher tion, would result in a list of compositions which would to sing would be competent to decide how loud or wrote in a style more readily understood and appre¬ Henderson, music critic of the New York Sun, and the exacting requirements of to-day must meet such tones; and faulty instruction, through a misunder¬ be most useful in the early studies of vocal students, how soft circumstances warranted, and also to decide ciated hy the unlearned of his own and later days the author of “The Orchestra and Orchestral In¬ demands. Modern musical art, with all its appeal to standing of the true nature of the tenor voice. Too and pave the way for songs of higher grade by these in what manner, if at all, a new expression mark Bach was the one who did more to develop his art and struments,” “What is Good Music?” and other works. the emotions, rests on a supremely intellectual founda¬ many singers endeavor to develop high tones by in¬ and other writers. should be prepared for. to prepare the way for later composers. In the matter To these books he has recently added, “The Art of the tion. Voice alone, with reliance on a few obvious ef¬ crease of breath pressure alone. Singer,”* a really valuable contribution to the already TO SMOKE OR NOT TO SMOKE. Bach’s method was quite different. While with of modulation and the preparation or interruption of fects of contrast and tone color, will no longer suffice H. L.—Do not be disturbed by the eagerness of cadences both, generally speaking, followed the rules extensive list of works dealing with the question of the artist who is called upon to interpret the trying Periodically the question arises, Is smoking injur¬ Handel and all the other composers of his day he was pupils for tangible results. Though they may want to then commonly recognized as the only good and proper singing. works of the present, as well as those belonging to ious to the Singing voice? Judging from the testimony somewhat easy as to the marks of expression—his become artists at once, you can prevent discourage¬ ones. It was in the form of his “airs” that Bach was Its particular value, in the eyes of the present writ¬ the classical period. In view of this the indication of of many good singers, in this matter what is one tempo marks are fewer than even Handel’s—he wrote ment by bringing to their notice from month to month in advance of Handel, which was probably brought er, lies in the fact that it gives a clear,, dispassionate historical authorities for the study of the early condi¬ man’s meat is another man’s poison. Excessive smok¬ exactly the notes he required to be sung. Consequent¬ evidences of growth in musical knowledge and power about by his independence of the public. Handel, for view by one outside professional ranks of a topic that tions of tlie art is by no means the least valuable part ing brings a long list of evils in its train, and is a ly the introduction of a single grace note not marked to do. Encourage the pupil to “take stock” every instance, rarely wandered from the da capo form; has always aroused dissension and dispute among its of Mr. Henderson’s work. most reprehensible practice for the singer. is contrary to his intentions. It is, of course, almost month; on looking back and contrasting what he could that Is, the last section of his songs is usually the practitioners. It is free from the over-emphasis that is If smoking upsets the nervous system, or dries the impossible to sing the solos which appear in the works do a month since with what he can do to-day, he will same as the first, without any variation or addition. apt to characterize the writing of a special pleader; throat in any degree, it is to be avoided as injurious of Bach otherwise than according to the copy with any A SUGGESTION. realize that he has made progress. To compare to-day Bach, on the other hand, wrote large numbers in of one who finds it difficult to get far enough away to the voice. Nothing that interferes in the least with reasonable effect. The accompaniments in the first with yesterday will not do; his power of observation which the opening section was considerably modified the normally healthy condition of the body but has a place preclude this. To give way to a momentary in¬ from his work to avoid exaggeration of its details. For Mr. W. S. B. Mathews, the well-known teacher of and comparison are not keen enough for that. To or extended to form the close, or in which entirely bad effect upon the vocal tone. Let the singer then spiration would be instantaneously disastrous. In this reason, as well as for the wise eclecticism that piano and writer on musical subjects, has an article compare to-day with the work of an artist of many different matter was used and either a very slight ref¬ study carefully his own case, and decide for himself the accompaniments to solos, just as in other instru¬ distinguishes it, it may be especially recommended to in the Musical Standard, of Chicago, in which he years’ experience is unfair and foolish, as he will see erence or none at all made to the opening. Another whether his present habit of smoking is injurious to mental works, Bach wrote almost entirely in polyphony the teacher and to the advanced singer. Mr. Henderson says: It was no doubt an accidental bon mot that when tlie facts are pointed out. custom which Bach had was to repeat the opening his tone. Let all remember, however, that he who or in a polyphonic style, which makes any variation of is neither teacher nor singer, but he expresses himself the girl made, when she stated jthat having gotten Oarsonville.—-If your teacher is, as you say, more phrase immediately after its first statement with just does not smoke at all runs no risk in the matter. time or melody quite impracticable. What he wrote with a remarkable understanding of the technical and tired of taking “vocal lessons” she was going to change concerned to have you sing with sweetness than with two or three bars of symphony between its statement Whether the singer smokes or not, he will do well was not penned without a careful consideration of the artistic problems that beset both. He strikes his key¬ off and “study music”—meaning that she was intending power, and doeB not seem to care if you never reach and repetition. Handel did this sometimes, but with to avoid singing in an atmosphere filled with tobacco relation of every part to all the others and their rela¬ note in the very beginning by the admirable definition to take piano lessons. But the implication is true. “high C,” you are fortunate. She is a teacher to tie smoke. The air is exhausted of its vitality to such an tive effect, and he expected this to be recognized and him it was an exception rather than the rule, while of singing with which the book opens. I am not trying to instruct the experienced teacher with Bach It was a common rule. to. Under such instruction the "high C” will surely extent that he cannot do himself justice. Further, his work to be accordingly performed as written. It “Singing is the interpretation of text by the means of singing, who tells me that it takes from one to three come, if the Creator intended that you should sing at singing in a room thick with tobacco smoke, as in the was not written with any idea of giving professional The musical phraseology employed by the two of musical tones produced by the human voice.” It years to properly place a voice;.and two or three that pitch. popular smoking concerts, or “smokers,” will some¬ singers an opportunity of pleasing an impressionable composers differs considerably. “Rosalia” and “di¬ would be hard to improve upon this as a simple, all-in¬ years longer to develop it to artistic availability, nor visions” were the most generally used artistic devices times cause a dryness of throat which injures tone and unthinking public, and there was therefore no clusive definition. to differ with him when he says that during this con¬ OUR VOCAL MUSIC. quality, and has been known to bring about a spas¬ need to proride for any variation from his original at that time in writing vocal music. It will easily be In his preface Mr. Henderson tells us that the book structive period, when the girl Is creating her instru¬ modic action which shut off tone altogether. ideas as set out after careful deliberation. That cir¬ understood that a labor-saving composer, such as was is the result of an earnest study of the art of singing ment, she ought not to sing at all except her exercises, Handel, would employ all the means he had to econ¬ cumstances led Handel to provide for such variations for the past quarter of a century; that he has read because when she tries to sing songs and gives her¬ . ... —“‘Guuru iu mt? music pages < omize thematic material. There is, consequently, is no disparagement to his work, but it accounts for. all the authoritative works on the subject, besides self up to the dominance of artistic or temperamental this issue. Mr. Tracy’s “Michette” has considerab scarcely a single vocal solo composed by him, how¬ THE ORATORIO SOLOS OF BACH AND and to some extent shows, the difference in the style making many practical experiments with voices and emotion she necessarily endangers all the vocal art she of the local Creole color, something piquant, attra ever short nr simple it may be, which does not contain HANDEL. of the two composers. profiting much by direct information from such sing¬ has been building up with so much care. tive, and yet artistic and musicianly. An alto or a rosalia” or a set of “divisions,” or both. The It also, more than anything else, helps ns to grasp ers as Madame Sembrich, Madame Nordica, and Jean Be that as it may, we all know that when a young mezzo soprano with a full voice, can make this sor former device was a great favorite with Bach and BY HERBERT ANTCLIFFE. the intentions of the two composers as to the interpre¬ de Reszke. It is refreshing to learn that he does woman carries on the study of singing for a series of very effective. Of course it demands an elast tation of their respective works. his longer solos abound with “rosalia,” both complete not consider singing a lost art while artists like these years under a strict teacher, she almost invariably and partially worked out, and all the imitative and re- rendering, so as to bring out the spirit of the tex To the man in^the street the difference between the The individuality of the two men and the circum¬ adorn the stage; though he says regretfully that it is finds herself at the end with a good voice, let us say. “Once in the By-gone Days,” is the very latest con peated passages which that form suggests. Handel did plain to every eareful observer that the race of beauti¬ well-trained and capable; and with no knowledge nirs of Bach and those of Handel is the same as be¬ stances under which their work was done have much not indulge m this form to anything like this extent, position by Mr. Stults. the writer of the populf ful singers is diminishing every year. whatever of the literature of song, nor any criteria of tween the rest of their music—that of the former he to do with the popularity of the songs of one, and the but his use of divisions” is much greater than “Sweetest Story Ever Told.” This new piece belon; The technical part of the book begins with a consid¬ taste for guiding her in selecting compositions to sing considers abstruse and untuneful, of the latter simple, lack of popularity of the songs of the other. Handel Bachs. In these he did not follow the same regular to the high class ballad type and has ail the er tuneful and dignified. eration of fundamental breathing. The question of at her recitals or concerts. Worse; she has no in¬ was very cosmopolitan, and although claimed by both rule as Bach who usually wrote them in pairs. The marks of success. Simplicity, naturalness, clet Like most other common ideas this is based on cer¬ breath control is given an eminently clear and simple struction in musical Interpretation : she does not know Germany and England as their own, he could not be use of ‘ divisions” does not lend itself to the illustra¬ enunciation and appropriate feeling are absolul tain partial facts, though the grain of truth which it exposition, and is followed by a study of attack and that there is such a thing as a musical interpretation, Raid to be the product of either country, and his music tion of words or to the expression of emotions so read- essentials in the singing of songs of this type. Eve contains is overgrown with falsity. The choice of tone formation. The more ornamental elements are as distinguished from simply singing the song properly was Indigenous to no single people or land. Yet in ily as the use of “rosalia,” so that the choice of de¬ the highly trained concert singer will not find th! key respectively made by the two composers may next taken up—- the messa di voce (swell), the porta- from a vocal standpoint. spite of this, and of his tremendous will power and vice by the two composers ’respectively is accounted song beneath his or her artistic standing. We hot have something to do with this. Bach preferred the great personality, he was largely under the influence I have often wondered whether it might not be pos¬ for largely by the circumstance mentioned at the be¬ our readers will use both of these songs in the •*"The Art of the Singer,” by W. J. Henderson. Charles sible at this point to put in practice some accessory Scribner's Sons. $1.25 net. studio and recital work. THE ETUDE 735 and confidence enough to express his own thoughts in CHOIR ORGAN. appropriate form and with little preparation ” (In separate Swell Box), 734 THE ETUDE Mr. W. S B. Mathews was of the. opinion that a dolce. 39. 4 it. Flute d’an their names initials which stand “the player has to lie much more the master of his ison, Pull. 40. 4 Fugara. NEW CHRISTMAS ANTHEMS disdain to affix discourse if he play without notes ; ’ X, ix.it, FRANK L. for something. He Has Come. need a standard in many thing for all pul" FREY, ADOLF. The main thing is that a living effect.” Awake, Put on Thy Strength. . lines in music, and this is the which secures, a MANNEY, CHAS. F. We must not forget that as regards the pianists, Rejoice Greatly . present, of the highest value > organists in thi SOLO ORGAN. memory performances are a product of comparatively MANSFIELD, ORLANDO A. country.—E- R. Kroeger. Glory to God in the Highest. . . recent years. It is possible that when the rivalry 43. 8 ft. Stentorphone, between concert organists is as keen as that between s Anointed. . concert pianists (or, shall we say, piano manufac¬ 49. 8 “ Orchestral oboe. DANIELS, M. W. n P turers?) we shall listen to organists giving whole s Ago in Bethlehem 'andCHOIR- “Why do recital organists play with recitals without the music before them. There are ECHO ORGAN. (Enclosed in Swell Box— BERWALD W. FLAYING the music in front of them ? ’ asks a signs that some of the pianists are rebelling against to operate from Solo Key¬ For some months to come the ORGAN DEPARTMENT will be conducted by special editors, who are well WITHOUT writer in the London Musical Opinion. the rule that notes must be banished, at least in con¬ board.) known as experienced and successful organists. The organ material in the present issue was prepared under the NOTES. “No great pianist uses music now when certos; for Pugno uses his notes in public perform¬ 16 ft. Lieblich gedeckt. 56. 4 ft. Flute, Wald. editorial supervision of Mr. E. R KROEGER, of St. Louis. The editors fcr the year 1907 will be announced later. Viola. 57. - ‘ Gamt playing in public. I have sat beside ances and the present writer has heard de Pachmann Viol d’ai > rks. Hari Mons. Guilmant and have turned over the leaves of play the F minor concerto of Chopin from the notes NEW CHRISTMAS SONGS An organist seated before give an organist a reputation as being skilful and his own compositions for him. Some of these composi¬ and with no discoverable loss of effect, musical or 8 ft. Cor . THE ART OF the keyboard to some extent tasteful in registration.—E. R. Krocgcr. tions, (the Priire et Berceuse, for example) I cau psychological.