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

7-1-1914 Volume 32, Number 07 (July 1914) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 32, Number 07 (July 1914)." , (1914). https://digitalcommons.gardner-webb.edu/etude/604

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]. Presser’s Musical Magazixie

JULY 1914

Constant Growth in Music Study

HENRY T. FINCH

The Noble Contempt for Melody

PROF. OSCAR BERINCER

Music Section of 21 Pieces Including Selected Prize Compositions

PRICE 15

Special Subscription Coming Issues of THE SELECTION OF THE RIGHT MUSIC Offers for July The Etude Valuable Albums of Music Mrs. MacDowell on Her Husband’s with Renewal. SCHOOL IS THE ALL IMPORTANT STEP Teaching Methods. Send renewal during the month of July, After at least two years of waiting Individual attention, high ideals, breadth of culture, personal care and moderate adding IS cents to your remittance for Mrs. MacDowell has at last found time the year’s subscription ($1.65 in all), and to put on paper some of the main teach¬ cost of education at the COMBS BROAD ST. CONSERVATORY OF MUSIC should interest you we will forward, postpaid, any one of Editor, James Francis Cooke ing principles employed by her husband, the Albums of Music listed below. If a RiCoUMCripti05Pri“’Ii.-.!0peryearinUrlited States, Alaska, Cuba, Porto the most renowned of American compos¬ club of magazines is ordered, add 15 cents Rico, Mexico, Hawaii, Philippines, Panama, Guam, Tutuila, and the City Three Decades of Success Teachers of World Wide Fame r1' In fa?.ada' $17S Per year- In England and Colonies, 9 Shil- I ers, Edward MacDowell. Since Mr. Mac- to the price of the club. U FranC6! ^ Germa"y’ 9 Ma'k»’ A11 Dowell’s death, his devoted wife has GILBERT RAYNOLDS COMBS, Piano. First Parlor Pieces, piano, 34 pieces. worked day and night to further the plan HENRY SCHRADIECK, Violin. Album of Lyric Pieces piano, 26 pieces. of a residence for artists at the Mac¬ HUGH A. CLARKE, Mus. Doc., Theory Popular Parlor Album, 23 pieces. Chartered by State of Pennsylvania Modern Dance Album, Piano, 18 pieces. Music is the manifestation of the inner essential Dowell home at Peterborough, New power to confer degrees. and seventy artist teachers—graduates of the Hampshire. As is well known, a great CONSERVATORY—trained in the scientific, 18 pieces. °8' 10“S’ P‘a”0’ ”8' m“n’ nature of all that is.”—Beethoven. Teaches All Branches of Music: Normal Students’ Popular Album, piano and violin, 22 pieces. pageant is held every summer to assist Training Course for Teachers, Public School psychological, musical, methods which have in this plan. In addition to this, Mrs. brought the Conservatory permanent success. School and Home Marches, piano, 20 pieces. Music Supervision, Piano Tuning, Player Piano Four-hand Parlor Pieces, 17 piece!. MacDowell has done a great amount of Regulating, etc. Complete Waltzes of Chopin, 14 pieces. lecturing to raise necessary funds. Since Daily Supervised Practice. Special Systems Operatic Fou'r-haS Album!* 22 Duets!” V°‘Ce' she was a pupil of her husband in Ger¬ The Standard Vocalist, 40 songs, medium voice. CONTENTS—JULY, 1914 ■ Four Pupils’ Recitals ayypek.- insuring constant supervision of details, elim¬ Popular Home Collection, 46 piano pieces. many before their marriage, and since Complete Pupils' Symfihtiny Orchestra. inating'waste; time, emphasizing tile individual ' The Standard Organist, 46 pieces for pipe organ. she watched his work as a teacher daily talents of the pupil and at the same time re¬ Editorial .^g] during many years, this article, which will European Notes .a. Elson 481 appear shortly in The Etude, is one of Dormitories for Young Women ducing cost, result in a high standard of Keeping the Interest of the Pupil Putting the Thumb Under.Mrs. J. M. BUssard 481 scientific management .- applied , to practical Alive During the Summer The Noble Contempt for Melody.H. T. Finch 48' broad interest and great practical value. Mus. Doc. Safe, comfortable and homelike. Gilbert Reynolds Col musical, educa t ion. Can there be any New Music?. 43* Months. Concert Pitch .'.BenVenuto 48( New Phases of Piano Touch. . Teachers will find The Etude of valu¬ Modern French Music.Edward B. Hill 481 The distinguished composer, teacher University Advantages Postal Request Brings You Our Illustrated Year Book able assistance in bridging over the sum¬ Piano Technique .;.Oscar Bcringer 49- and pianist, Henry Holden Huss, has Ear Training for Young Pianists. 49* given a considerable amount of his valu¬ Reciprocal relations' with the University of Penn¬ mer months by having pupils take advan¬ Outlining all the practical phases of our conservatory, work. This book has been tage of our Special Three Months’ Trial * S*1'!...■/. F. Cooke 49i able time to the discussion of the sub¬ sylvania enable pupils to take special courses in the deciding point in many musical careers. Let us mail it to. you with our compli¬ The Stiff Wrist.Hazel V. Goodwin 49i Subscription—any three issues for 25 The Eight Instruction Book.T. L Riclcaby 49^ ject of Touch for The Etude. Mr. Huss Ertglish, French, German, etc., without extra charge. ments. It is well worth the investigation of any ambitious student. cents. This is just about half the regu¬ Constant Growth in Music Study. Katharine Goodson 49E is, without doubt, one of the foremost of lar subscription price. Any numbers from Marking Pupils’ Music.Mary C. Carrinyton 49( American composers. His works have June to October can be selected. A Garden of Composers. . 49; been performed by most of the big GILBERT RAYNOLDS COMBS, Director Thousands of teachers take advantage The Joy of Being Systematic.Thomas Tapper 498 American orchestras, and he has played of this special offer. Some donate the Practical Concentration .C. F. S. Koehler 49S repeatedly with our foremost organiza- 1327-29-31 SOUTH BROAD STREET, PHILADELPHIA, PA. subscription to their pupils; others order Getting Through.Arthur Schuckai 498 tions such as the Boston Symphony and Teachers' Round Table.,V. J. Corey 49C the issues sent and add the amount of 25 New Music Issues by Leading Publishers. 50c the Knetsel Quartet. During many years cents to the regular instruction charges. Master Study Page : Rossini. . " ' 592 of teaching he has given a great amount That teachers may acquaint pupils with A Home Music Culture Hour.Clara A. 'Korn 503 of attention to the subject of touch and this offer we have prepared special cou¬ Results of Etude Prize Contest. 504 m the article which he has promised us pons for distribution. A quantity will Study Notes on Etude Music.p. w. Orem 504 for the next issue of The Etude there gladly be sent upon request. Details of The New Social Status.E. H. Pierce 529 will be much that will represent long Most Universally Adopted Educational Music Works this offer given on page 532. How Beethoven Composed. 530 Years of study and reflection at the key- A Fnmous Music Critic's Mistake." 530 “It is Wel1-”.Dorothy M. Latchem 530 Our Most Popular Premium. Department for Singers. 534 Selected “Czerny” Studies The Chief Musical Forces of the Standard Graded Course of Touch and Technic Any subscriber sending three subscrip¬ Department for Organists.E. II. Pierce 534 Revised, edited and fingered, with copious How Chopin Taught. 539 Nineteenth Century. annotations By DR. WM. MASON tions at $1.50 each is entitled to an ad¬ An Aspect of Widor. 