—H. C. Macdougall. REGISTRATION. resembles the artist who holds myself play from memory. Why should he, the com¬ CATHEDRAL CHIMES. his palette in his left hand. poser. need the copy on the desk before him? Dr. The completion of the large 60. A complete set of TUB¬ Here are many colors to choose from. Which com¬ The examinations given by ULAR BELLS of 20 A STANDARD FOR the American Guild of Organ- Peace, the successor to W. T. Best at St. George’s ANOTHER organ in the First Church of ’ notes from Ao, operated Catalogue 3a, containi binations will produce the desired effect? There are Town Hall, Liverpool, always has the music before LARGE ORGAN. Christ, Scientist, by the Hook- by compressed air and Songs, Anthems, Hymns, c„ for Mixed Voices, s the diapason, string, wood and reed families. What ORGANISTS. ists are valuable in setting a played from swell. free upon application. him, and of pieces that he must have played five or Hastings Organ Company, has Mail orders solicited a i filled promptly to A can surpass the fine, rich, honest sonorousness of the definite standard as to what six hundred times and cannot help knowing by heart. given to Boston another notable instrument. As the PEDAL ORGAN. diapason stops when united for full effects? And a competent church organist should be able to do. Church committees, mainly composed of deacons or Do you mean to tell me that Dr. Peace could not tenets of this church do not permit any public organ then the strings, with their characteristic color. play Gounod’s ‘Marche Militaire’ or the overture to the recital, the public have heard the instrumeut only as ; Diapason. ARTHUR P. SCHMIDT These combined on the different manuals seem so elders absolutely incapable of judging of the merits of an organist, “examine” applicants and accept or re¬ ‘Occasional Oratorio’ or the ‘Holsworthy Church used in the regular church services. We recently ‘ Bourdon. pure and yet so penetrating. The mellow wood or Bells’ without the music? Then why does he always had the pleasure of playing and examining the instru¬ ‘ Dolce. flute stops—how different they are from the metal ject them according to their own personal feeling. have the music in front of him? Mr. W. T. Best, I ment in company with the builder and the organist stops! Finally the characteristic reeds with their Consequently, the desirability of a fixed standard is COUPLERS. bet you, could have played at least a couple of hun¬ and found much to admire in the instrument. ear-arresting quality. What beautiful sounds lie here ! readily understood. The fact that an organist is a dred pieces from memory; but I do not remember In the hands of an undiscriminating, ignorant, or member of the Guild is a proof that he has passed having seen him play one piece without the music on Christmas Anthems for Chorus Choirs tasteless player, these rich resources may be rendered a test examination, or is capable of passing it. the desk. This is a subject upon which we might have The November Choir Leai hideous and repelling. Careful study and close A competent organist should have, in the first place, full Christmas Anthems. an interesting little correspondence. Of course I am observation may cause the organist to make com¬ a ready and facile finger technic, so that he can per¬ The November Choir Her. not to be understood as pleading that recital organists All couplers, binations which are safe and sane, and therefore not form with ease and brilliancy compositions of a Free sample of each should play from memory. I am only asking why 89 offensive to good taste. “bravura” order. His legato should be accurate with¬ couplers. out being “logy.” He should be an adept at poly¬ they should not play from memory as well as the re¬ But the feeling for “color”—as is the case in the ACCESSORIES. art of painting—is born, not made. An organist can phonic playing, for this is the truest style of organ cital pianists.” whether grade desired is Easy, Medium or Difficult. Swell. 93. Wind Indicator. sit before a thirty stop, three manuel instrument music. His mastery over the pedals should be un¬ This is one of the questions that constantly recurs THE LORENZ PUBLISHING COMPANY hours a day for years, without exhausting its pos¬ questioned. Merely to play a pedal note now and then to the ambitious recitalists. Early in 18!)3 the Chicago Indicator. Adjustable. 150 Fifth Are., New York 216-218 W. Fifth St„ Daylon, Ohio sible combinations. Of course, many of these would in order to support upper harmonies does not consti¬ Tribune printed a symposium on this subject that was be inartistic or disagreeable, but it would rest with tute a pedal technic. Scales, broken chords, etc., reprinted in W. S. Mathews’ Music. Mr. Clarence must be practiced assiduously. Eddy was opposed to giving organ recitals without him to learn what to unite. o 99. Great and pedal The organ has frequently been compared to an Good taste is absolutely essential. It shows in the the notes. “The structure of the organ,” said he, orchestra, but the comparison is not just to either manner of registration ; in accompanying hymns and “is vastly more complicated than that of any other o 104. Swell and pedal Church Organs side. While many names of organ stops are taken anthems; in improvisation. The organist should solo instrument. One must have not only a perfect o 107. Choir and pedal LATEST 1MPROVEM ENTS from orchestral instruments, yet the similarity, in a have an education upon which he can rely when command of the manuel keyboards but also of the BOSTON NEW YORK PHILADELPHIA number of instances, ends with the name. It is of thrown upon his own resources. Therefore harmony, pedals and mechanical accessories. The mind is con¬ CHICAGO LOUISVILLE ST. LOUIS course radically impossible to obtain a true string counterpoint and composition should be mastered. stantly forced to act far in advance of the hands Main Office & Works ^ Mass. effect by means of a column of air passing through a Merely to be able to progress from a tonic to its and feet. To burden the mind with memorizing the Hook metal tube, yet the names of the entire family of dominant and to return does not constitute musician- notes in addition to these requirements is as harmful ASTINGS CO. stringed instruments (including a number now ob¬ ship. A complete mastery over modulation is most as it is useless. Among the distinguished organ PEDAL MOVEMENTS. desirable, so that different methods of key progression composers whom I have known who played even solete), are freely used by organ builders in their usceado pedal and Balanced jiolo and echo nomenclature of stops. Then, in regard to what is their own compositions with the notes are Haupt. pedal.—Everett E. Tru- Organ in the Fikst Church op Christ, Boston. Reversible pedal to operat generally termed “tone color,” an effect with an oboe, It is painful to listen sometimes to the enforced Merkel, A. G. Ritter, Best. Guilmant, Dubois, Widor. great to pedal coupler. a clarinet, or a horn may be desired by the orchestral modulations of organists whose clumsy attempts to get Gigout, Dudley Buck, S. P. Warren, J. K. Paine, The specification is a model one for an instrument Reversible pedal to operat : - Hastings Co., composer. He writes in such a manner that the from one key to another are ridiculous, or to others Frederic Archer, G. E. Whiting and G. W. Morgan.” swell to pedal coupler. of this size. The tone of the full organ is very pleas¬ Balanced swell pedal. tion throughout. l|utrI|tngR-lff0tpij special instrument called for is emphasized, but in whose education is so limited that it. seems an absolute Mr. Harrison M. Wild, now the distinguished con¬ ing. It is of great power and yet is free from any Balanced echo pedal. only one note at a time. But the organist who has impossibility for them to leave the key in which they ductor of the Apollo Club, did not agree with Mr. coarse quality. The excellent acoustic properties of his oboe stop out can only make a single note prom¬ arc playing. That such “organists” can continue to Eddy. According to Mr. Wild “the mere mechanical the auditorium, together with the fact that the organ 1. Probably the most (§rga« (Co. inent by playing .it on a separate manual from that hold their positions is a reflection upon the profession. portion of an organ performance is so trifling that one is admirably located, two conditions which do not ANSWERS TO difficult organ composition, IBustim, JHasa. containing the other parts. The stop affects all other But often the blame for such a condition rests upon can in a few moments fix the registration for a always exist, have enabled the builder to get the best CORRESPONDENTS, known to the editor is Wil¬ HIGH-GRADE PIPE keys on the same manual. With the orchestra a church committees, vestries, and beards of trustees. strange organ so as to leave fantasy free. Leaving results from the instrument. The tone produced by helm Middelschuite’s Canons variety of kaleidoscopic color effects may continually The salaries offered are so meager that no self- this out, memorizing on the organ is much like mem¬ all of the diapasons and flutes combined is very rich and Fugue on the Choral “Vater uns im Himmelsreieh.” PNEUMATIC ORGANS ELECTRIC Max Reger’s Sonata in F sharp minor, Op. 33, is also go on by means of instruments being added or dropped, respecting organist who has spent money and time orizing on the piano. The reason given by organists and sonorous, serving as an adequate accompaniment NEW YORK BOSTON PITTSBURGH but the organist cannot do this continually without upon his education can afford to accept the place. for using notes could probably be summed up this for the fine congregational singing for which this of great difficulty. Bach’s Fantasia and Fugue in G injuring the flow of the music; so he must depend Therefore, it is necessary that, in order to keep within way: ‘I find I am too nervous without the notes to church is noted. The Open Diapason, 32 feet, in the minor, Widor’s Gothic Symphony and Warren’s Tran¬ more upon a set registration. the stipulated salary, the authorities should engage do myself or my compositions justice;’ or ‘I have not pedal organ, is unusually effective, even without the scription of Wagner’s “Tannhaeuser Overture” are compositions of a virtuoso character. He is therefore necessarily more limited in obtain¬ some one who is not ’ particularly dependent upon it the time to prepare adequately, but must play and so aid of a 16 feet stop as a “helper.” The action ORGAN VOLUNTARIES FOR ing variety of color than is the orchestral conductor, for a livelihood, or who needs the money so much that must use the notes.’ ” (electric) is instantaneous and the console is compact 2. Reliable and inexpensive books on the history any sum is better than none. Consequently, the and construction of the organ are Stainer’s “The THANKSGIVING AND CHRISTMAS and sometimes must employ stops which he would Mr. Louis Falk, also of Chicago, agreed with Mr. and convenient. The builders are to be congratulated IN THE prefer to omit. Indeed, an organist is apt to have his church will engage a business man or a clerk who Eddy. lie said : “Theodore Thomas, guiding 100 play¬ on the success of the instrument. Appended is the Organ” CNovcllo, Ewer d Co’s Music Primers, price judgment calloused by the difficulty in obtaining a knows a little about organ playing, to take charge of ers, conducts from notes. An organist at the Auditor¬ specification: .$1.00). J. Matthews “A Handbook of the Organ,” NOVEMBER “ORGANIST” Scribner’s, $1.00. variety of registration, and thus become accustomed the organ and who looks upon the remuneration as ium has to use hands and feet at five keyboards. 120 Th Or Pr*Ce! 35 CCn,S Per copy' pos,paid to retaining one or more stops when he feels that “pin money.” or some needy young lady of the congre¬ stops and innumerable accessories. Does it follow 3. Both Widor and Guilmant have large followings year. 32 pa|es*of music in'Sdhfeajf “meS a they should be discontinued. The reeds are liable to gation to whom the small salary means a great deal. that organists of Guilmanfs rank are incapable of in their respective capacities of composers and organ¬ $t 50 per year, net. ists. It is difficult to state which is the superior. be the sufferers in this respect. Their effectiveness is In this way competent players are crowded out. memorizing what they play? Is it not because they THE LORENZ PUBLISHING COMPANY frequently abused by those who consider that they The congregation receives nothing edifying in the consider it to be both to their own advantage and that 4. Alphonse Mailly is considered one of the fore¬ 150 Fifth Aye,, New York 216-218 W. Fifth SI.. Dayton, Ohio should employ them at every opportunity. handling of the organ, and in fact the organ part of of the music?” most modern organ composers. His works are practi¬ cal and full of rich harmonic effects. The present writer here takes advantage of his the service is something of a bore. Really, an edu¬ What may be termed the middle ground is that position to give a few points of advice on registration cation in organ playing should be given to the officers taken by Wilhelm Middelschulte. organist of the Now and then if a composition or a player holds you to those who might have occasion to profit by them: of the church. If they are better posted, they would Chicago Symphony Orchestra. He asserted that “to SWELL ORGAN. in a grip you listen with only one idea revolving in your ppr (Organs of ^igltpat (grab Be sparing of reeds; use the tremolando very be inclined to offer better salaries, and better organ¬ play artistically it is not necessary to play without ists would naturally follow. brain, an appreciation of the music as music, and in seldom, and then only for some special effect; do not notes. If he prefer to memorize his pieces, I believe ELECTRIC, TUBULAR PNEUMATIC However, the A. G. O. does represent a standard Diapason. common parlance you are taken “out of yourself.” use much sixteen foot stops for ordinary playing— that it has certain advantages; he bears the composi¬ OR MECHANICAL ACTIONS and church authorities generally are recognizing the Concert flute. Properly music ought always to enchain your interest, . it makes the tone sound “thickbe careful of the tions of the great masters like precious jewels always use of two and four foot stops; some may say that fact. By earnestly preaching their cause, the members for it demands that for its full appreciation you shall with him. In his hand and in his mind they are like the organ sounds like “a box of whistlesgood, eight of the Guild can impress upon the public its impor¬ keep your mind quite open and unpreoccupied.— Emmons Howard - - Westfield. Mass dear friends to him and he can practice them while foot tone, besprinkled with four foot is what is re¬ tance. Little by little churches will come to recognize Baugh an. riding on the cars or taking a walk—it is not neces¬ Please mention THE ETUDE when addressing our adv^ liable ; combine diapasons, strings and woods with care the fact that a membership in the Guild means some¬ sary to practice always at the instrument. A good and discrimination; avoid extravagances; do not play thing very definite, and high grade work is meant result of playing from memory would be that the too loud for the choir. when a man can sign “A. G. 0.” after his name. In A few salient features in his work such as these the past, titles have meant but little in the United too much neglected art of improvisation would be forwarded: for the musical form of a composition will as a basis, with occasional legitimate departures, may States. In England the foremost musicians do not go into his flesh and blood and will give him power 737 736 THE ETUDE THE ETUDE that can possibly be required is to convey your ideas predominant character is fire, life and energy It to this, yet the idea which I have endeavored to give . f-hiv to your audience, and at the same time has a peculiar ardor, it is a glowing style, the playing intelligibly t y^ ^ p]easp and jnterest them InteH. of violin playing is much higher. It is a great exer¬ of a man whose imagination is heated and strongly JUST ISSUED tion of the human powers. It is the art of being com' m SU° it will be readily admitted, is the fundamental affected by what he performs ^ who is inclined to be ™ nf style ■ a quality so essential to every kind of manding; the art, not of pleasing the fancy merely, EASY and PROGRESSIVE negligent of lesser graces, but pours himself forth quahty of style^r ^ want of it, nothing can atoue but of playing to both the understanding aud to the with the rapidity and fulness of a torrent. It belongs Without this! the finest technic and richest tone only heart; of interesting your audience to such a degree as to the higher branches of violin playing. Among 40 STUDIES for glimmer through the dark, and puzzle instead of to seize and carry them along with you, and to violin players the one who has most of this character being interesting to your audience. leave them with a deep and strong impression of what 2— the VIOLIN is August t\ ilhelmj. A fine, big, broad and singing w Violin The Classical Style. they have heard. How many talents, natural and tone characterizes his playing. There is nothing fan¬ The chief beauties of violin-playing do not depend acquired, must concur for carrying this to perfection. tastic in it, but real, earnest playing. It carries con¬ ByCA£L3gOHM Price, $1.00 upon technic. Some of the most sublime and pathetic A strong imagination, quick sensibility, solid judg¬ viction with it. He pours himself forth with great cawa-es from the most admired solos and concertos ment, good sense, and presence of mind" all improved Within a small compass, the composer here offers an impetuosity. He is bold. He is like a torrent that admirable set of technical studies for violin-playing: in the 1 "of simple tvpe, and must be performed in simple by great and long attention to style and composition, first position. Though easy, the studies are far from being style to be really artistic. On the other hand, play¬ flows strong. He has great facility and precision. trivial ; on the contrary, they are all eminently useful and and supported by the exterior, yet important qualifica¬ practical, and each one illustrates some indispensable I Department I ing may abound with difficulties, and yet on the whole Style Individual. tions, of a graceful manner, a presence not ungainly, feature of the violinist’s art. be frigid and unaffecting. Not to speak of sentiment a,nd a fine violin. I-Iow little reason to wonder that and thought, which constitute the real and lasting Such players as those whose styles I have described, a perfect and accomplished violinist should be most merit of any playing, if the style be stiff and affected, skips, includin CONDUCTED BY GEORGE LEHMANN one is never tired of hearing. So powerful is the rarely found. in hrst-positior- if it be deficient in intelligence or precision, all the charm of simplicity in a violinist of real genius, that Do not despair, however. Between