539 Studies for the Pianoforte ditional year’s subscription to The Etude Prof. Frederick Niecks, professor of Department for Violinists.'.R. Braine 537 music at the University of Edinburgh, By EMIL LIEBLING Compiled i IN FOUR BOOKS at no cost. Department for Children.j. 8. Watson 540 PART Jrnf Tr-,F,ngoY E.*er.cis,1s (Sch°o1 of Touch). Publishers’ Notes.' k41 Scotland, is one of the most highly gifted In Three Books Price, 90 Cents Each W. S. B. MATHEWS PART Pa7sahe ^Ca es Rh3rth®»c*l*y Treated (School of Order Other Magazines The World of Music. 544 writers upon musical subjects of the A noteworthy addition to the technicailiterature Questions and Answers.Louis C. Elson 547 present time. For a considerable length 10 Grades 10 Volumes $1.00 Each Volume pa& of Octave and Bravura Flaying"***.<* When Renewing. ot time he has been engaged in the pre¬ ... - works will be found ’_ e_ ..... A complete course of the best studies selected for every Price of Each, $1.00 Subscribers when' renewing their sub¬ MUSIC. paration of an article . for The Etude i Liebling’s selection and editorial work are masterly. purpose. The Graded Course idea is original with the An original system for the development of a com¬ scriptions to The Etude can save con¬ Triumphal March.B'R. Kroeger. 505 entitled, “The Chief Musical Forces of ; All the popular Opus numbers and many less known Presser house, but imitated more than any other system or work plete technic from the beginning to virtuosity siderable by adding one or more other Shepherds Dance.Archie A. Mumma 508 the Nineteenth Century.” Prof. Niecks are represented, compiled in an attractive and ever published. This Course is being improved constantly. embodying all the ripened musical experiences of magazines to their order. To assist in Three Original Themes from Beethoven, possesses the advantage of an exhaustive convenient form, for general use. These are the It combines the best elements of all schools, the greatest its distinguished author. making selection we will send “The Etude _ L. Van Beethoven 509 German schooling, and long residence in studies that contributed.to the making, of all the variety from the best composers. It is simple and practical; The highest praise from the most eminent Magazine Guide” of thirty-two pages. Benedict March (Four Hands).F. P. Atherton 510 Scitland, and has perhaps added a bit of ' world’s great pianists. easy to teach, always interesting. We invite comparison. Tin Soldiers' March (Four Hands).E. Kronke 512 teachers andpiamsts-Liszt, Paderewski Joseffy,etc. Below are the most popular combinations. Secret Wishes (Four Hands).p Heller 51 o the directness and open sincerity of the Perennial—STUDIES—Indispensable More Than a Million Copies Sold All prices are for a full year to each Gondoliers’Serenade.„ C Sli country of his adoption. This will be an The Greatest Technical Work since Plaidy magazine; magazines can begin with any Mazurka Impromptu.E. F. Christiani 514 article of practical historical value, and issue and can go to different names and Independence Day.G. L. Spaulding 515 any Etude reader who desires to have addresses. There is an additional charge Merry Gambol.tf. Ferher 51B the mam events of the last century clearly Cheapest and Best Anthem Hopes and Fears.Chas. Lindsay 518 Roots Technic and Art The Standard History of Music of about 50 cents on each magazine for fixed in mind will find it well worth while Canadian postage; foreign postage, $1.00. On the Parade Grounds.M. Lneh Evans 518 to secure this article in the August issue. SS .James H. Rogers 519 Collections Ever Published of Singing By James Francis Cooke Price, $1.25 The Etude and McCall’s (with free To a Star, \alse.ivicoio S. Calamam 520 Model Anthems, Anthem Repertoire, Anthem Wor- pattern) for $1.75 (regular price, $2.00). A Plea for More Rational Teaching. Methods, for Use Marionette Polka Violin and Piano).4. Sartorio 5”0 A complete, concise series of 40 entertaining and The Etude and Modern Priscilla for Festival March (Pipe Organ).Leopold SyrC 522 Mr. Perlee V. Jervis is endowed with 25 CENTS EACH $1.80 PER DOZEN $2.10 (regular price, $2.50). a rare faculty for saying just what he The Etude, McCall’s and Modern Pris¬ con^oika!:-x\h22i m means in a way that carries conviction. No collection of anthems for church use has ever riture Op. 22 cilla for $2.35 (regular price, $3.00). The Hills O’Skye (Vocal).Tod B. Galloway 5‘>(i attained the popularity of this series. Each volume rhree Keys, eac and terms. Each chapter The Song the Angels Sing (Vocal) .. .11. Wildermere 527 Having studied for many years with Dr. contains 64 pages of pleasing and singable anthems, le Voice. Op. 2 The Etude and Pictorial Review for 10 - - $2.25 (regular price, $2.50). The Hayr.de.R, Barrett 528 William Mason and having developed Dr! adapted for either quartet or chorus choirs, some with ithetic Method Mason’s ideas in his own teaching, Mr. solos. While all the anthems are melodious and SioyP: Ms For $2.40 we will send The Etude and interesting, they are truly devotional and churchly; (The general principle of vocali any ONE of the following: Delineator, Jervis has through knowledge and ex¬ all are within the range of the average choir. for the Male Voice. Op. 23 Mother’s Magazine, Technical World, perience achieved a position which makes Metropolitan, American, Christian Herald REMITTANCES should be rnadeTy post A First History for Students of A r draft, or registered letter. United States pc him peculiarly fitted to plead for a ra¬ or McClure’s. tional method involving what one may _ For $2.50 we will send The Etude and call “enlightened common sense.” Beginner’s Book—School of the Pianoforte Compiled by either the Woman’s Home Companion or By THEODORE PRESSER Price, 75 Cents StandardCollections First anrl Wnml ofd: Piano Music W. S. B. MATHEWS • 81.00 Standard Com] Everybody’s. The Awakening and Development of A book for the veriest beginner, planned along modern lines, proceeding logically, For $1.85 we will send The Etude and step by step, making everything plain to the youngest student. All the material is dons8,' Vo/. 4," Grade 4 ' Musical Ability. ions, Vol. 5, Grade 5 jo the Designer, or The Etude and the RENEWAL.-No re fresh and attractive andvfull of interest. An extra large note is used. Special Vol. 2. Grade ...... “We must Luther Burbank our pupils features ; writing exercises, and questions and Woman’s Magazine (New Idea). For $3.25 we will send The Etude, Pic¬ m order to quicken their evolution,” says torial Review, Modern Priscilla and the tie !ri^;NrfSSRI bTf'~YanUSr-nptS-Kho“Id be addressed to THE ETUDE. Write on Miss Mary Venables in her vigorous ad¬ Ladies’ World. dress prepared for the New York State The Etude and To-Day’s (for the Teachers’ Association. This address is home) for $1.60 (regular price, $2.00). embodied in the article which is to appear The Etude and either Collier’s Weekly or Review of Reviews for $3.00 (regu¬ m the August Etude. Miss Venables lar price, $4.50). THEODORE PRESSER CO., —~r-w, has herself been “Burbanking” her young The Etude and Youth’s Companion for 1712 Chestnut Street, Philadelphia, Pa! pupils in Cincinnati, and the article tells $3.25 (regular price, $3.50). Entered at Philadelphia P.O. as Second-class Matter. in a warm, imaginative way how this has PIANOS Copyright, 1914, by Theodore Presser Co. been brought about. STRICH £ ZEIDLER and PLAYER-PIANOS l THE ETUDE 483 482 THE ETUDE

Greatest Educational Work of Age THEODORE PRESSER CO., 1712-1714 Chestnut Street, Philadelphia, Penna. NEW PUBLICATIONS Mathews Standard Graded Course of The Quickest Mail Order Music Supply House for Elementary Piano Technics, Two-Part Hymns in Honor of The Standard Vocalist Studies™Pianoforte Op. 19 the Blessed Virgin Mary 50 Fine Songs for 50 Cents Compiled by W. S. B. MATHEWS Teachers, Schools and Conservatories of Music By Dr. J. M. BLOSE By N. MONTANI A large and comprehensive collection of songs, both sacred and secular, suited to The Leading Mu.ical Writer and Price, 60 cents Price, 25 cents voices of average compass. This is a Educator of the Present Time A simple elementary work of technic, one Irigtndl hymns in the vernacular, to ho book to which the busy singer can turn The best selected and one of the largest stocks of music. The most liberal “ON SALE” plan. Anything that may be taken up in the early stages of at any time and find therein a song adapted A COMPLETE course of standard instruction, including fivo-flnger exercises, The music" is so written that it" may be sung for almost every possible demand. 1 lie Etudes and Studies arranged in our stock or published by us sent freely on inspection at our regular low simple chord exercises, and arpeggios in all songs are chiefly by modern and contem- the keys. The scales receive a very com¬ in a progressive order, selected Professional Rates. The best discounts and terms. prehensive treatment. The little work is hymns are taken from the most approved from the best composers for the cul¬ thoroughly practical, giving the teacher a sources, many of the great writers of tivation of technic, taste and sight new choice of technical material. hymnology being represented. The music is by Signor N. Montani, reading, carefully edited, fingered, composer w1'" '—has achieved'“‘w* an enviable phrased, and annotated and supple¬ reputation. mented with complete directions for THE MOST MODERN TEACHING PUBLICATIONS IN MUSIC Gallery of Distinguished the application of Mason’s “System FOUND IN THE STUDIOS OF EVERY PROGRESSIVE TEACHER A. B. C. of Piano Music of Touch and Technic ” for the pro¬ By Mrs. H. B. HUDSON Musicians duction of a modern style of playing. The Standard Organist Thirty years ago Music Teachingin Price, 50 cents Compiled by A. S. GARBETT PRIMER OF BATCHELL0R MUSICAL 43 PIECES FOR THE PIPE ORGAN America was for the most part con¬ STANDARD GRADED COURSE OF A little book, which is Intended to pre¬ Price, 75 cents. Full Leather, gilt, $1.50 ducted in the most slip-shod and ex¬ FACTS ABOUT MUSIC KINDERGARTEN METHOD cede any piano method. It is based on the Price, 50 cents principle of familiarizing the pupil with collection of brief portrait-biographies travagant manner imaginable. The By M. G. EVANS Price, 50 Cent* By D. BATCHELLOR and C. LANDON One of the best collections ever published. from the series which has been run¬ the piano keys before taking up notation. teachers were not to blame for the STUDIES FOR THE PIANOFORTE Price, $1.50 After the hand has been shaped and placed The pieces are all good and interesting, of ning through The Etude. This is the third This little work is more than a primer; it is intermediate grade and moderate length, collection thus published in book form, the enormous expense of purchasing in¬ a compact musical encyclopaedia, the subject Compiled by W. S. B. MATHEWS upon the keyboard, the young student be¬ other two being known as “The Gallery of A concise, practical manual, a logical exposi¬ gins playing at once, playing from large written in all styles and suited to all pur¬ dividual studies and pieces of music matter being presented not alphabetically but 10 Grades 10 Volumes $1.00 Each Volume tion of the art of teaching music to the young capital letters Instead of from notes. It is poses. Both original organ pieces and Musical Celebrities,” and “The Gallery of for educational purposes, nor were not even necessary to count time, yet the transcriptions are included In goodly pro¬ Eminent Musicians.” Though the biographi¬ progressively, beginning with the rudiments of A complete course.of the best studies selected for every purpose. The in a pleasing and attractive manner. pupil is able to form melodies and become portion. The book is handsomely printed cal sketches are brief, they are as authori¬ they to blame if they did not have the music and ending with a tabulated summary Graded Course idea is original with the Presser house, but imitated more This method uses various devices to awaken from special large plates. tative as care can make them, both as experience to select the best studies familiar with the keys. The pages are all regards the classic composers and the most of Musical History, each subject being ex¬ than any other system or work ever published. This Course is being im¬ and to hold the interest of the little child. The modern. The portraits in sepia are ex¬ for the right time. TheGraded Course plained through the medium of a series of prac¬ proved constantly. It combines the best elements of all schools, the aim is to develop the subject in conformity with cellent, and have in some instances been idea is an. original creation of the tical questions and answers covering the greatest variety from the best composers. It is simple and practical; the natural bent of the child’s mind, largely in obtained from rare sources. Presser House. The Standard Graded Elements of Music, Notation, Time, Scales, easy to teach, always interesting. We invite comparison. the spirit of play. There are a number of rote Operatic Four-Hand Course has succeeded because it was Intervals, Chords, etc. MORE THAN A MILLION COPIES SOLD songs ; also music fof marching, drills, etc. The Eclectic Course of Graded built along the lines which years of ex¬ QUESTIONS AND ANSWERS ON ELEMENTS OF MUSIC ONLY COMPLETE MUSICAL KINDERGARTEN METHOD perience had shown to be necessary. Studies in Piano Playing Album Great Pianists on Piano By J. M. BLOSE FOR THE PIANOFORTE CHIEF ADVANTAGES MASTERING THE Price, $1.00 Price, 50 Cents Playing SYSTEM and the pupil the BEGINNER’S BOOK SCALES AND ARPEGGIOS TOUCH AND TECHNIC A practical course, which can he taken ^ k broadest possible system and com- By DR. WM. MASON up after the instruction book is finished, Operatic transcriptions for four hands are SCHOOL OF THE PIANOFORTE By JAMES FRANCIS COOKE Price, $1.25 or with pupils who have some little knowl¬ particularly effective, since it is usually By JAMES FRANCIS COOKE ial of modern technic is present iu the most In Four Books Price of Each, $1.00 edge of the rudiments. The exercises at the possible to arrange them in the orchestral Price, $1.50 By THEODORE PRESSER Price, 75 cents This work contains all the necessary prac¬ beginning of the work are extremely s' manner. Our new volume is modeled upon (School of Touch) pie. It would act as a supplement! ’wo recent collections which have proven A score of the foremost keyboard masters A book for the veriest beginner planned along modem tice material fully written out, carefully cally 1 d (Scho, of Bril- •work to any graded course. It contains .... ceessful, namely, “Standard Opera Al- of the day have ^given^ thciF^ most valuable lines, proceeding logically, step by step, making everything graded and explained, also very extensive liar pages, and in all there are 108 different _, ’ for piano solo, and “Operatic Selec¬ new and original material, making it the PART III—Arpeg i~s Rhythmically Treated fPassa School). tions for Violin and Plano.” It will contain piano study. Accompanying each chapter is PROGRESS aBo^1 plain to the youngest student. All the material is fresh and PART IV—School of Octave and Bravura Playing. a fine portrait, a concise biography and test strongest, clearest work of its kind for the gems from all the standard operas, arranged X like an even8 and SgutefiihTofBtepa, attractive and full of interest. An extra large note is used. An original system for the development of a complete in the best possible manner, all of medium questions in Stylo, Interpretation, Expres¬ Special features are writing exercises, and questions and very young beginner, as well as the highly difficulty. sion and Technic, handsomely bound in icb the pupil may easily be led to musical technic, from the beginning to virtuosity; embodying all the cloth. Any piano lover will be delighted to answers. advanced student. It may be used with ripened musical experiences of its distinguished author. Two Part Songs get this book; three hundred pages of in¬ any student, at any age, with any method. valuable ideas from world-famous musical VARIETY t^Vrianostud! LATEST AND BEST INSTRUCTION BOOK GREATEST TECHNICAL WORKof MODERN TIMES FOR WOMEN’S VOICES New Rhymes and Tunes artists. ies.