mediocrity and There isalso considerable practic 'i cantabile, light Adrian Rappoldi, in a March effort. This being quite clearly understood, the boy technic that can be employed will never make playing /ain repetitions.” it atones for many slips, and reconciles us to many perfection there is a very wide interval. There are Each study is distinct and different in f pose from all the THE VIOLINIST’S issue of the Neue Zeitschrift begins his commercial career in a spirit of humility, agreeable ; it will never please the judicious mind. a careless stroke. I will say no more on the different others. determined to deserve and win promotion at every many intermediate spaces which may be filled with REPERTOIRE. fur Uusik, made a strong ap¬ Nothing derogates from the weight and styles of players. Some others, besides those which opportunity. Not easily is he led to believe that he honor; and the more rare and difficult that complete peal to violinists in behalf of dignity of any playing than too great attention I have mentioned, might be pointed out. From what can afford to disregard the commonplace essentials of perfection isj, the greater will be the honor of worthy, but unknown composers, and meritorious com¬ to show. They give the impression of a light I have said on this subject, it may be inferred that positions which, for one reason or another, suffer success. On the contrary, he realizes that the logical approaching to it, though you may not fully attain it. and frothy genius that evaporates in show, rather to determine among all these different styles which is You may sustain a moderate reputation with dignity. continued neglect at the hands of public players, result of tenacity is progress and achievement, and than bring forth what is sound. A dry or classical precisely the best is indeed difficult. Style is a field —William Henley. Mr. Rappoldi declares, and with much justice, that does not speculate on the vague possibilities of reward style excludes all display of any kind. Players of that admits of great latitude. Its qualities in each ARTHUR P. SCHMIDT most artists are shortsighted as well as selfish in the that lie at the end of a road of restless and capricious ■ this style are content with being understood—they violinist may be very different, and yet in them all matter of selecting compositions for public perform¬ endeavor. In other words, the road which he selects have not the least aim to please either the fancy o.' beautiful. Room must be left here for genius; for ance, that the thought uppermost in their minds is is straight, even though it be hard, and progress the ear. This is tolerable only in pure classical play¬ that of displaying to the best advantage their own thereon, in accordance with his intelligence and his that particular determination which everyone receives ing; and even then, to make it interesting, great from Nature, to one style more than another. Some instrumental skill, and that they are rarely moved striving, is practically inevitable. depth of feeling and solidity of playing are requisite, Such a sane view of the possibilities of success is general qualities, indeed, there are of such importance to produce a new or unknown composition, solely be¬ and entire intelligence. Joachim is the complete rarely entertained, however, by our young workers in as should always, in every kind of composition, be cause of its intrinsic merits. example of the classical style. Never, perhaps, was “ROOT VIOLINS” the world of music. These, as well as their relatives kept in view; and some defects we should always In the opinion of the present writer such a re¬ there any violinist that has adhered so rigidly to and friends, too often seem to imagine that the study to avoid. But as to the mixture of all good Are the best at any price ; they proach seems only too well merited. It is a reproach the strictness of a classical manner throughout his development of musical gifts is in no degree governed qualities, or the degree of predominance of any one “®have the tone that satisfies the which few artists of the present day can be said not playing, and conveyed so much instruction, without Orchestra, Solo or Professional to deserve; for as Mr. Rappoldi says, the majority of by sane and logical methods; and it is owing to' this of these qualities for forming a peculiar distinguishing the least approach to display. With the most pro¬ player. Prices, from $5 to $150. our concert players seem possessed with the idea that strange misapprehension that so many of our gifted style, no precise rules can be given ; nor will I venture found genius and extensive knowledge, he plays like a Free instruction to beginners. Our their gifts should be utilized only in the exploitation students fail to pass beyond the stage of mediocrity. to point out any one model as absolutely perfect. It pure intelligence, who addresses himself solely to the finely-illustrated catalog giving prices of digital skill. One grand and noble exception Let us see how the average violin student sets to will be more to the purpose that I conclude with a understanding, without making any use of the channel and description of Violins and our Cele¬ to the rule is, of course, Joseph Joachim. He, above work at the serious task of achieving success, and how few directions concerning the method of attaining a brated Crown Mandolins and Guitars of the technic. all other artists of our generation, has always striven recklessly he chooses a road thereto. His choice of a good style in general, leaving the particular character [ free to you. E_ -f ROOT & SONS, teacher is generally influenced or determined by The Elegant Style. to be formed either by the compositions which one to acquaint the music-loving public with musical 1 Patten Building - - Chicago works that deserve public recognition; and the service incompetent advisers. It was not impossible for him What may be called the neat and elegant style prefers to play, or prompted by the bent of genius. he has done for the Beethoven Concerto and the to obtain the facts and be guided thereby, but he comes next in order, and here we get into the region sonatas by Bach is sufficiently great to place him on a simply did not give the question the same intelligent of display ; and that display of the highest and most The Foundation of Good Style, pedestal which other players are unworthy to occupy. thought that he surely would apply to the purchase of sparkling kind. A player of this character shows that In the first place the foundation of all good style When we think of Joachim’s achievements and his some ordinary commodity. If, by the merest good he does not despise beauty of tone. His difficult is good sense accompanied by imagination. To think FELIX BOROWSRI position in the world of music, how pitiably insignifi¬ luck he has chosen an excellent teacher, he is faithful passages are always clean, and free from the encum¬ closely on the piece you are working at, until you VIOLIN COMPOSITIONS cant must seem to us the “triumphs” of a Kubelik. to his work and to his guide for only a brief season or brance of superflous energy. He is more correct than become interested in it, until you have a distinct What, after all, do such players accomplish? What' two. He yearns for a change of instruction, without bold and glowing. It is a style always agreeable. A ADORATION. and complete conception of the composer’s ideas; then, No. 5700. do they contribute towards the elevation of their art? seriously weighing the probable results of such a neat style implies purity of tone, elegance of bowing and not until then, will you find expression begin to Nothing, practically nothing. They devote the vital change, and it is not long before he realizes his mis¬ and dexterity of fingering. It implies, further, the flow. In the second place, clearness of execution is years of their lives to the ignoble pursuit of technic— take, and anxiously seeks to rectify it by choosing still grace and beauty of imagination spread over style, indispensable. I must observe, however, that there their noblest ambition seems to be to amaze and be¬ a different teacher. By this time, as a general rule, as far as it admits. In a word, this style is one that may be an extreme, in too great and anxious care wilder the public with digital feats that too often he has lost sight of the principles that lie at the pleases the fancy and the ear, while it informs the about execution. You must not retard the course of descend to the level of mere clownish display. bottom of progress and success. He wanders aim¬ mind, and that gives its ideas clothed with all the thought, or cool the heat of imagination, by practising lessly about, from one studio to another. He hears a HUMORESQUE. How often, in the repertoire of violinists of the beauty of expression. Sarasate is the highest example too long. In the third place, with respect to the assist¬ virtuoso like Kubelik, for instance, is fired with No. 4660. Sevcik “School,” do we find the masterpieces of violin of neat and elegant style combined with simplicity. ance that is to be gained from the performances of Joachim, the Nestor of the Violin .World. Allegretto, a tempo. enthusiasm and an irresistible passion to emulate the literature? If, occasionally, the misguided virtuosi of Beyond doubt a perfect example; and, therefore, as others, it is obvious that you ought to render yourself the Bohemian and similar “schools” of violin¬ great technician, and decides, in the end, that his regards brilliance, he is on the whole, a safe model well acquainted with the style of the very best violinists. Nearly all the old playing, essay a work of real art, it is only with the whole musical career will be ruined if he does not for imitation. All is easy to him. Everything in the This is requisite, both in order to form a just taste THE CORRELATION OF masters of music played obvious intention of convincing the public that they, study with Sevcik. He spends several years in way of gymnastics flies from off the end of his fingers. in style, and to supply you with a full stock of ideas PIANOFORTE STUDY upon some other instru- too, can play Bach and Beethoven and Brahms. But Prague, where his true musical welfare is sacrificed Smoothness is another distinguishing characteristic of on every work. In listening to different violinists WITH SOME OTHER ment besides the harpsi- such attempts are usually disastrous, and they serve to the worship of technic, acquires no greater degree his playing. A style so pure, natural, unaffected and with a view to style, attention should be given to INSTRUMENT. chord or clavier. J. S'. No. 5701. DANSE RUSTIOU only to increase our conviction that technic is merely of instrumental skill than he could have acquired unlabored, carrying a character of beauty more than No. 4660. HUMORESQUE, the vehicle of all lofty musical utterance. with an equal amount of work elsewhere under some the peculiarities of their different conceptions. In the Bach performed well on No. 4661. VILLANELLK, of strength. In pure display he is rich without being fourth place, I must caution, at the same time, against the violin, clavier and organ, the latter in a master¬ No. 5707. CANTILENE, It would be folly to attempt to convince many of other competent teacher, and returns to the United too showy. There is not the least affectation in his our virtuosi that the honors and the musical joys States one of a thousand other mediocrities. a servile imitation of any violinist whatever. It ful manner; Handel, on the harpsichord and organ; playing, nothing forced or constrained, but great ele¬ hampers genius; it is likely to produce something not Haydn on the violin and clavier; Mozart, on the harp¬ which they seek through prodigious efforts to acquire This is the road the average pupil takes. His gance joined with great ease and simplicity. If he a great technic are not thus attainable. With such inevitable failure naturally excites our compassion, quite natural. You will never become a good player sichord, organ and violin; Beethoven on the violin fails in anything, it is want of strength and depth, and clavier. players the “technic disease” is incurable. Nature and and we would save him if we could. But when will if you have not some degree of confidence to follow which renders his style not altogether a proper model your genius. In the last place, it is an obvious, but We notice that in almost every instance the violin training have unfitted them for purer and higher he listen to the voice of reason? When will he take for any of the higher and great works of the old ambition. But our younger students we can hope at in art the same straight hard road that leads to success material rule with respect to style that you always was used and it may be stated without fear of success¬ least to impress with the truth that the ways of the in the commercial world? study to adapt it to your particular kind of solo, and ful contradiction that it is the best instrument to Having said so much to recommend simplicity and also to the capacity of your audience, if you want to study as an aid in phrasing. Much attention is given THEO. PRESSER, Publisher pyrotechnician are musically unwholesome, and that neatness of playing, it is necessary for me to observe the glitter of his skill, alluring tinsel though it be, is be a successful soloist. It must be suited to the to this item by violin teachers; and while it should 1712 Chestnut Street - Philadelphia, Penna. It is not easy to give a precise idea of what I mean by simplicity in order to prevent mis¬ occasion and to the audience you are playing for. It be one of the main features in the study of all instru - but tinsel after all, not gold. STYLE, what is meant by style. The best defi¬ takes on this subject. The beautiful simplicity I is in the last degree absurd to play “display” pieces at ments, composers invariably think of string music »n THE ETUDE when addressing ot nition I can give of it is the peculiar mean supposes a violinist to possess real genius; to chamber or symphony concerts; and equally absurd as the basis of all instrumental composition. When a boy enters the com- manner in which a man expresses his conceptions, by play with solidity, purity and liveliness of imagina- to play classical pieces at ballad concerts, before TWO ROADS, mercial world, with the hope and means of execution and bowing. It is different from No musical education is complete without some 1°IV In ease the simplicity and unaffectedness persons who (excepting a few) comprehend nothing at knowledge of a stringed instrument. The organ may determination of ultimately achiev¬ mere technic or bowing. The cleverness which a of his playing are the crowning ornament. We must is granted that a study of both the piano and organ what yon are aiming at, and who can only wonder at be advantageously correlated to the piano, as the ing success, he generally has a pretty clear idea of violinist employs may be proper and faultless, and his c istinguish between that simplicity which accompanies demand different processes of education. They may your unseasonable magnificence. These are defects keyboards are almost identical, the difference being the requisites of success. He knows, or those who style may, nevertheless, have great faults; it may be true genms and which is compatible with every style, be used to assist the other ; further, the organ, through not so much in point of style as, what is much worse, in the tone. Very satisfactory results may be ob¬ guide him know, that success is rarely attained by hap¬ dry, or stiff, or feeble, or affected. Style has always O at Which IS no other than carelessness and Sloven¬ its many varieties of tone, opens up the possibilities hazard or spasmodic effort. He knows, as do his some reference to a person’s manner of thinking. It tained from organ practice as regards clearness, and of orchestral music, such as score-reading and play¬ es eSS«r in^opd, the distinction is easily made from touch. The sustaining pedal on the piano is a source relatives and his friends, that the road to success is is a picture of the ideas which rise in the mind the effect produced. The one never fails to interest ing from the full score, which in the end is the BE COMMANDING. of much confusion to the young student; as the ear necessarily slow and frequently painful, and that Hence, different artists have peculiarities of style n audience, the other is insipid and tiresome. supreme test of musicianship. however favorably Nature may have endowed him, suited to their different temperaments and genius. To be a violinist, in the proper sense of the word, is responsible for our playing, if it is trained to listen The Fiery Style. Any instrument may be studied in connection with he cannot reasonably hope for success if his aspira¬ All the qualities of a good style may be ranged is far from being either a common or an easy attain¬ to the clear, unsympathetic vibrations, such as the the piano, and such study will not only prove benefi¬ The fiery and bold style implies strength. It is not, tions are not founded on patient and long-continued under two heads—intelligence and clearness. For all ment. Indeed, to perform a “display” piece is a organ pipe gives, when one comes to the piano one cial, but will result in a more cultured, intelligent and oy any means, inconsistent with simplicity; but its matter very difficult, but, though some praise be due will tty tp get as near these effects as possible. It appreciative body of performers.—IV. D. Armstrong. THE ETU PE The farm to which the family removed was called