^ Tliifi^ is greatly preferable to aPcourr~U~x A REAL NECESSITY FOR TRAINING SUCCESS Price, 50 Cents A collection of bright, melodious and SIMPLIcTtY A SYSTEM singable numbers for women’s voices, for Little Pianists iglit by any teacher without previous expen¬ BEGINNERS’ adapted for use in schools, seminaries, for By H. L. CRAMM Chaminade Album se or training in this course. There is no arbi¬ SELECTED “CZERNY” STUDIES high school choruses and for women’s trary method demanded. OF TEACHING HARMONY Revised, edited and fingered, with copious annotations PIPE ORGAN BOOK clubs. The very best possible material has Op. 20 FOR THE PIANOFORTE By HUGH A, CLARKE, Mus, Doc. By GEO. E. WHITING PRICE, $1.00 been drawn upon in the making of this INTEREST g^Sh of Unltxnlly of ‘Penwuloanta By EMIL LIEBLING book, our resources for this purpose being Price, 75 Cents In Three Books Price, 90 Cents Each This volume may be taken up after one; year’s unexcelled. The best standard and con¬ Price, 75 Cents PRICE, - $1.25 A most interesting book for elementary fash’18’ t'dPeC thod wfhen. compared with tlie"'old- The standard textbook of musical theory. A noteworthy addition to the technical literature of the pianoforte. In instruction on the pianoforte, The exercises temporary writers are represented. It is a A collection of the most popular pieces progress by easy stages through the keys. book of convenient size in the usual octavo students, which may be taken up in con- by the celebrated French woman composer, The object kept in view is how to enable the practically every volume of Czerny’s works will be found some gem. ;tion with any primer or instructor, and including such favorites as Oir' de Ballet, pupil to grasp, in the easiest, most interesting Mr. Liebllng’s selection and editorial work are masterly. All the popular Pedaling is treated in a clear and exhaustive . _ used while the young students are still manner. There are no dry exercises or studies. learning the staff notation. The pieces Autumn, Callirhoe, The Flatterer, Pierettc, MAKE NO MISTAKE and comprehensible way, the mass of facts and Opus numbers and many less known are represented, compiled in an at¬ are as simple and as tuneful as it is Scarf Dance, Seranade and others, all rules which make up the art of harmony. For tractive and convenient form for general use. These are the studies that Genuine musicianship is developed from the possible to make them; most of them have newly edited and revised, together with a The Standard Graded Course should not be eon very beginning and a foundation is laid for The Vocal Instructor verses accompanying them which may be biographical sketch of the composer, and founded with any other system, course, or method class or self-instruction. contributed to the making of all the world’s great pianists. sung. The music throughout is pleasing Mme. Chaminade’s Own direction’s for play¬ it, and it alone, is the original series. When yot rmony, THE INDISPENSABLE STUDIES practical church playing. By EDMUND J. MYER ing some of the pieces. A Chaminade CONCISE1 AND'D eaSiLYEASI UNDERSTOOD PRACTICAL PIPE ORGAN INSTRUCTOR and appropriate and at the same time the Album is in itself a superior collection of Course*6 SUrB *° illSi8t “P°n the Standari> Gradet Price, $1.00 book is really helpful and Instructive. the very best class of drawing-room music. 1 practical, common-sense system, based 10 GRADES; 10 VOLUMES , >n nature’s laws or demands, for the $1.00 EACH VOLUME ROOT’S TECHNIC studytudy and development of the singing COMPLETE SCHOOLof TECHNIC This book is born of the author’s AND ART OF SINGING THE MODERN PIANIST years of practical l successful Study Pieces in Octaves FOR THE PIANOFORTE A Series of Educational Works in Singing IElo experience. It aims give to the Concentrated Tecbnic on Scientific Methods. By FREDERIC W. ROOT By MARIE PRENTNER - - Price, $1.50 vocal profession the me- FOR THE PIANOFORTE By ISIDOR PHILLIP Price, $1.50 The author was a graduate of, and the ablest assistant for which the whole system is based: the sing¬ FOR THE PIANOFORTE I. Methodical Sight-Singing. Op. 21. ing movements, the necessary physical ex¬ By A. SARTORIO. Op. 1021 The last word from the great living authority. M. Phillip Three keys, each - - - $0.50 many years to, Theo. Leschetizky. This edition issued with II. Introductory Lessons in Voiee.Culture 1.00 ercises, and the nerve calisthenics. Its Price, $1.25 By ALOIS F. LEJEAL is the leading professor of pianoforte playing in the Paris his unqualified endorsement. The Leschetizky system has object is to develop the singer physically Conservatoire, and this work embodies the result of years III. Short Song Studies. Three keys, each and vocally. The beginner, the more ex¬ A masterly exemplification of modern Price, $1.00 STANDARD made more great artists than any other: Paderewski, Essip- perienced singer, and the busy teacher will octave playing for students of intermediate A technical work for more advanced of experience both as teacher and player. M. Phillip is ad¬ ' “Voice? 0Vpar2°7U8 EXerC'SeS ?°r t?e ofif, Hambourg, Gabrilowitsch, Bloomfield-Zeisler, Prentner, all find material and information of the or somewhat advanced grades. There vanced in thought and methods, thoroughly abreast of the V. Twelve Analytical Studies. Op. 20 - Itudents, to be used in daily practice, to VI. Sixty-eight Exercises in the Synthetic Slivinski, Sieveking. It forms a complete, comprehensive highest value In this book. For the young eight studies in all, each one working_ foster and conserve flexibility of the fingers CONCERT ETUDES times. This work may be used in Daily Practice. and extremely practical treatise of piano technic. teacher Just starting out or for self-in¬ some particular point. Mr. Sartorio’s work and wrist, insuring perfect evenness of touch Method. Op. 28 - struction, it will prove indispensable. Co¬ is always interesting and melodious, ’ and smooth, pearl-like scale playing. All FOR ADVANCED STUDY COMPREHENSIVE, EXHAUSTIVE, PRACTICAL VII. Guide for the Male Voice. Op. 23 - Fundamental Principles of THE LESCHETIZKY METHOD piously illustrated. Handsomely printed in studies of all kinds he is at his departments of technic are fully covered in and substantially bound in flexible cloth. condensed logical form. Price, $1.00 Grades IX to X These pieces are bound in book form, each b< lected for some standard technical essential; fc STANDARD HISTORY ofMUSIC THE VOCAL INSTRUCTOR IN PRESS instance, the two compositions by Saint-S&ens ai By JAMES FRANCIS COOKE Price, $1.25 r* A T A I rip C of any class of musical publications s made up exclusively of rapid reiterated chord vrt M. xxlj\y\JkJ free upon application. We have,, and_ __ By E. J. MYER Price, $1.00 FOR SALE AT LOW ADVANCE PRICES SEND FOR BULLETIN A thoroughly practical textbook told in story ??a°Und,in fora --—— —Jtantly making real “Teachers’ Aid’ Designed to be the most direct and helpful EDUCATION OF THE MUSIC TEACHER. 1 MINIATURES FOR THE PIANOFORTE. and others in extended and arpeggioed chord: form. So clear a child can understand every catalogues. Our specialties are Piano Compositions and Studies, Songs Thos. Tapper. and others in rhythmical puzzles, but all are c* concert grade and content, famous pieces, ready word—so absorbing that adults are charmed and Vocal Studies, Works on Theory and Musical Literature, and Col¬ work of its type and scope. Mr. E. J. Myer MUSICAL PLAYING CARDS. has embodied in his new work the experience of TEN FIVE-NOTE RECREATIONS. Mrs. C. for presentation with an abundantly developed with it. All difficult! words “self-pronounced.” lections of Music. technic. There are twelve pieces in all, by 150 excellent illustrations, map of musical Eu¬ a lifetime. Practical exercises a feature of this W. Krogmann. NEW REED ORGAN VOLUME. COmDOSers. ahnnt. half fham W--’ The Presser “System of Dealing” is thoroughly explained in all of VERY FIRST DUETS. rope, 400 test questions, 250 pages. Strongly our general catalogs. NEW ANTHEM COLLECTION. work. It contains also jiumerous cuts made EASY PARLOR ALBUM FOR PIANO¬ bound in maroon cloth, gilt stamped. Any Special suggestions and advice are freely given by private corres¬ from photographs taken especially for this FORTE. L’AGILITE, Op. 20. Le Couppey. Doering. teacher may use it without previous experience. pondence by the best authorities on the subject. work. These illustrations make the work of NEW ALBUM FOR VIOLIN AND PIANO. HOLY CITY (SACRED CANTATA). A. R. RECOLLECTIONS „ YOUTH (Four PERMANENTLY ADOPTED BY FOREMOST TEACHERS THE ROSE MAIDEN (Cantata), Cowen. Hands), Op. 1064. Sartorio. the pupil much more simple and secure. For Further Information About New Works in Press See “Publisher’s Notes” on another page of this Issue Accounts Are Solicited Ss® Headquarters for Everything iff*4 iix the teacher’s work- part of the trade of every teacher and school is y Metronomes, Leather Satchels and Rolls, Musical Pictures and Post Cards, Blank Paper and Books, Record Tablets, THEO. PRESSER CO., Philadelphia, Pa. THEO. PRESSER COMPANY 1712 Chestnut St., Philadelphia, Pa. THEODORE PRESSER CO., SHEETSIMufIC MAND TMUs’l CE BOOKS PHILADELPHIA, PENNA. Please mention THE ETUDE when addressing our advertisers.