p , ,ke best of parents, for there were no blyTof their own ages in the neighborhood for play- THE ETUDE 739

“tMs was not much of a loss after all, for while each player and five to the table, picture side up; “Why do you do this?” her mother would often ask, they helped the father in the work of the farm, he part’ too?” Now see if you can find out then we call Wallialla. Beginning at the right of the and Mildred would always make answer, , , told them many interesting and useful facts about the dealer, play in turn by placing a block on the table, While all of this that 1 have told you, has been hap¬ "I am making up for the time I ought to have been habits of beasts and birds; the growth of plants and pening, and much more, Robert has grown to be a which, together with one or more of the blocks al¬ practising in the past.” ready there, will complete a picture. The player who flowers ■ the stars in the heavens, and in the winter young man twenty-three or four years of age He And mother was delighted; but grandpa was more evenings they read and studied, though all the light completes a picture takes the four blocks, which is a than delighted and it was truly wonderful to see how has always been very poor—sometimes even having trick. If the player has no block in his hand to tliev had was a candle. Their mother, too, was always to borrow meal for his porridge, and he is now so dis- many bags of candy he left upon the piano that she ready to tell them Scottish legends and ballads, of match those on the table, he must place one of his couraged that he makes up his mind to leave his native might have them to enjoy during her practising, and which she had a large store, and so you see, they blocks on the table with the others. When the many a night would he add this compliment to his were very rich in home love although poor in money. blocks of any player are gone, deal again, one block at In the West Indies many of his countrymen had goodnight kiss to her, “I think that it will be my little Now, this good farmer and his wife worked hard a time, until all the remaining blocks are dealt; do found employment, so he decides to go to Jamaica but Mildred, after all, who will keep up the reputation of and saved all the money they could spare to send not deal any to the table. If at any time there are the Hammonds. You have surprised us all with the bers of The Etude Club will need to grow older and action? Seek information about Schroeter, a German where will he get the money for his passage? Robert to school. There were no schools then in no blocks left on the table, the next player in turn faithfulness of your practising.” larger before they will be able to play his music, as musician and Father Wood, an English monk. What In his despair, he asks some acquaintances to read Scotland where any child might go,, as we have here places one there and starts the game. The person he has written but little music for the piano, and features of their work were new and practical, even his poems and see if they think them worth any “But do one knows of the real surprise that is in in America, but Robert’s father, together with a few completing the greatest number of pictures wins the arrangements from his orchestral .and operatic works though they were not first in the field? money. They are read with delight, and are sent from waiting for grandpa.” said Mildred to herself with a neighbors, found a teacher who was willing for a very game. are complicated and difficult. How did the early musical critics write of the one to another, and finally to a great literary critic quiet little laugh, will not know until Thanksgiving. small sum of money and his lodging to keep a school If any player discovers a mistake, he cries “Wal- Like the ma'jority of the great composers, for he piano? What of Silbermann, the German instrument in Edinburgh. He is invited to go there, and is re¬ Now Thanksgiving was celebrated at the old Ham¬ about a mile from Robert’s home. The books he lmlla” and the player who made it forfeits his picture. surely ranks in that class, his musical disposition early maker who submitted pianos to J. S. Bach? What ceived with much honor. His book of poems is sold mond homestead, where it had been for the past two manifested itself. He was born June 11, 1864, at did Bach say of his instruments? Name any promi¬ had to study were very few, but he learned everything After the pictures are all made, there will be some or three generations. Since grandma had died and and he dines with scholars, visits lords and dukes’ little player who is cast down because he hasn't made Munich: his father being a horn player in the orches¬ nent early makers of pianofortes in Europe. Next to inside their covers. and is called “Robert Burns, Scotland's bard.” grandpa had come to live at Mildred’s city home, a At fifteen, Robert’s school life was finished. His a picture, so, for his benefit, we continue “Walhalla” tra. Richard was only four years old when he began the sounding board, strings and hammers, what is the He accepts all of these honors with humility and few miles distant, the great square farmhouse had father needed his help at home. He was stout and in this fashion: Have the victors place their pictures to play the piano. At six he composed a little polka important part of the action? Speak of the addition now that the sale of his books has furnished him with been closed for the winters, serving only as a summer strong, and could hold a plow as well as any man. before them, then as in the foregoing game of “Cap¬ of pedals to the piano. How does the damper pedal the means to do so, he starts on a tour of his own home, for all of the Hammonds who cared to convene But although school days were over, and he must labor tured Composers,” have some one play themes from affect the action? What is the action of the piano country. there during the hot weather. It would always be from early morn till late at night, opportunities for some well-known compositions by the composers whose open upon Thanksgiving Day, with great roaring fires or “soft” pedal? IIow does it work in the grand, in In the cities that he visits, he buys books of songs the upright, in the square? Which form of piano is mental improvement were still his. He borrowed pictures have been built. The first one to recognize in the generous fireplace, and a savory dinner cooking books and read them on his wagon seat. He formed a and music of all description. In the country, he the theme steals the picture of the composer whose preferable, and why? Why is the upright the most listens to many songs and dances that are not to be in the kitchen, which was itself about as large as a club of boys for the purpose of learning to use good composition is played. Play from the larger works of small sized house. popular form? For what reasons have manufacturers found in books and these he writes in a book of his discontinued making the square form? Name a cele¬ English in conversation, and always kept in his heart the masters, from oratorios, symphonies and operas.— Upon this year there was a full score of Hammonds, a wish that he Jo. Shipley Watson. who gathered for their Thanksgiving festivities in the brated French manufacturer of pianos. Prominent Now do you remember the book of songs which English manufacturers. old homestead, and I think that I am perfectly safe Robert studied when a boy? If you do, you will see Who do you find was the first maker of pianos in “For poor auld Scotland’s sake, in saying that Mildred was the happiest of them all. how he now came to know more about the music of “I just won’t practise America, and what year? Where was the upright Some useful plan or book could make. his country than any man of his time. Many of the She was likewise quite a tconder to them too, for she piano first made? What cities have held the palm in MILDRED’S THANKS- any more, and I won't, and airs had no words, and for these he wrote his own. had brought her music roll, and all had long been America as centers of piano making? Who was the Or sing a song at least.” GIVING SURPRISE. I won’t and I won’t.” aware of her dislike for practising. All the rest of his life—for nine years—Robert first of the great piano makers in this country? When Mildred Hammond gave After the dinner had been eaten, all gathered in the did Jonas Chiekering begin his work, and where? The Scottish peasants, to which class Robert's Burns spent in writing songs for “poor auld Scotland.” a final pound to the keys of her piano, using all of One of them “Auld Lang Syne” has sung its way parlor for their usual chat and Mildred took her place What gave his pianos precedence in early years? family belonged, were fond of music, and his school¬ her fingers in so doing, and sped to the alcove in the at the piano. Presently, as there was a lull in the When did Theodore Steinway begin his work, and master had taught him much about the notation of into all hearts. At any party or gathering of people, further end of the drawing-room, which was next to young or old, it is the most familiar guest. Though conversation, the piano sounded. The child was play¬ where? What elements keep the Steinway piano in it, that is, the meaning of the clefs, the signatures and the library. She took a book from the table and ing grandma’s favorite piece—was playing it with the the front rank of artistic instruments? Name at the time values of notes. Old hymn tunes he heard invited last, it takes no offense, but comes cheerfully began to look at its pictures and forgot for a while in asking, “Should auld acquaintance be forgot?” touch of a finished artist—even with an inspiration least six other first class instruments. (The next sung at church on Sundays, and also at their family the disagreeable practising and the rebukes which she which unexpectedly came to her at the moment. All essay outline on the piano will treat of the develop¬ It is said to be the best known of any secular song would surely receive from both her mother and from in the English language. were spellbound and the tears trickled down the face ment of piano playing as demonstrated in the work His favorite book was a collection of songs and this Miss Webb, her teacher, because of her neglect of duty. of grandpa. . he used to pore over as he walked to his work or drove Robert Burns was the only poet of distinction whoever Presently she heard her mother’s footsteps in the As the music ceased he was standing by Mildred’s WORKS SUGGESTED FOE CONSULTATION. his cart. lie sang them over, song by song, until wrote verses for pre-exisiting music—that is for music library, then her grandfather’s voice. He must have that was already written—though music has often side. “You have kept up the glory of the Hammonds,” Hipkins’ “History of the Piano.” Gates’ “Pipe he knew every bit of them. He looked carefully at been there, without her knowledge ever since she had he said softly. and Strings.” Rimbault’s “The Pianoforte.” Fanny each verse, noticing the really good and noble in it, been written for the verses of great poets. been looking at the book. “And no Hammond ever worked harder on their Morris Smith, “A Noble Art.” Spillane, “History of and you will see, before we have finished our story, He died in Dumfries, Scotland, on July 21, 1796. “Isn’t this Mildred’s hour for practice?” he asked. music than I have, that I might do my very best on the American Pianoforte.” Naumann’s “History of how all this helped to make his wish “come true." “O dear, yes,” replied Mrs. Hammond in an impa¬ this piece for this day; and, grandpa dear, I did it all Music,” Yol I. Articles in Grove’s “Dictionary of Robert was in his sixteenth year when it became “Masters in Music.”—The object tient voice, “hut I can’t do anything with the child. for your sake.”—Alice May Douglas. Music,” and in the “Encyclopedia Britannica” and necessary for the family to make another home. The TWO GAMES, of the following little games is to She determined that she just will not do her prac¬ other works of reference. land on the Mount Oliphant farm was poor, and all tising. She will plan to be off with the girls at this familiarize young pupils with the A novelty that will in C major, later, songs, piano pieces, sonatas, and their hard labor could not provide them with sufficient hour, or to have them here or something else, and I faces and the music of the great composers. PINS AND interest the readers of an overture, all before his serious higher education food. They lost their crops and finally the kind- From the penny picture collections procure as many can’t do a thing with her.” CUFF BUTTONS the Childben’s Page, commenced in the gymnasium, where he spent the hearted friend, who had advanced the money with pictures of famous composers as possible. We have “I ought not to have set my heart on her too much,” years 1874-1882, going to the university for two years which to stock the farm, died. sixteen from Bacli to Verdi. Cut off the margins and said the grandfather, and Mildred knew the dear old FOR LITTLE MUSICIANS. 8nd teachers of ehiI- after that. Our young readers will see that although Many, many years ago, At Lochlea, their new home, fortune seemed to . . dren has lately came AULl) LANG SYNE, there lived in the western names, paste the pictures on stiff cardboard and cut man well enough to realize that his words could not he had a most remarkable genius for music his general smile upon them for a time. The father was able under our notice, in them diagonally from corner to corner, making from come in such sad tones if tears did not come at the the form of a scarf pin, breast pin and cuff buttons, education was fully provided for, a plan that can not part of Scotland a very poor to give Robert and his brother small wages for their man and his wife. Their little cottage was built of each picture four triangular blocks. Smooth off the same time to his eyes, “another one of my disappoint¬ containing a musical rebus and the following senti¬ be too carefully followed by parents today. During services and in a couple of years Robert had saved edges with sandpaper and you are ready to play the ments—another, another.” his gymnasium and university years he kept at his clay, with peat covered roof, and they walked on floors ment “Never B flat, sometimes B sharp and always B of clay. enough to attend a noted school, at some distance first game. “O, don’t say that, father, don't, don’t. composition, a number of the pieces being given under from home, in a sea coast town. Here he made many natural. ’ They are made in sterling silver, enameled Robert Burns, their son, was born on the twenty- Place all the blocks, picture side up, in a pile in the “But it is tiie truth. I’ve tried my best to interest in black. The prices are low, so as to be in the reach his direction. friendships among his schoolmates, and when -lie re¬ fifth day of January, 1795. When he was only a week center of the table. At the word “go” let every child every one of the children in music and to no purpose. of all children, or of the teacher, who wishes to offer turned home they promised to write to each other, old, a howling storm beat in the roof of their clay dive into the pile to see how many pictures he can All my grandchildren have talent enough. They just as you would do if you were away at school. prizes for good work; scarf pins, 20 cents each, breast In The Etude for house and drove them, with their baby boy, out in the build in five minutes. When time’s up each player would not lie Hammonds, if they did not: but they just how a part of Robert Burns’ wish was that he "a puis, 40 cents each, cuff buttons, 60 cents per pair SUGGESTIVE OUTLINES October, Mr. Gates gave cold, at midnight. will have at least three or four composers. The game will not give the time to their lessons that is needed. useful book could make.” and so each letter he wrote, The publisher of The Etude can supply these pins to FOIt MUSICAL ESSAYS. short outlines for the Robert's father was a very poor man and was is not over; the fun is to come. When the leader, I really thought that Ivittie’s boy would save the clubs and teachers. he toed to make better in some way-more entertain- use of young students employed as an overseer or gardener on a large farm. usually the teacher, plays some familiar compqsition reputation of the family, yet he hasn’t touched the ng or more perfectly expressed than the one before. of music. These little compositions or essays will be Day after day as he labored for the owner he tried from each composer, the one who is quickest to rec¬ piano this summer. My whole heart was set on Robert and his brother were great friends, yet he very helpful to the children. Nothing impresses facts to think of a way to have a farm himself. At last ognize the melody grabs the composer, whose compo¬ Mildred. She is my sister Mildred’s girl, as far as P‘ secret from him a long time. “The “secret” upon the mind so strongly as the writing of them. he heard of one which he might lease, but he had no sition is being played, and adds the captured picture her looks go, and I hoped that she would have sister’s Hunting facts in books teaches children how to use money to buy plows and spades to turn up the ground, Ifter! C 6 written some verses ; but one Sunday to his collection This is very exciting and some¬ love for mnsie. Two or three generations back the books, particularly indexes, and selecting such points ■ —— - lueas are panic or seed to plant in it; no oxen to drag the plow, or told rT’ eS .thPy Wcre waIkinS »n the fields. Robert times ends in the upsetting of tables and. heated dis¬ Hammonds were the finest pianists in the State; and iarly helpful to other teachers. as bear on a particular subject. We do not doubt cow to put in the pasture. o him r na * them- and coated some of them cussions about the compositions played. The one who that public school teachers will accept these little The Young Musicians’ Perseverance Clu Robert was now six years old. The little house i V COuId hardly believe that his own captures the greatest number of composers wins the The old man could' say no more.. Mildred heard her pupils of Miss Edna B. Jackson ; meets twice a montl essays for the regular composition lessons. mother’s footsteps and knew that she was drawing was getting full of children and the' parents were praisednraised themXL highly. them’ thay -re sh fine, and he Prize. For this game, which we call “Captured Com¬ prizes are given for biographical sketches of the grei growing anxious about getting food for them to eat, nearer to grandfather to comfort him. Poor old After this, Robert v posers,” we have played the following compositions: composers. OUTLINE FOE HISTORICAL ESSAY ON THE PIANOFORTE. and books for them to study. s always putting his feelings man—the musical glory of^the Hammond family was and observations i Music Lovers’ Club, pupils of Miss Adeline Keei Now. the gentleman who hired Robert’s father was Melody in F..Rubinstein the darling of his heart—the one thing of which he Spring Bong.Mendelssohn motto, “Love Our Music;”, colors, pink and green II-—The Development of the Instrument. not only a man of large estates, but of large heart as e " '3 day’ as be and his brother thought from morning until night and the one thing ■ meets once a month ; studies ear training exercises, tl well, and when he was told about the ambitions of this Ode to .Toy (9th Symphony).Beethoven of which he cared to converse. whose,se P nestnle had “?*"**’been a frightened little „ Largo.Handel lives of great composers, and uses musical games. First appearance of the word “piano” as applied poor couple, offered to lend the money with which to As soon as the two had left the library, Mildred across their path by the p,ow’ 1 Junior Etude Club, pupils of Miss Agnes Hinchi to an instrument. Early instruments called piano e stock the farm. This offer they were very glad to r,oem_wrr. * Robert wrote a beautiful little Andante (from Surprise Symphony).Haydn returned to her practising. “I hate it as much as wood seventeen members; motto, “Don’t be Satisfie forte. The distinguishing feature of the piano is the accept, and they went away to their new home with cou?7t read l Mouse” which of course the mouse Funeral March.Chopin ever—-this detestable practising” she said, “yet I will with Anything but your Best;” colors, red and white application of a soft hammer. Invented by Cristofori. great happiness and hopes of prosperity. Serenade.Schubert be a fine pianist, just to please grandpa. Dear, good Robert Burns’ p^mT “ y°U h8Ve 8 V°lume °f flower, carnation: program consists of solos, essa' Pilgrims’ Chorus.Wagner soul, didn’t he buy me this lovely piano for my last reading from a child’s history of' music and Tapper Tvaiimerei. Schumann birthday, and hasn’t he always given me everything P irst Studies in Music Biographymeets twice Lullaby. Brahms that I ever asked of him?” ^ Hi Invention.Bach month; fine of five cents for non-performance of dutic That day Mildred practised not only her customary assigned. Air (from II Trovatore).Verdi hour but an additional half hour. The next day she Etude Musical Club, pupils of M. T. Fournier devoted two hours to her practising, and the next, and “WAr.HAtXA” is tlie name of our next game. Let meets twice a month : colors, garnet and white ; studie the child at the end of the table deal five blocks to also the next. the lives of composers. 740 THE THE ETUDE 741

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hall: 12-14-16-18-20 D. 6. BETZ, Principal, Box 441, ADA..OHIO WTLE CREEK, MICH., U.S.A. if The Etijde. BARGAIN IN POST CARDS. Sei s for 25 assorted post* cards, consisting of . Leather, thanksgiving, Christmas, Birthday, N^.. ■—,-Landscape-- and Comic. No duplicates. A much better assorti Boston School oi PianoTuning HjjSO cents. Quaker City Post Card Co., 1739 Philadelphia. It 7X1. __ „ “GIVE ],. W dealers^ hroughout_ thf Song, 25 cei CH A S. P? D 0IA N !d i r 10 rF o r n gheny, Pa. For Brain Workers ouugs or i.ove, oeugut swgcio auu ^ —* * ■ «o^ cents postpaid. Niles Publishing Co., Bridgeport, Horsford’s Acid Phosphate A UNIQUE. PLEASING AND USEFUL gift Hand- Strengthens the exhausted and confused CENTRAL SCHOOL OF PIANO TUNING Painted Calendars for 1907. Price, 10 cents each. $1.00 brain, relieves nervous headache and induces - SHELBYVILLE, INDIANA- St Ph" postpaid- Be°j- Soby & Co” 1306 Clementine CORRESPONDENCE INSTRUCTION OUR SPECIALTY. Successful Grad refreshing sleep. A wholesome tonic. constilute the most THOROUGH