E ETUDE wlien addressing our advertisers. 484 THE ETUDE

Take Every TO BUYERS Precaution THE ETUDE VOL. XXXII. No. 7. OF MUSIC JULY, 1914 § j \ Avoid sunburn and t Please read that last sentence again. Gounod has expressed U J Iki4 ning; they not only discolor very pithily about all that can be said concerning the great trans¬ the skin but toughen it and Teachers and Schools THINGS TO DO NOW. ition in our mode of life which has come about during the last make the pores coarse. ARE ADVISED TO quarter of a century. When Gounod wrote his memoirs the auto¬ Protect your skin and it What can the teacher and the student do in the summer months will not burn half so readily. mobile, the submarine ami the flying machine were still regarded that will influence the coming season? Unless you are one of those as the dreams of materialists. Civilization demanded speed. It Dr. Emma Walker of the Ladies’ Home Journal, says never Order Early for Next Season unfortunate people who call a vacation what a naturalist would call to use a cold cream or grease preparation before exposure to the sun. AND SET DATE FOR DELIVERY was the spirit of the age. How little Gounod was in touch with Not a Cold Cream torpidity you will find as many interesting things to do in July and this spirit is shown by his music. All the lovely Gounod melodies Results:—Satisfaction and the Best Service August as in December and January. and concords are a reflection of his leisurely development under Pond’s Vanishing Cream offers just the protection the skin First of all, STORE UP SUNSHINE. Make it a daily joy to needs. It is not a cold cream—it contains absolutely no grease. TO CATER SUCCESSFULLY to the needs and desires of a tire more patient art methods of a passing age. While we deplore The substance used as its base is recommended by scientists clientage of educators requires peculiar conditions and advantages expose yourself to the air and light. Get a plentiful supply of the the conditions which are apparently substituting for the tunes of as unsurpassed for preventing] roughening and sunburn. Use possessed by but few houses. delicious fruits and vegetables that the summer suns and rains bring ■Faust the discords of Elektra, we can not modify civilization, THE HOUSE OF THEO. PRESSER has an experience of over Pond’s Vanishing Cream freely. You will find it improves the thirty years as publishers, based on an intimate knowledge of the to you. Seek the refreshing companionship of friends who not and it is our part to become imbued with this new spirit. Our clearness and healthy tone of your complexion; that it imparts needs of the profession, the result of actual work. only preach about the outdoor world but who make themselves a younger musicians and performers must feel within themselves the a most refreshing sensation of coolness and softness. Basis:—A large well selected stock of the publications of all houses, American part of it. need for interpreting this new order of things in their music. and Foreign. A constantly increasing catalog of original publications of great educational value which will be found in the studio of almost every Next make a plan of what you intend to do. If you are a pupil Sargent, Whistler and Abbey raised the fame of American painters music teacher. A force of 200 efficient employees, drilled and trained for set a definite goal for yourself. Measure out the work you expect to new and unexpected heights. Practically all of their works Company's our particular business. Pond’s to accomplish and devote the summer to preparation for that work. show their intimacy with the classical standards of painting, but it TO WHICH WE ADD:—. If you plan to make the Haydn Sonatas your possession before next Large Discounts, the same upon “On Sale” as upon regular orders. is the vigor of Sargent, the character of Abbey and the philosophy Vanishing Cream Liberal Terms and Courteous Treatment. June spend the summer getting an idea of Haydn’s work and life. of Whistler which reveals the new world in their* work. A free sample tube on request', or send qc for large trial Promptness in Filling Orders. Look over the sonatas themselves. Compare them with the sonatas You, who would bring renown to American music, must re¬ size, enough for two weeks. Made by the makers of Accounts Solicited with any responsible professional musician. Satisfaction Absolutely Guaranteed. of Haydn’s pupil Mozart. Try to find out for yourself without any member first of all that we are living in an age of immense POND’S EXTRACT—the universal lotion for cuts, bruises and burns—a Large or small orders receive exactly the same attention. “On Sale” packages book or teacher’s help how the two composers differ in their meth¬ dynamic force,—of terrific speed. View the old in Art and Nature household necessity in every American home. Send 4c for trial bottle. sent cheerfully, even though regular orders or renewals of “On Sale” packages are ods. If you lack a vocabulary of technical terms make descriptive as you would from a delightful clattering “vetturino,” but do your POND’S EXTRACT CO., 147 Hudson St., New York. sent through the local dealer. words up for yourself. Get the general “hang” of the thing. In Also Talcum, Cold Cream, Tooth Paste and-Soap Headquarters for Everything Needed in the Teacher’s Work traveling in an aeroplane if you wish your message to travel on to two months of reflection and deliberation carefully spent now, one the XXVIII Century. can accomplish far more than by piling suddenly into the work in September or October and floundering about for a month or so. MUSIC “ON SALE” If you are a teacher, there are so many necessary summer tasks A SEARCHING TEST. that it is hardly necessary to call your attention to them. First of DIRECTORY OF To Teachers, Convents and Schools of Music INSTITUTIONS OF LEARNING all you owe it to yourself to find out just how many pupils you can The Etude continually enjoins its teacher readers to examine really count upon. If you are advertising, your “copy” and your themselves constantly. It is difficult to establish the attitude of A Year’s Supply of Returnable Teaching Material campaign are wasted unless you can produce real results. Don’t mind to accomplish this successfully. It is human to be satisfied TO MUSIC TEACHERS remote from large music stores, and to all schools leave the matter until Labor Day. Write your letters and advertise¬ with oneself and one’s own attainments. It is hard to look upon ALABAMA NORMAL COLLEGE AND HOLLINS COLLEGE FOR YOUNG and colleges, the feature of having selections “On Sale,” a stock of music on SCHOOL OF ^ ARTS FOR WOMEN, hand and returnable, is a decided advantage. The old way of ordering from a ments so that you can force a reply that will settle things. This can WOMEN, ®SSe Misie^D^SStteS one’s own conduct as though it were being viewed by the eyes of catalog has proven to be unsafe and disappointing, be done without offence if you employ a little tact. Any business leading to broad and efficient musicianship. Ideallyglooated in another. It is easy to neglect just those things which are most inti¬ Household Economics, Stenography and Typewriting. Excel¬ 700 acres of private grounds, 7 miles north of Roanoke. man will admire your attitude if you go to the trouble of explain¬ lent Dormitories. Write for Catalog. G. W. Bbock, Pres. Building^adequately equipped for 250 students and 85 officers INFORMATION TO PATRONS mately connected with success or failure while one is dealing ear¬ Remember, that by giving plenty of good comprehensive information that ing that your business success depends upon promptness and that nestly with superficial things which have only a very indefinite BLACKSTONEM FEMALE INSTITUTE, customer will gain much satisfaction by getting just what is wanted. The music study must be pursued regularly. names of a few pieces in' ordinary use by the customer is by far the better way relation to the real essentials of one’s life. HOUGHTON SEMINARY, probably the best advantages in musio of any school of its of describing the kind of music desired. This little sermon has long since become a journalistic plati¬ grade in^the South. Rates are very moderate^ For catalogue We Ask No Guarantee As To Probable Sale. HOWARD-PAYNE COLLEGE, We prefer returns on regular selections to be made but once during the THE SPIRIT OF THE AGE. tude, but it is occasioned here because the New York Bureau of year; at the end of the season during June and July. nasium. 17 teachers in the faculty. ^Strong Junior Oolfege Municipal Research recently published a kind of examination blank Courses of study. Total cost of room, board, heat, light, Selections can be changed or added to at any time. CARLTON COLLEGE AND CONSER¬ The same large discounts are given as though purchased outright. to test the efficiency of the teacher, and the blank may be used by VATORY OF MUSIC AND ART, When Gounod journeyed to Rome to enjoy the privileges Keep “ON SALE” music in a clean, systematic manner. Separate the music as any reader of this editorial as a kind of self-examination. Put a soon as received into classes; piano easy, medium and difficult; vocal; four hands, which he had won through the Prix de Rome he traveled part of JUNIATA COLLEGE, Xoffi™' check under the word that suits your case and do this honestly etc. We will supply manila wrappers for this purpose, free for the asking! the way in a “vetturino.” It is most interesting to read his account and conscientiously, so that you may really know how you measure CENTRAL COLLEGE AND CONSER¬ Expressage or postage charges both ways are borne by the purchaser. of the quaint old vehicle printed in his Reminiscences. POWHATAN COLLEGE AND CON¬ Setdements are to be made at least once each year, in June or July. VATORY OF FINE ARTS, SERVATORY OF MUSIC. c^Je.towB^w.VB. “The good natured old conveyance which one stopped at will, up. You know. Don’t deceive yourself. If the record is not what NOVELTIES—NEW MUSIC “ON SALE” whenever one wanted peacefully to admire those beautiful bits of you think it ought to be, commence to look around for a remedy. We are constantly issuing new, useful and interesting piano, vocal, octavo scenery through or mayhap underneath which the snorting steam Ten chances to one you will find the remedy within yourself. Apply CHOWAN COLLEGE, SHENANDOAH COLLEGIATE INSTI¬ organ and violin compositions, all of which, undergo a thorough revision bv TUTE AND SCHOOL OF MUSIC, eminent teachers, which makes our editions particularly well' adapted for horse, devouring space like a meteor, now whisks you like a par¬ this test to your last lesson as though you were examining some instructive purposes. ing7to degree of A. B. Teachers’TrMning Courses. Healthful cel. In those days men travelled gradually, insensibly, from one other teacher in whom you had no personal interest. location. Catalogs on request. Jambs D. Bruner, Pres. In order to give teachers and professionals an opportunity to examine these novelties we will send them On Sale” about twelve pieces (piano or vocal) impression to another; now this railway mortar fires us from Paris, Does the teacher appear to be vigorous or weak? poised or each month from November until May, on the following conditions: in our sleep, to wake under some Eastern sky. No imperceptible nervous? neat or slovenly? at ease or embarrassed? Is her voice COTTEY COLLEGE AND CONSERVA¬ STATE NORMAL SCHOOL 1. The sheet music will be billed at the large discount given on our own TORY. ShVtonomy, m2 ZUSe publications. mental transition or climatic change. We are shot out roughly pleasing or harsh? clear or indistinct? low or high? In her per¬ 2. It is necessary to mention which classifications are wanted On treated as a British merchant treats his merchandise. ... If sonal relations with her pupils, does she appear to stimulate or to Special Order we send about ten octavo selections, four times a WHITWORTH COLLEGE AND CON¬ only progress, that remorseless conqueror, would spare its vic¬ suppress? to win cordial cooperation or to antagonise? to be FRANKLIN ACADEMY-SCHOOL OF SERVATORY, year containing any or all the following classes: Sacred, Mixed; Secuiar, Mixed; Men’s Voices; Women’s Voices;Voices: also organor van J tims’ lives! But no,—the vetturino has departed utterly. Yet, I sympathetic or to be harsh? to be strict or to be lax? to be even- Violin selections at longer intervals. bless his memory. But for his aid, I should never had the joy of tempered or to be irritable? to be reasonable or to be unreasonable? 