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piece, xl is ail particular interest in view of Schu 742 THE ETUDE mann’s well-known habit of composing invariably with some definite pictorial or poetic idea in mind Special Notice to Piano Teachers Godard’s “Postilion” is a fine specimen of program HE SHEPARD SYSTEM provides an Element often lacking in Music Study—the development of "WILL, DETERMINA¬ little need of indulging in the lighter vein; but one of T music in the modern French manner, the gay bit of TION, PERSONAL FORCE-the most potent factor of success. Adapted, and may be added to any method ; learned in EUROPEAN MUSICAL TOPICS. his songs “Kin Jungling liebt ein Mudche::, is , . * £ew lessons. This POWER TO INSPIRE THE BEST IN EVERY PUPIL is distinct from Musicianship, and a REVE¬ verse accompanying the title to this piece furnishes LATION TO ALL WHO STUDY IT. Taught personally or by mail. Summer course at Asbury Park, N. J. Booklet. remarkable as being almost the only musical picture of Mexico-St. Louis Special BY ARTHUR ELSON. the key-note to its interpretation. It is decidedly A TEACHERS’NORMAL PIANO CLASS, covering these principles. First lesson and free Demon¬ irony, the mocking anger that rails at the ludicrous pictorial; the galloping of the horses, the crack of the stration Recital, Saturday, November 10th. A HARMONY LECTURE CLASS. Practical, Simplified Tn the journal of the International Musical Society, decrees of fate. .... Harmony, Ear Training and Analysis, for Pianists, Singers and Teachers. First Lecture, free, Nov. SECOND SEASON French composers, too, are not lacking in musical whip, the call of the post-boy, the song of the lover 10th. Circulars. Donald Francis Tovey continues his writings on Bach and the final dying away in the distance, are all HARMONY BY MAIL. Simple, Practical, Rapid. Specimen 1( on. “Harmony Simplified,” loth Ed. “On approval.” with examples of that master's humor. He limits humor • as may be seen from Gounod’s droll “Funeral March ’ of a ” Marionette.” Saint Satins also has indicated. This piece, when well played, will prove SHEPARD SCHOOLS OF MUSIC 828-9 Carnegie Hall, New York himself to the notes, however, and neglects the well- a most successful recital number. The four-hand number Via Iron Mountain Route produced many bizarre effects, in his “Danse Maca¬ known “CofEee-Canta a,” in which a young lady insists is Brahms’ “Hungarian Dance,” No. 2, one of the bre”—Death tuning up his fiddle with a discordant Texas & Pacific on neglecting her duties for the “Koffee-Klatsch” (an finest of this celebrated set. This number must be diminished fifth; the dance of the skeletons, with the International & Great Northern institution not unlike our modern sewing-circle) and played with fire and freedom, the arrangement, will yield to her father's objections only on his solemn xylophone portraying the rattling of ttieir bones; and For Piano Students use THE ETUDE for the cock-crow, on the oboe, which brings the wild although thoroughly pianistic, nevertheless requires and National Lines of Mexico promise to get her a husband. orchestral sonority and variety in tone color. KursheedrsHAND EXPANDER The humor of the great composers, as shown in revelry to a close. CHRISTMAS GIFTS Tuesday, November 20th, will mark their works, forms an interesting subject. Haydn’s Wagner's sense of humor compels unbounded ad¬ miration, and as shown in his librettos is worthy to the reinstatement for the second season well-known “Surprise Symphony” is a notable ex¬ fJThere is no better Holiday Gift for music of the deservedly popular semi-weekly ample, soft and tender passages lulling the auditors rank with that of Shakespeare or Aristophanes. This SELECTING ETUDES. modern train service, the MEXICO- lovers than a year’s subscription for The into a sense of peace suddenly interrupted by a blow is especially true of the “Mastersingers,” which makes Etude. It is a constant reminder of your ST. LOUIS SPECIAL, running solid a superb comedy without a single note of music. BY MORDAUNT A. GOODNOUGH. between St. Louis and City of Mexico. on the kettledrum. It is claimed, though not proven, thoughtfulness. A dollar and a half can¬ Superb new equipment will be furnished, that when Prince Esterhazy intended to dismiss Ilaydn But the score, too, is full of delightful passages. not be invested where a greater return will Composite Baggage and Library Smoker, and give up his orchestra, the composer wrote a “Pure- Beckmesser’s ludicrous serenade with the hammer of The primary object, in the majority of cases, in be given. Think of the music value alone— Dining Car, one 14-section Drawing well Symphony,” in which one player after another Sachs for accompaniment, the confused themes of the giving etudes to pupils should be the cultivation of 140 pieces each year. Room Sleeper, one 10-room Compart¬ finished his part, put out his light, and departed. riot scene and the discordant horn of the frightened technic. Of course, for special purposes, it is often 9 Send the subscriptions early, and we will ment Sleeper, one 10-section Observation When the final wails of a solo violin had died away, watchman, the fierce blast of pain when the beaten advantageous to give studies dealing with purely musi¬ mail an appropriate notice and the Decem¬ ber number free to your friends—13 months Sleeper. Train leaves St. Louis at 9.00 the composer turned to the prince and said, “This is Beckmesser tries to sit down, and his terrific efforts to cal effects, but in reality etudes of this sort are pieces a. m., Tuesdays and Fridays, reaching as a heaping measure. our last farewell,” whereupon the latter revoked his recollect the prize song, are a few of the many ludi¬ and should be classed as such. On consideration, it the City of Mexico at 8.30 p. m. third 90ur club prices are harsh edict and recalled his musicians. crous touches. The prelude, too, with its conflict be¬ will be found that quite a number of etudes in general day, a run of 60 hours. 1 subscription.$1.50 Mozart, so full of sparkling humor in his operas, tween the hide-bound theme of the Masters and Passengers willbepermittedto remain use are nothing but pieces, to which fact there is no 2 subscriptions. 2.70 Walther’s inspired measures, is another example of in sieepers until the next morning upon made a more purely instrumental joke in his “Musi- objection, providing they conduce to the mastery of 3 subscriptions.3.75 arrival in the City of Mexico, and pas¬ kalischer-Spass.” This is a picture of a young and the highest humor. some difficulty. True, many pieces may be used as 4 subscriptions. 5.00 sengers who leave the City of Mexico on untried composer attempting something great. He And now we have Stranss, the great, the wild. As etudes and vice versa, but in the main, a piece-etude 5 subscriptions. 6.00 the 7.15 a. m. train returning may board begins in ambitious fashion with a fugue, but the the poet says: or an etude-piece does not cover the ground. train during evening prior to morning of flYou may include your renewal, no matter parts gradually become tangled in hopeless confusion, “O, it is excellent The 2nd, 3rd and 4th years of a pupil’s study period when it expires. Premiums are allowed on departure. Write for literature and time and as a last resort he covers the whole with the blare To have a giant’s strength, but it is terrible table to any local agent, or to is the time to lay the foundation of a technic that all over two subscriptions at the full price. of horns and trumpets. To use it like a giant will last. Hence the etude training should aim prin¬ Write for the Premium List. H. C. TOWNSEND Rossini once revenged himself on a tricky theatre and we may even suspect the composer of laughing cipally at technical facility, so that the latter will, as Oen’l Pass’r and Ticket Agent manager by writing for him a “freak” score, “I due in his sleeve as he surprises and stuns the public with it were, become “set.” Czerny’s studies are model St. Louis, mo Bruschini.” The orchestral players were made to in¬ his tremendous orchestration. But he, too, can write ones, because each figure is carried out with such com¬ address THE ETUDE dulge in all sorts of antics, tapping their lamp shades, with inimitable satire and humor when he wishes. pleteness and with so many repetitions, while at the drumming on their instruments, stamping their feet, 1712 Chestnut St., Philadelphia, Pa. Witness the drollery of “Eulenspiegel,” the kaleido¬ same time one does not get tired of them, unless he is and so on. The soprano sang as low as she could, scopic pictures of “Don Quixote,” and the cackling, in that condition before he plays them. 10 Bleecker Street, New York City, N. Y. while the basso was given the high passages; and the snarling themes of the hero’s enemies in “Ein Helden- The earnest student will find Czerny’s etudes more STOP THAT PAIN liveliest scene of the play was suddenly interrupted by leben.” With this most recent example we may well interesting, at the close of a week’s practice, than the introduction of a funeral march. It may surely admit that a little nonsense is relished by the best of many others which sound so “catchy” when first played THE TEN YEAR F* E N “VIOLIN be inferred that at least one manager ordered no more men in music as in other vocations, and that nearly all Entirely New Thing In Pen Construction. No Dropper Required new operas from Rossini. over. Any composition which soon becomes tiresome the great composers have been great humorists. TONE-PECULIARITIES” Beethoven’s humor possessed a strong, brusque and sickening, under the grind of daily practice, is character, reflected in the scherzos with which he not well adapted for purposes of instruction. Czerny’s replaced the symphonic minuet. Yet he, too, has EXPLANATORY NOTES ON OUR MUSIC melodic, harmonic and rhythmic devices have a charm Bi^hteen tectures before the Mythical "Violin Student of their own, if executed with brilliancy and smooth¬ indulged in fanciful tone pictures, such as the well- PAGES. ofValu7toUanSwho wOTld^mak^o^t Successes_Facts known festival in the “Pastoral Symphony.” The ness. This desideratum (brilliant execution) can not taeabette°r.a ^ONTISPIECE? ffidicauSI fb^shajng) Experimental Graduation for Evenness of Tone-Power, village band, with its drunken bassoonist, who has In deference to many requests a number of easy be reached if the pupil is given work too difficult for Fifty years devoted to Tone-Production and Modification— him. The other day a pupil came to me who had conclusions of value to every violin-owner, music-lover and only three notes left on his battered instrument, and teaching pieces are included in the music pages of philosopher. who plays these with full force whenever he should, this issue, in addition to the well diversified selection nearly “finished” Czerny’s “Art of Finger Dexterity” CLASS PINS under a prominent local teacher; as I expected, the PRICE, $1.50, POSTPAID, (Personal Checks 10c extra.) and once or twice when he should not, is familiar to all of pieces of various grades and styles suited to more Special designs for musical clubs and classes. For descriptive literature and testimonials address the concert-goers. The comic song, “Urian’s Trip About advanced students and players. The first grade pieces work was two or three years beyond her. Dozens of Write for illustrations to the manufacturers. author. DR. F. CASTLE. Lowell, Indiana. the World,” represents Beethoven in another playful are De Reef’s “Robin” and Bergthal’s “Soldiers’ times I have put the pupils back several grades, where BENT & BUSH VIBRATOR is stro they belonged. pfiysicians. Full directions with each March.” The first named has a pleasing text, render¬ 15 School St., Boston, Mass. Satisfaction guaranteed or money refund But Beethoven was angry at times, too, and his ing it available either as a little song or piano piece, Admitting many splendid exceptions, it may be said for booklet. MAILED, POSTPAID, ONLY temper made him an easy victim for the shafts of as a rule that composers can not produce first class LESLIE'S QUARTETTE GEMS W8H or for kindergarten purposes. The “Soldiers’ March” One of the most practical male quartette books published. AGENTS WANTED. the more mercurial AVeber. Beethoven, in his day, was Address A. D. COOKE is a characteristic piece suited to small hands, its etudes and have them as varied and interesting as I n!ukifaln» J H6 vanety Choruses, Glees, Serenades, Room 228 Mint Arcade Bldg.. extremely bold and radical in his use of the different bugle-call motive giving a decidedly martial effect. pieces. The first thing to look for, then, is utility, TBc— LuIIabys and Humorous Songs, all good and singable: instruments, a quality that earned him the title of The second grade pieces are Heinrich Engel’s “Way- after that, well sounding quality. AA’e find both of average^voic^ Send*1 f o^^cc^^now16 compass of the the “liberator of the orchestra,” but laid him open to side Flowers” and Barlow’s “In the Smithy.” “Way- these in scores of charming etudes by Loeschhorn, PRICE, POST-PAID^ SO CENTS much criticism. After he had written a furiously side Flowers” is a melodious “song without words" Jensen, Cramer, AVoIff and many other composers. OLIVER C.E. LESLIE MUSIC CO,, 225 Dearborn Street, Chicago Christmastime Songs and Carols difficult passage for the contrabass at the end of his affording opportunity for the study of expression and The strong point of using a graded course of studies For Old and Young Together fourth symphony, Weber satirized him by representing for the production of the singing tone in either hand. is found in so many different composers being repre¬ Words by Edith Hope Kinney Music by Mrs. Crosby Adams an indignation meeting held by the instruments in the In the Smithy” is a piece of the descriptive order in sented. However, nearly every pupil will need supple¬ T^pcWri-tcr CHRISTMAS a&SKS CONTENTS. empty concert hall. After the departure of the w uch the clang of the anvil and the cheery song of mentary work, especially along the line of Czerny’s CANTATAS Christmas Eve. Songs of the Night Watches players, they began to air their grievances, and protest the blacksmith are distinctly indicated. The interpre¬ etudes. Liebling has compiled and edited a splendid Giver.—Fred Fillmor. ; All new. All fo^ciildren ^"lutOrahr ufj" against the hardships that the cruel Mr. Beethoven tative demands of this piece place it in the advance selection of these studies. His editing is usually forced them to undergo. One by one they uttered their second grade. good, because he employs slurs and staccato dots in ^SKSi^®***?*^* complaints, and evoked a chorus of indignation, until FILLMORE MUSIC HOUSE. Cincinnati, 0, or BIBLE HOUSE. N. Y. Gnrhtt's “Joy of the Hunt” is an early third grade such a manner that one is never left in doubt as to finally the contrabass arose, and remarked gravely, Piece full of vigor and go. Attention is called to the the phrasing. Glory to God in the Highest “Your troubles are of little account, and easily borne; analytical notes by AY. S. B. Mathews accompanying (3 voices) but think of mine! Instead of letting me act in a this piece I ranklin’s “On the Levee” is another For CHRISTMAS GIFT The Christmas Tree c Christmas Morning staid and orderly manner, suited to my dignity, this thud grade piece- of highest character, and with the Yesterday 1 heard an old driver call to his horse: Circling the Tree (piai unbearable tyrant makes me jump and skip and run Ssssrassass notturno Santa Claus Greeting: Song-Merry, Mer- true plantation coloring. It should be played with “Say, there, git up and git!" then in louder, more about in the craziest manner, just as if I were a giddy By CarIG. Schmidt All Booksellers Price, $1.00 vim and abandom. Kern’s “Mountain Echoes” is a strenuous tones, he yelled in desperation: “Go on, go THE STANDARD VISIBLE WRITER young violin.” At this the tumult became so great EATON & MAINS, Publishers. 156 5fh Ave., N.Y. Children’s Song <2 settings) ‘ ,mg P,ece °f intermediate grade, affording on! Go on!” Worship Song—To Church, To Church that it brought the janitor into the hail. He ordered “That horse will get somewhere if he will but follow 25^ discount to teMhera ordering diroot from author,246 Hancock St, Brookly^ Bethlehem of Judea them to cease their disturbance, or he would get Mr. hriir * e n5lace notes and melody-playing. It is Universal Keyboard. Full nickel finish. brilliant and effective. Blon’s “Serenade d’Armour” is that advice,” I soliloquized. “I think I will try to Beethoven to write a new symphony for them ; and at The winner of awards everywhere. Art The Book, 43c, Postpaid. Crosby Adams, Oak Park, III. ‘go on’ myself, so that I, too, may get somewhere!” Single Song Copies, 5c eac this threat they became mute with terror. Catalogue Free. Ask for it. tvnf TMra'V'ng'1'00ni Piece of raaer more advanced Less than five minutes later I heard one girl call Mendelssohn appneciated the humorous qualities of nrpWf i°n a popu^ar German composer and Three Second Grade Pieces oichestral conductor. This “Serenade” is one of his sharply to another: “Hurry np! I can’t wait for you the bassoon, and many of his happiest touches were HOP 0 MY THUMB DING DONG DELL all day—I’ve got too much to do!” “I think it won t LITTLE BO PEEP made with this instrument. Especially noteworthy are nesTaend £‘°?i,'otiona’ K must be played with light THE OLIVER TYPEWRITER COMPANY Finely engraved and finger By E. BIEDERMAN IFYOUIff ANT TO EARN MONEY hurt me to hurry up. too!” and following my good 1 15 cents P the instances in the “Midsummer Night’s Dream” i . l ! ‘Caey’ somewliat in the orchestral manner, WALNUT AND TENTH STREETS, PHILADELPHIA, PA. music—the quaint clown’s march for two bassoons fnl ruments a<^P“*nent the effect of stringed impulse, I was amazed at nightfall to find how much ., 3600 Hamilton SL, Phila., pa in thirds; the funeral march of the country band, brought ; rnS pizzicotot- The melody is to be I had accomplished. with its comical cadence on a low note, and, in the Tdvanhol * r manner of a solo instrument, SUCCESS MAGAZINE, 6 Washington Square East, New York City overture, the braying of the transformed Bottom. eialiv will l S U ents’ an<* lovers of Schumann espe- Schumann, earnest romanticist that he was, felt htUe Jm >e ",Tatly interest(,d in Ms “Vision.” This Please mention THE ETUDE when address gem should become better known. 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N D-PAINTED d.WPEPPER^SXOCUOTTs PHIIADA.R■ L MUSICAL CALENDARS A SHORT CHRISTMAS CANTATA FOR YOUNG PEOPLE P The design^is NEW and NOVEL BALLADS^ Decided Hits BUY ONE AND BE CONVINCED ° m°re Mailed for lOceach Assorted $1.00 per dozen “SLEEP? NIY LITTLE BA^SLeI SANTA GLAUS’ PARTY BENJ. SOBY & CO., 1306 Clementine St. PHILADELPHIA By Chas. P. Shisler Wm^EL Gardner ^s&hack Z Sped

WEYMANN & SON .Publishers/ 92 >t. Phila., Pa. RUDOLF THALER 928 Fail-mount Avenue, Philadelphia, Pa (CORRECTION OF MUSIC MSS. fit Music Composed for all Styles of Lyric< and Subjects for Piano Solo; Melodie< A SPECIALTY Harmonized and Arranged for Publication 1715 t^?ERT w- borst Manuscripts Revised and Corrected. 1/J2-14 Chestnut Street, Philadelphia, Pa. mtion THE ETUDE when addressing t 747 746 THE ETUDE THE ETUDE NEW YORK MUSIC SCHOOLS

INSTITUTE OF MUSICAL ART

OF THE CITY OF NEW YORK estate valued at 53 Fifth Avenue, New York FRANK DAMROSCH, Director The British Mu ski logue of its Eugbn Gura, a famous Wagnerian Established and endowed for the education of serious students of music. Offers in August last, aged 64. all advantages of a European musical education.- Faculty composed of the most Sir Edward Elgar will conduct at Montreal, next spring. eminent teachers of Europe and America. Strauss’ Opera "Salome,” is to have a representation in Italy at Turin in December, Prospectus on application to the Registrar. Leoncavallo has written a new march called “Viva l’America,” Introducing American airs. Thirty-six concerts were included in the entertain¬ ment list at Chautauqua this season. Mme. Nordica begins a tour of forty concerts through the South and Southwest, in December. Wilhelm Gebicke, former conductor of the Boston \/ID C* II P 1 A N ° The School that Symphony Orchestra, will live in Vienna. An organ lately erected in a Berlin church is said to V mvJlL SCHOOL ¥ MAKES PLAYERS have cost about $25,000. It has four manuals. Valuable Special Literature Sent Free It Is said the Sir Edward Elgar’s honorarium for his 19 West I6th Street, New York assistance at the last Cincinnati Festival was $5,000. MRS. A. M. VIRGIL, Director Julius Hey, a noted German teacher of singing has left Berlin, and will i school for•— -*--*singers Munich.

ie week. The field is wide and ripe, t USICi A' Vou can learn mv method by correspon The Abb ft Perosi, director of music in the V jy Of " THE MUSIC TEACHER,” and th Choir, has written an opera in two acts based i fantastic Swiss legend. The Boston Symphony Orchestra will make a Drop your prejudices I DO IT NOW ! em trip in January. The total nuipber of concei ONEY TALI ESEN MORGAN, 1947 Broadway, New York this season is about 125. IN The German Emperor has set aside a fund f publication of a collection of G0U folk songs, wbich be sold at a low price. THE AMERICAN INSTITUTE OF APPLIED MUSIC About $2,000 must be raised before the amount (THE METROPOLITAN COLLEGE OF MUSIC) - r the -'-purchase c— birthplace is coi EDGAR O. SILVER, President. 212 West 59th Street, New York City. The bou a museum. THE FACULTY AND EXAMINERS 11-TEACHING PIECES-! I New, Melodious, Easy.Bj r,A„r VIRGIL The Conservatory of Music SCHOOL ON APPROVAL! cf MUSIC — sent on approval. S.t-Ssr “VALLEY CHAPEL” m wmm PI^YNO^VOICE^jyiOlllN ’ ^ ‘T;"T m

0, tlieov: inU"Musfc°al ^pSlS’1^' g^eTal' pubUc ADMISSION DAILY. Learn to Compose training of choir boys and Arrange Music SCHOLARSHIPS TAUGHT BY MAIL, SUCCESS¬ FULLY, PRACTICALLY, RAPIDLY A few partial scholarships in OR. 0. EDWARD STUBBS. 121 West 91s7 Si.. New York City Send z-cent stamp for trial lesson. Three trial les- Piano, 'Voice, 'Violin ra’ll succeed, you owe me nothing. You of Teachers Educated in Europe A Systematic Method of Leschetizky’s Tcchniaue from s, otherwise don’t write. Foundation to Finish. -[are YOU \ WILCOX SCHOOL OF COMPOSITION, C. W.WILCOX^Dir. Teachers9 Courses a Specialty ■DFCTFf77!rrTr7T?7TT7T7TT,T,,TTT",“—J Box E, 19 Union Square, New York City or "HILLSDALE MANOR,” Hillsdale, N. J„ U. S. A. Boarding Department Diplomas MARK’S CONSERVATORY of MUSIC 2 West 121st Street, - . New York.