3. The novelties can be kept with any other “On Sale” from us and all returned together. seeing that wonderful Corniche, the ideal introduction to the to be tolerant or to be intolerant? to be dignified or undignified? to delicious climate and picturesque charms of Italy—Monaco, Men¬ be courteous or to be rude? to be encouraging or to be nagging? WILSON COLLEGE FOR WOMEN, HALL-MOODY INSTITUTE AND THEO. PRESSER CO., Publishers tone, Sestri, Genoa, Spezzia, Trasimeno, Tuscany, Pisa, Lucca, to be firm or to be weak? to be tactful or to be blundering? to be SCHOOL OF MUSIC, in the study of Musio and Art. Faculty Uof thirty ^profes" sors and teachers. Apply for catalogue. The Quickest Mail Order Music Supply House Sienna, Perugia, Florence. A progressive and manysided educa¬ enthusiastic or to be diffident? to be quick to react or to be slozv to tion, Nature’s explanation of the existence of the great masters, react? to be quiet or to be noisy? to be systematic or to be disor¬ WINTHROP COLLEGE, 1712 CHESTNUT ST. :: PHILADELPHIA, PA. while they in turn teach man to look at Nature.” derly? to be resourceful or to be dependent? Please mention THE ETUDE wben THE ETUDE 487 THE ETUDE from marriage to celibacy among the divines of the THE LANGUAGE OF MODERN MUSIC. twelfth century. The text was censored consKleraMy In the Musical Times, Mr. E. A. Baughan writes on , * L0 enti^fartorv now. 1 tie music is the language of modern music. This is rather a large Jroad^anTeven passionate, in parts, and effectively subject, and can be treated in two ways. First comes lyrical in others. The religious scenes are especially well the matter of tone-color, which has been developed very set Keussler’s other works include the symphonic much in recent years; but besides that there is actual poem Der Einsiedler, the oratorio Vor dcr Hohen Stadt, tonal structure of themes to be considered. The lat¬ and songs with orchestra. . . ter is shown best in piano arrangements, which are like Among other new operas is Karl vop Kaskels black-and-white drawings without color. Schmiedin von Kent. Emilio Perotti has won a prize With regard to modern melodic utterance (which at Naples with his three-act Sab ha. Franco Alfano s the conservatives would call unmelodic), there are cer¬ Ombre de Don Juan, brought out at Milan, proved to In Die Musik, Richard Cahn-Speyer writes somewhat tain main characteristics that most composers show in be radically modern in style, and received much praise. lengthily on Music and Cultivation. His chief point common. These include a tendency to new scale-forms, Among the works in other forms, August de Boecks seems to be a plea for wjder acquaintance and knowl¬ and a somewhat fragmentary style. Thus if Debussy cantata Gloria Flori, met with a great success in Ant¬ edge of. schools among the people who make up the employs a whole-tone scale, Scriabine must adopt a werp. Sung by over two hundred children, it showed musical public. This, he rightly claims, will bring peo¬ system based on ascending fourths, and others will great freshness and inspiration. Another successful ple nearer together intheir estimates of new composers, strive for still newer efforts. But it all comes down to vocal work with orchestra is Richard Wetzs Gcsang and will even make the progress of the latter more the fact that melody is liberated from the diatonic des Lcbens, which proved very spirited and effective. orderly and less sporadic. style that was formerly its chief characteristic. The orchestral composers seem to be resting on their In reality, the musical knowledge of the average ama¬ The same liberation is still more noticeable in har¬ laurels—or perhaps they are buried in their studies teur is still quite limited, in spite of the progress of mony. Totally new combinations are heard. It does touching up unfinished works. Beyond a few minor musical history in the last half-century. It is not so not follow that what is new is good, and because of this French novelties, there is little doing this month in the many products of modernism are heard once or twice many years ago that Mendelssohn practically redis¬ gay capital; and Germany also maintains a discreet and then laid aside. But the somewhat chaotic nature covered Bach, and brought him out of long neglect. silence. Antwerp seems most active, but even there the of the movement comes from the large possibilities of Even at present, it takes a long time for the music of only important new works are Gilson’s Marche Festi¬ the new harmonic field. In sculpture, the futurists no val and Victor Bufifin’s sketch, Lovelace. The season, one nation to penetrate into another. Germany, in spite longer make portrait busts, but produce exaggerated 3 somewhat backward, but will as- RICHARD STRAUSS AND DEBUSSY. of having its own Schoenberg, is only now growing individual impressions. As a result, what seems good [Editor’s Note: It should he remembered that Mr. plicated polyphonic vocal music of that time, in which acquainted with the modern French movement. France, Finch has always been regarded as an ultra progressive in the words had become absolutely unintelligible in the If Richard Strauss and Debussy possessed as rich to one man may be trash to others. In music, there are musical matters. His Li]e of Wagner teas Jar in advance of on the other hand, hears scarcely any of the new Ger¬ so many possibilities in the new school that we seem its times and is doubtless the best life ot that composer network of vocal parts. In their attempt to do justice veins of melody as Richard Wagner and Verdi had, man music, though it has for a long while accepted ELGAR’S SELF-INSTRUCTION. yet written. It was Mr. Finch who was among the first to the words, the Florentine reformers went to the you may be sure they would work them for all they to he lost in a series of experiments in individuality. to champion MaoDowell and Paderewski as master com¬ Wagner. England is a little more fortunate, for Elgar Dehussy’s modernism is not that of Strauss; Scriabine Self-taught, self-centered, self-determined, Elgar posers. His present attitude ts wholly sincere, despite the opposite extreme of eliminating melody entirely, sub¬ were worth. Not having such melodic treasures, they may claim, more than any other English composer, that vein of satire in his article. The article by Mr. Edward stituting for it a dry and tiresome recitative. have given their principal attention to other musical is known on the continent, and the works of Cyril Scott and Busoni do not resemble each other, nor any of the Burlingame Hill on Significant Phases of Modern French are now earning a well-deserved European reputation. rest; while Schoenberg goes farthest of all. Until he has been “his own ancestor.” He was born at Music, which appears on the next page but o-- Extremes meet. The two composers of our day factors, trying to interest the public with harmonic As for the old music, it has taken the efforts of men Broadheath, near Worcester, in 1857, the son of a issue, gives our readers a ‘ “ ‘ • whose operas have been discussed the most—Richard subtleties and novel orchestral colors. some composer arises who can grasp the new possibili¬ aspects of the sedition in like Paderewski, Kreisler, or Ysaye, to make us at all ties as a whole, we shall have musical experiments Roman Catholic Church organist, who kept a music Strauss and Claude Debussy—have displayed a “noble This is a perfectly legitimate procedure, bbt the acquainted with the works of a Scarlatti, a Couperin, rather than great art works. This is not saying that shop.. The father was apparently not satisfied with his After having been a professional critic for a third contempt for melody” reminding one of these founders fate of the works of these two composers shows once or a Vitali. There is still’a large Held here for both living composers have failed to produce great music. own career as a musician, for he placed his son in a of a century I am vain enough to consider myself as of Italian opera in the dawn of the sixteenth century. more that there can be no lasting success without student and performer. It happens that this depart¬ Debussy’s dainty genre pictures for piano, or the lawyer’s office. A year was spent there, and then the “wondrous wise” as the man who “jumped into a bram¬ In the Strauss operas there are no vocal melodies. plenty of melody. In Paris, in a whole decade, ment of The Etude has already made some sugges¬ broader Death and Transfiguration of Strauss, are ac¬ boy found his musical bent too strong to be resisted. ble bush and scratched out both his eyes.” You will They are made up chiefly of vocal declamation and Debussy’s Pelleas et Melisande has had only a few more Practically, he taught himself, and taught himself to tions along the line of musical education. These con¬ cepted as masterpieces; but these composers still seem remember that “when he saw his eyes were out, with orchestral din. In his latest work, The Legend of than a hundred performances, which, for that city, is play six or seven instruments, too, though the violin sisted of a systematic course of sight reading for stu¬ greatest when they are least radical. Such men as Hol¬ all his might and main, he jumped into another bush Joseph, he leaves out the voice part altogether. a most disappointing number; and in the few othet was his chief study. From the age of fifteen he main¬ The case of Debussy is equally striking. His Pelleas dents ; a series of historical concerts by our orchestras, brooke, Scriabine, Schoenberg, and at times Delius, and scratched them in again.” cities, here and abroad, where it has been tried, it was tained himself. He played in the orchestra of the Festi¬ with soloists assisting; and a course of interesting but grow completely radical without becoming highly inter¬ Something like that happened to me; only, the organs et Melisande is, as his most devoted admirers admit, shelved after a few repetitions. esting. Inspiration will still be needed in the new val Choral Society ; he sang and played at the Worcester “an opera in which there is no vocal melody whatso¬ forgotten operas. involved were my ears, not my eyes. Deliberately I As for the operas of Richard Strauss, each one made school, as it was in the old. Glee Club; he played bassoon in a wind instrument made myself deaf for a time—deaf to hundreds of the ever.” In fact, so far as opera is concerned, Debussy a sensation and prospered for a year or two and then quintet. Later, he was bandmaster at the Worcester IS MUSIC AN AID TO PROGRESS? loveliest tunes and melodies in the world. Fortunately, is no less outspoken in his noble contempt for melody fell into neglect. I might cite figures, but much more A NEW ART FORM. County Asylum, where the Board asked him to write than was Caccini. He admits that he deliberately kept Other writers have been discussing the question I got my ears back long ago. eloquent than figures is the fact that when Strauss Karl Pernot, writing in Die Musik, foresees, or at sets of quadrilles at five shillings ($1.25) each. About it out of his opera because “melody is suitable only offered the premiere of his Rosenkavalier to the whether music is an aid to progress. In some ways VIENNESE DANCE MUSIC. least desires, a new form of art-work, which he calls the same time he was scoring Christy Minstrel songs for the song.” Those are his own words. Dresden Opera on condition that his Salome and music has been employed practically for the regulation at eighteenpence (thirty-six cents) each! the Symphonic Tragedy. This is to be something less In 1879-80 I had the great privilege of spending nine Now let