GUSTAV L. BECKER The Master School of Vocal Mus CONCERT PIANIST, TEACHER, COMPOSER WALTER S. YOUNG, 108 Montague Street. Brooklyn. New York City A large proportion of Mr. Becker’s pupils are themselves VOCAL INSTRUCTION. VOICE PRODUCTION, DICTION, STYLE, REPERTOIRE. J. I Jenkins’ Sons Music Co. West 1 04th Street New York City 801-802 Carnegie Hall, New York. Mme. Sembrich i id Bispham 1013-15 Walnut St. KANSAS CITY, M0. TERM BEGINS OCT. ] Catalogues Please mention THE ETUDE when addressing our advertisers. THE ETUDE 749 748 THE ETUDE RECITAL PROGRAMS Pupils of Jfits Gor.se. Marche Triomphale We will conclude this month’s Round Table with : Mm'y But‘ Coquetti ff an article on Gurlitt; .... Music as a Task and Discipline. Melody of UJ5EACH FOR GREATNESS When the average child begins the first lessons in music, a task is confronted that is altogether different die liicjhest (liincjs of from any ever before attempted; a greater discipline Woll'enhaupt; Hunting Song, Mendelssohn ESTEY ORGANS for mind, nerves and muscles, a task calling foi Pupils life arc within llie roach steadiness and unlimited perseverance, and one that • ol all who are wisely teaches him from the very beginning so to train his nerves and muscles that they will answer and obey Are now manufactured from the little port¬ provided with RuBifoAm instantly his every command. Fortunately the child and a brush.This cleansing is oblivious to the magnitude of the task. man ; Tarantella. Pieczonka ; Reverie* v „ slant Devotion, Geibel; La Baladine (4 hds.),» Lysberg • “eond Mazurka, able reed instrument to the largest Pipe Organ Most pupils begin lessons at an age when they have ' ' ' ™||i -M"~h Hongrol antiseptic dentifrice insures not learned to think connectedly and logically. I ■ de Concert (4 sound,beautiful teeth and have frequently found it necessary to give formulae Pupils of Adelaide Whiting. and are made to suit the most critical musical fragrant breath.This means for thinking to small children. After learning the Military March (4 hds.), Schubert: Curios1 Story, staff, keyboard, time valves, and correct position of Heher; Japanese Do'l Swift; m a- Gondola,-- Heins;Heins’- Valse Etude, Wachs; Gypsy Rondo, .lanke:•lanke : Waltz Mel- taste and the most elaborate musical intelli¬ health, puri ty, refinement; the hands, they play incorrectly because they forget ? Jir sSnn Hi,ntlnves^ SPVTuTungmann3g,mann; ; NocturneN°ctume to think. The teacher must constantly rem'ind them in F, benumann, Hunting bong, Mendelssohnmdelssohn; • Hunter’s essential qualities lor success. Return, Rohde; Melody in F, Rubinstein;Mbinstein; Elfin Dance, gence coupled with the largest purchasing of first one thing and then another. Usually it is Jensen^™ Scherzo,^ Sc—5ot<^—- SymPhon^y.-.0 —Mendelssohn; Mendelssohn^ Slum^Slum- sufficient to say, “That is wrong,” and the error will ... Song, Heller; Sunflower Dance (4 hds) MacClv- mont: Farewell' to the Plano, Beethoven ; Duetto (song capacity. From $20 to $20,000 is something at once be corrected. This is indisputable evidence without words), Mendelssohn; Gipsy Rondo Ilavdn • RuBifoAm that the child forgot to think. It does no good for Polish Dance, Thoma; Scotch Poem, MacDowell; Bour- is always a lift toward the teacher to remind the child to be careful, to think. like the range of Estey manufacture. Sixty If the pupil can be taught to question himself in better living'xsasgrev, ils of Mrs. D. J. Keller. regard to each note before it is played, he will soon ft' Pad (4 hds.), Engelmann A Song at Dusk, Cadman years of experience in themanufactureof nearly 25 CENTS EVERYWHERE^" show a marked improvement in accuracy. In simple jer Hour, Boscovltz ; Berc_ isms: Sm-lng Serenade, Lacombe; Clover Blos=„, A/e/rarj; £.W//oyr n,, Krogmiviufi...... - — " yalaneho. Hel- Finest Conservatory in the West bound we grasp the knowledge that the fourth line ; Giants. Rogers: Valse Impromptu,_; Rail: Raindrops, “Used by all Up-to-Date Teachers” is d. I do not believe it. I believe that unconsciously Song, Spindler; Pleas; Krc-rogmann ;UElfentanz, Grieg: Al'legi Horvath; Vogel Detroit Conservatory of Music THE KINDER we continue to use those same old ladders. Similar s Prophet, Schumann - ”—T_ >indler ; Serenade, ChaminadeV VoTeTof"SpT’ing. Sinding: Musiral Letter, FRANCIS L. YORK, M. A., Director Adjustable Foot Rest and equally complicated mental processes take place Carl Grimm ; Ti-Aumerei. Schumann : Venetian Boat Song, in connection with the other questions. Mendelssohn; Tarantella (4 hds.), Saint baens. Pedal Extenders for the Plano Considering the amount of attention that is neces¬ sary in learning the vast number of details, before '"Hearts' M^f/Tds.), Tobani; DieNe.ke <4 The children who use them learn twice as fast and practice twice as much with half the exertion hds.). Rosewig: Fifth Nocturne Leybach; Danse dum one can even play the simplest pieces, is it anv wonder Orchestra Playing; Musical History and Lectures. P Foot Rest S3.00. Pedal Extenders $2.00 per set of two. Hanneton (6 lids.), Holst: Polonaise Militaire (4 nus ), that children stumble repeatedly and have to be con¬ Chopin: Last Idea, Weber; Schottische (4 hds.), Rose- Special disc f hy all first class music houses. Agents wan ted. sT'phantoin’s (4 hds.), Holst. learning fur stantly helped: There are some children whose brains Winter Term begins Nov. 19, 1906 PROSPECTUS FREE ON APPLICATION W. MARKS, 145 West Eighty-Fourth Street, NEW YORK are not adequate for the task. When it becomes p"PJ 9 of Ida. H. Shclleg. obvious that such is the case, it would be better that JAMES H. BELL, Secretary 530 Woodward Avenue, Detroit, Mich. one cease wasting efforts upon them._R. D. Book.

SUBSTITUTES BE OFFERED YOU TO WRhouf'Vorfs.^ltreahiiog: Scarf Dance Cham- INCREASE DEALERS’ PROFITS inaue • Gondoliers 14 hds) Reineeke : Hungarian Dance, University of Music and Dramatic Art INSIST ON HAVING THE GENUINE No. 2 (2 pianos. 8 hds). Brahms; Octave Etude Hoi- vath; Itando from Sonata in F major (2 pianos) mo^ tuition free, endowed. YOUR MUSIC IS TORN!!! The Musical Institution of the highest standing n Amer- CUSHION -j European Conservatories.giving^the most It will take one minute to repair it by using thorough ei HOSE BUTTON Picture. Grieg: Albumleaf, Grutzmachei , OP. y aim of the institution is results. Piano 31. Chopin; Le Reveil du Lion (Awakening of the Lion;, M01TDM-IN-PARV0 BINDING TAPE (2 pianos, 8 hds), deKontski. M^ievon Unchuld: Patrons include the most distin¬ 5-yard roll of white linen or 10-yard guished citizens of America and abroad. Dormitory at¬ roll of paper, 25c each, postpaid. 5UPP0RTER tached to the Institution. Number of pupils absolutely If your music dealer does not carry it SEND TO '"Etudef L0TwSCChopin; Concordantia <2 RianosL limited to 200. Second term begins Nov. 26th. Six Ascher; Lucia (2 pianos). Albert1 ; I A^rPofSeville months Post Graduate Course in Europe for gradu lids), Melmotte; Soaring, Schumann. Barbr dle Song, Send for booklet. MARIE VON UNCHULD. Presi Theo Presser, Philadelphia, Pa., 1347 L St. N. W„ WasI ’ ” ” or Multum-in=Parvo Binder Co., 624 Arch Si., Phsia., Pa. ti:.n THE ETUDE when addressing ct - Meyer;aSkEM Carnival Polka BTMTiti. (4 hds). Engelmann. ■*» w 750 THE ETUDE THE ETUDE 751 KINDERGARTEN MUSIC KINDERGARTEN MUSIC Crane Normal Institute of Music TEACHING PHILADELPHIA Normal Classes for Local Teachers now Forming The Oberlin Conservatory Correspondence Lessons for Teachers at a Distance DANIEL BATCHELLOR MISS JOSEPHINE A. JONES POTSDAM - - - NEW YORK 3128 EUCUD AVENUE PHILADELPHIA, PA. 50S Huntington Chambers, Boston, Mass. of Music

VEON SYSTEM FOR BEGINNERS THE PIANO SCHOOL,

AH music teachers are urged KINDERGARTENBurrowes AND PRIMARY—INSTRUCTION Course FOR TEACHERS of BYMusic HOME STUDY. to investigateStudy. this method. dress and a descrip-■ in- w______EASTERN ADDRESS, F 502 CARNEGIE HALL, NEW YORK 1CITY -le. K ATHA.RINE BURROWES, western address, f 47 parsons st„ Detroit, mich.

DUNNING SYSTEM OF IMPROVED MUSIC STUDY FOR BEGINNERS

YS AYE’S pupil-ROSSI gisch, is pupils for VIOUN STUDY beginning September 15th at her Philadelphia Studio. Ysaye says: "She is the most successful pupil I have ever S3;cSS,iJSTIS',,C1S SSfUZ&STS had; the only one who successfully interprets my own theory; me the only pupil who expounds the violin as I do myself." . For early engagements, address ROSSI GISCH, Care of The Etude. PHILADELPHIA THE OBERLIN CONSERVATORY OF MUSIC offers unusual advantages for the study of music. ..S£“ 926 Students last year. Faculty of 30 specialists. Large 3-manual Roosevelt pipe organ, two vocalions, and 10 pedal organs avail¬ The Hahn Violin School able for organ students. 125 pianos. FREDERICK E. HAHN, Director It is a department of Oberlin College, and enjoys its intellectual and social life. Ad. MRS. CARRIE L. DUNNING, 225 Highland Avenue, Buffalo, N. Y. Weightman Building, 1524 Chestnut St.,Phila., Pa. Send for descriptive catalogue and musical year-book. Address, Special attention given to the Sevcik Method and all that is good in th< art of Violin Playing. Charles W. Morrison, Director, Oberlin, Ohio.

MISS LYDIA WISCHAN Fletcher Music Method’* * KINDERGARTENS,MPLEX AND Graduate of the Leipsic Conservatory Original Kinder¬ EDWARD FISHER, Director Consei ory, Toronto London MMINGS’ Dir‘ GuildhaU School HILL’S W. 0. FORSYTH, Metropolitan Sch. o£’Music, To- MADAME HOPEKIRK Boston garten System in B. J. LANG, Boston Vocal Lessons LEONARD LIEBLING New York America and istitiir._ ALBERT A. MACK. Doctor St Man PIANO CAVEN BARRON, DR. ALBERT FUCHS, Dresden 726 N. Seventh St. = Philadelphia, Pa. Europe DR. HARRIS, Director Hamilton Com SCHOOL STUDIO of MUSIC Jamestown-on-Chautauqua, , WM. TOMLINS, Choral Dir. “World’s New York. tnoi. JAROSLAWExP’n- N- YDE- ZIELINSKI, Buffalo Miss Helen Esther Wilkinson KATE S. CHITTENDEN, Vice-Pres. Former pupil of Prof. Oscar Raif, Berlin. Present pupil ofMaitre Isadore Philipp, Paris. Philadelphia Studiot 5948 Germantown Ave. Fuller Building, 18th St., .. , p FREE GIFT bet. Market and Chestnut Sts. Germantown, Pa. TO EARNEST TEACHERS OF CHILDREN The author of "Kindergarten Music Building.” The FREDERICK MAXSON Original and Standard System of KINDERGARTEN MUSIC TEACHER OF ORGAN, PIANO AND THEORY Organ lessons given on Three-Manual Electric Organ at irst Baptist Church. Pupils prepared for church positions nd for concert work. Also for examinations of American mild of Organists ("three have passed successfully;. Send of Music, Art and Education. Address the originator. -- CallorAddr— MRS. N. K. DARL1NGT0NE, 535 Beacon St., Boston,Mass.

CORRESPONDENCE COURSE IN Klindworth Conservatory of Music Hugh Clarke 223 A, 371 PEACHTREE ST., ATLANTA. QA. mus. doc. South 38th Street Faculty of artists of national reputation. Delightful Regular Training School at State University climate both summer and winter. Boarding Depart¬ Music School. Address me personally for LESSONS Philadelphia ment. Diplomas to those having finished the course. free booklet, stating course desired. BY MAIL(n HflnMONV, COUNTERPOINT p. O. Box 71 KURT MUELLER Atlanta, Qa. A paper edited three AND COM POSITION L. GERTRUDE WHITNEY. Originator and Instructor, Dept. A, Ann Arbor, Michigan

Music Typography in all its Branches E. A. Fletcher-Copp 1RCORRORATED 1990 THE PENNSYLVANIA The Kroeger School of Music Address { 107 Thorndike Street, 0 Dudley €♦ Lirnericfczzjj COLLEGE OF MUSIC E. R. KROEGER, Director JNo. 10 South Ricks Street, Philadelphia DEGREES OF MUSIC CONFERRED The Musical Art Bldg, ST. LOUIS. MO. ?6H GIRARD AVE. * h. chandler, mtvt Please mention THE ETUDE when addressing our advertiser*. 752 THE ETUDE TEACHERS 11 TEACHERS 11 CHICAGO MUSIC SCHOOLS MUSIC EDUCATION ^^^development:'— D’Isra/li. SCHOOLS. CONVENTS. AND CONSERVATORIES OF 1. Pianoforte, Voice, Violin. NORTHWESTERN UNIVERSITY 2. Introduction to Harmony. DIN6LEY-MATHEWS 3. Harmony, Counterpoint, etc. . ' EVANSTON-CHICAGO -- 4. Normal Work. a. Music Education of the Child (weekly) SCHOOL OF PIANO SCHOOL £ MUSIC b. Teachers’ Pianoforte Class (weekly) Announcements sent on application. MUSIC 3638 Lake Avenue University Professional School, for the com- CHICAGO A CALVIN B. CADY music, either as a profession or as an element of ARE SUPPLIED WITH EVERYTHING NEEDED IN THEIR WORK culture. Located upon the shore of Lake Michigan, in 374 Marlborough Street - BOSTON, MASS. Chicago’s most attractive suburb. In the Misses Bradley’s School Building PROMPTLY — ECONOMICALLY — SATISFACTORILY Special One-Month Course II. CoureeTn Theory lllsturg of Jju«lr, February 3 to FRANK E. MORSE By THEO. PRESSED. PHILADELPHIA, PA. March 1,1907 And Assistants > Courses I. II and V include literary studies in the Collegeof Liberal Arts or Academy without extra expense. Vocal Training for Singers and Teachers years as a publisher, have revolutionized A thorough Preparatory Department is maintained. The unique but reasonable methods of the music The environment is perfect and social advantages Special Normal Course for Teachers the music-deeding trade. superior. Catalogue upon request. STEINERT HALL, BOSTON, MASS. supply house of THEO. 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