me briefly indicate the results of this “noble Elektra be given each four annual hearings for ten of labor and effort. Thus it is thought that the sistrum He had no formal training; never spent any time in than opera, something more than cantata, and will show months in Vienna. At that time the Austrian capital contempt for melody” in operas, ancient and modern. years, the management balked and refused, knowing of the old Egyptians was shaken as a signal for the the “shoppy” atmosphere of Conservatoire, College, or the best of poetry and music. There is no doubt of the was the gayest and most melodious city in the world. The works of the old Florentines who banished that those operas were “played out.” workmen to pull and haul together. Though that in¬ Academy. In these respects his history is more like fact that opera scarcely ever attains the standard of Johann Strauss, Suppe, and Milloecker were at the melody from their scores were swept into oblivion as In the concert halls, also, these two composers, strument was little more than a jangle of bell-like tones, that of the eighteenth-century composer than that of instrumental music. Wagner put it on an equality with height of their creativeness and popularity, daily shak¬ soon as creators of melodies, like Monteverdi and though not neglected as they are in the opera houses, the principle is more fully illustrated in the sailor his colleagues and composers of to-day. It is instruc¬ ing lovely melodies from their sleeves—melodies that “shanteys” of the last century. These are songs, some¬ the tone-poem style of Liszt, but other opera composers, Scarlatti, began to produce their operas; and from that do not receive nearly as much attention as they would tive and encouraging, and without knowing it, it is not were at once introduced into the ballrooms, in which times of fair length, which the “shantey-man” sings to on the whole, write for less discriminating audiences. time to the present day those operas have held the if they were more melodious. The fact, however, that possible to understand the influences which have everybody seemed to be dancing. I, too, learned to insure a rhythmic and Unified pull at the halyards, sheets The article suggests a development from the choral stage longest in which there was the most abundant they have achieved considerable fame and have made moulded his music, or to know what manner of man dance—I couldn’t help it, the rhythms were so enrap¬ or other ropes. These musical curiosities are disap¬ symphony of Beethoven towards what would be a real melody. money by their methods has encouraged many others he is.—Cuthbert Hadden, in Modern Musicians. turing and the girls so beautiful! Yet it never pearing as steam drives out the sailing ship, but they revival of early Grecian dignity, instead of the hybrid CONCERNING VERDI. to follow in their footsteps. occurred to me that some of the melodies which so still exist, and are found all the way from the banks of affair that opera became soon after its inventors tried Look at Verdi’s II Trovatore, for instance—an opera The one thing these followers have in common is stirred my blood were really first-class—not only of Newfoundland to the coast of China. to revive the Greek drama. Perhaps it will be in order PUTTING THE THUMB UNDER THE the noble contempt for melody. With ill-concealed their kind but of any kind. defective from several points of view, yet brimful of In ancient Greece music was held in the highest to ask Herr Pernot to demonstrate by producing a work SECOND FINGER. scorn they smile at the foolish old-fogies who enjoy Nothing would do for me at that time but grand melody and therefore imperishable. Yes, imperishable. esteem as an influence for good. The myth of Orpheus in the form he suggests. Meanwhile, the so-called Mys- the simple, silly tunes of Mozart, Beethoven, Schubert, operas and symphony concerts. Operettas I scorned. When properly sung it still thrills us, after all the is but one of many evidences of the power of sound terium seems to be developing on lines somewhat simi¬ BY MRS. J. MORTON BLISSARD. Chopin, Grieg, and other out-moded masters. The I attended a performance of Strauss’s The Queen’s deadly assaults of the peripatetic organ grinders. in the old days. We are not affected so strongly by lar to those here laid down. It is something like an music of the future, they are convinced, will consist L-ace Hander chief, just out, and done with immense With Aida Verdi reached a higher artistic level in music at present, but in ancient times there may have opera in cantata shape; and Bossi’s Joan of Arc has Possibly the most difficult thing for the student be¬ solely of discord, rhythm, and color. verve; but I left before the second act was over, general style and orchestral elaboration; but it is not been a physical reason, as well as an intellectual or emo¬ just won a great success in this form. ginning scale study to master is the little matter of because it wasn’t like Gotterdammerung. I did not these things that have made Aida the most beloved tional one, for the striking effect of music. Ancient putting the thumb under the second finger. I tell my TWO FOX STORIES. know then how greatly Wagner and the antipodal of all Italian operas. What endears it to music lovers races may have been more keenly sensitive to actual THE MONTH’S NOVELTIES. pupils that if one was horn with fifteen fingers instead Brahms admired Johann Strauss, both as a melodist is its astonishing wealth of melody. Extremely in¬ Why this superlative scorn for melody? Two fox vibration, apart from melody or harmony, just as some Binding’s new opera. The Holy Mountain, has at last of five scales would he no more difficult than five-finger and as master of orchestration. I wouldn’t have cared structive, from this point of view, are the last two stories here occur to the mind. Foxes are sly. One animals are found to be to-day. Thus the dog who made its initial appearance, at Dessau. The mountain exercises. But lacking the additional fingers we must in the least to meet Strauss—it would have seemed to operas Verdi wrote—Otello and Falstaff. In matters of them seeing some bunches of grapes hanging out of howls at piano chords is not trying to criticise the in question is Mount Athos, at a time when it was a make the scales sound as though they were five-finger me hardly worth while. In a word—to tell the plain, of style and craftsmanship these two operas are as far his reach consoled himself with the thought that they music, but is merely responding to the thrill caused by locality for monasteries. A child is brought to the exercises. By training the thumb to move swiftly and unvarnished truth—I was an unmitigated fool. above Aida as Aida is above II Trovatore; yet neither were sour anyway. Another fox, having his beautiful the vibrations. The Greeks had their musical cultiva¬ sacred retreat by Phokas, its father, who has stolen it deftly breaks may be avoided so that the ear cannot of them has ever become popular anywhere. Why tail cut off in a trap, tried to persuade all his colleagues tion, also, however, and some of their festival-pieces of from his wife, Myrrha, from whom he has become det'ect them. Many years later it was a comfort to discover that there were “others.” Dr. Hanslick, in his auto¬ not ? Because there is not in them the same wealth of that tails were no longer in fashion. program music would seem quite modem in their varied estranged. The child (a boy) is thus educated to be¬ An eminent teacher was quoted as saying, “The biography, related how he went through an experience melody as in the earlier operas. Otello has a few Are melodies out of fashion? Not with the public, effects. come a monk. Grown to young manhood, he meets the motion that plays the second finger helps in turning the gems, but not enough of them to float the whole which enjoys them more than ever. But the tailless beautiful Daphne in the fields, and love gradually over¬ just like mine, looking down on simple melodies as not Nowadays, too, many people look on music as a mere thumb under.” This led me to invent the following score; while Falstaff, though a masterpiece in style, foxes known as futurists or cacophonists, are doing comes his monastic aspirations. After a beautiful pas¬ worthy of serious consideration. Nor was he by any intoxicant for the emotions. Undoubtedly much music exercise, which affords splendid practice in this. polish, and details of construction, is melodically arid, their durndest to create the impression that they are satisfies this definition, even up to the noble works oj toral love scene, be returns for the time to the monas¬ means the first musician to indulge in the “noble con¬ Sustain the fifth finger on G. Play C, then as the and therefore does not attract the public, which prefers building up a new musical art, far nobler than the Chopin. With this idea, it is claimed that music does tery. To that place comes Myrrha, also, who has sent tempt for melody.” second finger strikes D move the thumb under it the melodic fleshpots of the Egyptian Aida. music of the past, into which so puerile a thing as not cause' progress, but that progress creates the de¬ Daphne in search of the lost son. The latter’s identity simultaneously until it is directly over F. Strike F and OPERA WITHOUT MELODY. There is no reason whatever for assuming that melody cannot be allowed to enter. mand for music. But such a claim neglects the intel¬ is discovered, and Myrrha gives her blessing to the then move the thumb instantly back over C to he ready The man who coined that phrase, Giulio Caccini, was Verdi, in his last period, came to share Caccini’s lectual -side, which is alsb present in the best music. lovers in spite of the opposition of the more ascetic to strike on the first C in the next measure. Practice born in 1550—two hundred and seventy-five years be¬ nobile sprezzatura del canto. He gave no more WAR ON CONCORD. Thus the pure musical designs of the Bach fugues, faction of the monks. The music contains many pass¬ this daily for two or three weeks, always plaving very fore Hanslick. He was one of the founders of the melodies simply because he had no more to give. He the earnest intensity of the Beethoven or Brahms sym¬ ages of lyric beauty, but even successful new operas Not content with boycotting melody, these cubist? slowly and never straining. Results should show in a Italian opera; moreover, he wrote the first instruction was seventy-four years old when he composed Otello phonies, or even the large tonal canvases of a Wagner, do not always show enough dramatic vigor to survive also make war on concord. Not for them is what short time. book for singers, and was one of those who helped to shows a balance between intellect and emotion. Music long. and seventy-nine when he wrote Falstaff; and at Shakespeare called the "sweet concord of sounds.” establish the bel canto style of vocalism—all of which seventy-four and seventy-nine a composer does not be¬ of this sort does more than tickle the emotions; to those Another work on a priestly subject (and one that Their music is an endless chain of premeditated dis¬ makes it the more surprising that he should have get original melodies. Wagner was only sixty-nine who appreciate, it is a species of soul-bath that leaves should please Herr Pernot) is the so-called symphonic cords—shrill, harsh, ear-piercing. Concord they tell spoken boastfully of the nobile sprezzatura del canto. one clean and strong for‘future efforts. In so far as drama Gefangnisse, by Gerhard von Keussler, which when he finished Parsifal, and even in that, original us, in word and deed, is for the old-fogies who like He had his reasons, however. Italian opera originated, it does this, music must be an aid to progress. was brought out at Prague. It deals with the transition melody is much less abundant than in his earlier melodies and other sweets. The musical dishes of as you all know, largely as a protest against the com¬ masterworks. the future, according to their recipes, will be made 489 488 THE ETUDE THE ETUDE

up entirely of mustard, horseradish, vinegar, red becoming epidemic. Scriabine, Stravinsky, Busoni, devised. In addition to this, the art of weaving melo¬ pepper, curry, and assafoetida. Guten Appetit, Kinder! Ornstein, Satie, and a dozen others have thrown their dies (counterpoint), the art of making chords (har¬ In Germany the leader of these cacophonists who hats in the ring, and each one tries to go the others mony), and the art of mixing tone qualities (orchestra¬ make cayenne the staff of life, 'is Arnold Schonberg. one better in .the cult of cacophony and general law¬ tion) extends the field enormously. Richard Strauss, When Fritz Kreisler was asked about Schdnberg’s lessness. They remind one of the sportsmen who for instance, is wonderfully adept in building har¬ music he replied: "What I have heard of his is not vie with each other in breeding ugliness into bulldogs. monies in a somewhat different manner from that in Significant Phases of Modem French Music music to me; that is, it has no relation to what I The latest of the systematic creators of unmusical which Wagner worked, although both men are Cyclo- consider music to be.” Godowsky said: “If you were to ugliness is a young Russian, Leo Ornstein, who once pian in their ideals and methods. Debussy, by the use By EDWARD BURLINGAME HILL sit on the keyboard you would produce as much har¬ honored this country with a brief sojourn. He takes of the whole tone scale, evolves a harmonic treatment mony as Schdnberg’s music possesses.” that is singularly delightful to many. What is the himself quite seriously—or, at least, he pretends to, This article is • sequel to Mr. Hill’s important article in the “Musical France” issue of THE ETUDE for April of this year. Similar verdicts have been spoken by most of the having discovered that his militant musicality got him much discussed whole tone scale? Go to the piano The articles follow the lines of Mr. HilTs course in French Music at Harvard University. If Bruneau and Charpentier have enlarged the scope great musicians of the day. The distinguished con¬ the advantage of an interview in one of the leading and play a series of notes up or down, always seeing of modern French music by their realistic and social¬ ductor of the New York Philharmonic, Josef Stransky, London dailies. He declared that just as Bach, Bee¬ to it that one piano key (white or black) comes be¬ istic operas, respectively, it is impossible to suggest told me that last year he went with Schonberg to a thoven, and Wagner wrote for their generations, so tween each step. Ah! Something new at last. By their individuality within a short space. Neither is concert in Berlin to hear one of his pieces. When it he is writing for ours! He is almost nineteen years no means—the whole toned scale was in use in Java especially significant or novel harmonically, it is was over, and the composer looked at him inquiringly, long before Nero Claudius Ctesar Drusus Germanicus old, this modest youth is! With Chabrier, impetuous expression and bold har¬ through the frank assertion of a drarnatic personality Stransky said: “I have learned a new word in America played his famous Pyrotechnical Concerto in Rome. And how does he represent our generation musically ? and biographical data pertaining to the mony went hand in hand, with an immediate change that they have benefited French music. —bluff—You cannot bluff me!” Let the London Times respond: Mr. Ornstein, it said, tlie most noted of French composers.- — -- suggests the nature of their methods of composition. Editor of standpoint. Ex. 4, 5. On the other hand, Cesar Franck possessed a har¬ “You cannot bluff me!” That hits the nail on the “is a trick pianist of the first order. An energetic “CONCERT PITCFI.” of The Etude.] monic idiom of his own, the natural complement of head. If all musicians took that attitude, this ridicu¬ housemaid with a duster might do some of the things his native and expressive mysticism, colored by modu¬ II. lous racket would soon cease; for a ridiculous racket he did, but not nearly all of them.” BOUREE FANTASQUE - Chabrier. lations at once free and logical. It is difficult to over¬ it is, although, of course, it would be unjust to deny When the Theodore Thomas Orchestra in Chicago For more than a generation, musicians throughout TECHNICAL AND EXPRESSIVE ADVANCES. Tres anime emphasize the loftiness and purity of his musical that technically the cacophonists have done some strike played one of Schdnberg’s pieces, a local critic re¬ the world have been endeavoring to establish a standard While the conservative group, comprising Lalo, thought; the profundity and depth of his, style are in ing stunts. Yet a moment’s thought will convince marked that, next time it was done, the regular sub¬ pitch, and to make its use universal. Without wishing Godard and Saint-Siiens, did much to foster interest marked contrast to that of his conservative contem¬ anyone that it is infinitely easier to do these tricks scribers would be asked to bring their instruments and to go minutely into the history of this movement, I poraries. Ex. 7, 8, 9. if you feel under no obligation to follow any rules. play along. in instrumental music, the sentiment of their music would merely recall the fact that in February, 1859, a is too often insipid, and their harmony, while piquant, INTIMIDATED CRITICS. NO MORE NEED OF TEACHERS. commission appointed by the French government, con¬ is conventional. Ex. 1, 2. ARIA-Cesar Franck. Unfortunately, many musicians and critics are in¬ So far Mr. Stock seems to be the only American sisting of eminent musicians and scientists, reported as timidated. Remembering how their predecessors made conductor who has given a hearing to one of these their opinion that the true standard pitch was A-435,. fools of themselves in abusing Wagner and Liszt, they “reformers” who fatten on false notes, like other and this was adopted by law in that country. A pitch now give Schonberg (and his colleagues in Russia, counterfeiters. Mr. Parker, the excellent critic of the supposed to be the same, and differing from it only headed by Stravinsky and Scriabine) the benefit of the Boston Transcript, has taken Dr. Muck to task for not by a few beats more a second (practically the same doubt, hemming and hawing, and conceding that twenty letting the Boston Symphony Orchestra play some of to an ordinary ear), was adopted in Germany, and is years hence these men may be accused of being as this newest music. Perhaps Dr. Muck had the teachers still in universal use there. All the best musical or¬ melodious, and simple, and saccharine as Bellini! in mind, as well as the ears of his hearers, in refusing ganizations in America, except brass bands, have used Musical history is full of grotesque comedies, but to do so; for evidently the music teachers will have the pitch A-435 for the last twenty years, and within this is the most farcical of them all. How it must an awful time of it when this music does come over the last five years the best bands have also fallen into amuse the cacophonists themselves, whom this meek¬ to corrupt our youth. I infer so from what that truly line and adopted standard pitch, although to do so ness on the part of the critics helps to the desired great master, Moritz Moszkowski, said the other day meant a heavy expense for new instruments. What is notoriety! to a correspondent of Musical America. He declared known as “concert pitch”—really a fictitiously sharp They are far from being fools, these cacophonists that he was not going to take any more pupils in com¬ pitch, about A-450 to 457, is now confined to England are. As masters of the technique of composition—in position because they positively refuse to be taught. (where it is rapidly being superseded) and to the rural their own way—they are diabolically clever; and as They point at the works of the extremist and insist districts of our own country. The change in America advertisers of their shows they beat Barnum by a mile. that they should be allowed the same liberty in writing. has been largely due to the firm stand taken by the And after a few lessons their friends call them One day, when I was talking about Richard Strauss International Federation of Musicians (commonly LE SECRET-Faure. with Rosenthal, that witty pianist remarked: “If you “masters.” known as the Musicians’ Union”), as well as several ex. 5 Adagio walk into a parlor and defy all the laws of etiquette, So you see, ladies and gentlemen, what’s ahead of State Music Teachers’ Associations, and other similar keeping on your hat, putting your feet on the table, you! In the meantime, pending this invasion of the bodies. The advantages of having a uniform pitch are and smoking your cigar you will be sure to attract Vandals, let us enjoy the works of the old masters, so obvious to all practical musicians that it hardly attention.” from Bach to Wagner, from Schubert to Grieg, who seems necessary to dwell on them here, yet tuners, .Now, I do not deny that Strauss is a remarkable have given to the world ravishing melodies and thrill¬ intelligent enough in other ways, speak of “concert composer; he has done some things that bear the ing harmonies instead of showing a “noble contempt” pitch” as if it were still an up-to-date reality, and stamp of genius. But what made him so well known for melody and concord. cautiously discuss the question of whether to tune a tr~ the world over, and so rich, was not the occasional piano low or high, according as they find it too low glimpses of genius in his music but his demonstrative or too high already. Granted that it will not stay L ,. T= Saint defiance of the laws of musical etiquette. He began CAN THERE BE ANY REALLY NEW MUSIC? in tune so well after a marked change of pitch, and PRELUDE,"THE DELUGE”- Saens. as a harmless imitator of Brahms, and no one heeded When we were children, fifteen or fifty years ago, that it is more work to change the pitch, still I main¬ him. Then he adopted the methods of Berlioz, carried as you please—our geographies mapped out large por¬ tain that there is only one right way to tune an instru¬ them to extremes such as even that revolutionary tions of the earth and then marked them “unexplored.” ment, and that is to the right pitch, let the conse¬ My r leader never dreamt of, and lo and behold! in a short To-day locomotives chug swiftly past the lion’s lair and quences be what they may. A tuner who knows about time he became the most talked about musician in the the giraffe scurries off to find some new but ever de¬ the standard pitch (and surely it would argue ignorance world, and the richest too. creasing bit of the “unexplored.” For eight hundred of his calling, not to know)—and still, to save time The lesson was not lost on others. Schonberg, also, years music-workers have been delving into their vast and trouble, tunes to any other pitch, is on a par with began as gently as a lamb. No. one listened to his unknown and hundreds of people are asking each other, a milkman who thins his milk with water, or a cloth¬ iP bleating. Then he put on a lion’s pelt and began to “Can there really be anything new in music?” Of ing dealer who sells shoddy for wool. Suppose even roar horribly, and everybody listened and commented. course they all know that there is something new, be¬ the case of a very old piano, a tone or so below stand¬ cause Messrs. Strauss, Debussy, Puccini et Cie., see to ard pitch—tuners have a favorite superstition that to SCHONBERG AND THE SUFFRAGETTES. mum it that they are reminded very constantly. But, is it tune it up will break a lot of strings. Once I was LmsA To change the figure, Schonberg learned a lesson really new or simply a rehash of the 28,000 operas M obliged to get along with such a piano for a few While d’lndy owes much to Franck structurally, and from the militant suffragettes. He was ignored till which John Towers records in his book of operas which weeks, in Wooster, Ohio, and the tuner refusing to in a few details of style, he differs from him in the he began to smash the parlor furniture, throw bombs, have been performed. How can musicians take thirteen tune it up to pitch, I sent him away, borrowed a It is difficult to analyze the effect of Faure’s per¬ and hitch together ten pianolas all playing different substance of his music, and especially in his harmonic notes and turn them in so many different ways that tuning-hammer and somewhat angrily yanked every sonality within a small compass. It is due to the charm tunes, whereupon everybody began to talk about him. idiom. D’lndy is not a mystic, though he possesses an something new is developed. string up fully a minor third, until the whole scale and elegance of his melodies, and also to an original The publishers now bought his manuscripts, and the austere poetry and moments of great emotional vitality. As a matter of fact, a great deal of what is considered stood somewhat above standard pitch. Then I sent harmonic scheme, varying from simplicity to more newspapers gave him columns of space. His most characteristic qualities are: strong part writ¬ new is really very old. Opera itself is now aged three for him again, and told him that as he objected to complicated style. At times he suggests faintly modal It is a way the newspapers have. As long as you ing, an extension of harmonic freedom, which, how¬ centuries. Long before Paris began to think of sanitary tuning it up, he might now tune it down to standard harmony, at others his original use of seventh chords do something that is simply good without being sen¬ ever, is always controlled by coherence and logic, fond¬ plumbing, when the Louvre and the salons of the “city pitch, which he did. In all this rather rough treat¬ is most striking. His chief service to French music sational, you are lucky if you get brief mention in ness' for passing modulations, suggestion of modal har¬ of light” reeked with disgusting odors, there were per¬ ment, not a single string broke, and if there had, comes from the expansion of expression, of which his small type on an inside page. But if you become a mony and a use of augmented chords suggesting the formances of opera, which from the spectacular stand¬ strings are not enormously expensive. The only way harmonic scheme is a natural consequent. Ex. 5, 6. law-breaker you are put on the front page, with circus point would compare quite favorably with some of our whole-tone scale. Ex. 10, 11. headlines, pictures, and all. seems to be for a musician to know what he wants, modern productions. Any musician who chooses to set and then stand over the tuner with an axe (figura¬ That the cacophonists are law-breakers is their himself to the task can take the scores of operas of tively), until he gets it. boast, since they have discovered its advertising value. that period and find in the works of some of the present AURORB - Faure. FERVAAL, Act II - d’ Indy. In Schonberg’s later works all the laws of construction Teachers, too, should insist on their pupils’ instru¬ day writers occasional snatches of themes which are ments being tuned to standard pitch, and refuse to observed by the masters, from Bach to Wagner, are unquestionably reminiscent. Handel, Rossini and . ESPANA-Chabrier. E^-6 Andante recommend any tuner who tries to evade doing the ignored, insulted, trampled upon. The statue of Venus, others thought little of “plagiarizing” from themselves. Allegro the Goddess of Beauty, is knocked from its pedestal task properly or who endeavors to persuade his patrons Even where the accusation of deliberate stealing of to be satisfied with any other pitch. and replaced by the stone image of the Goddess of tunes is unfounded it is not surprising that many tunes Ugliness, with the hideous features of a Hottentot bear a close resemblance. The only case I can imagine, where a tuner would be really justified in using the old “concert pitch” in -U.4*y; hag. How can composers avoid these resemblances? In these days, would be where some one in the household If Schonberg were alone in this cult of hideousness the first place the field for discovery is really far * was the unfortunate owner of a high-pitch clarinet or 4 J ^ one might treat him as a freak, or a joke, and pass larger than it appears and through numberless twists on to something else with a smile; but this thing is oboe, and wished to have the piano in condition for and turns an almost unlimited number of tunes can be his accompaniments. THE ETUDE 491 490 THE ETUDE

LA SOIREE DANS GRENADE - Debussy. ARIANE ET BARBE BLEUE, Act II-Dukas. n SLOW MOVEMENT, SYMPHONY IN B^-d’Indy.

Pianoforte Technic of the Past, Present and Future By OSCAR BERINGER Professor of Pianoforte at the Royal Academy of Music,"London, England

[Editor’s Note.—Oscar Berlnger was born at Furt- face of his work on The Art of Singing Applied to the power which is little short of demoniacal. He can in wangen Germany, in 1844. Owing to political difficulties bis father was obliged to escape to England with his family Pianoforte, he says—“One of the first conditions for turn freeze the blood in one’s veins as he performs when the child was five years old. The little pianist was obtaining breadth of execution as well as pleasing the most amazingly daring feats of virtuosity, and taught at first by an elder sister and made such unusual progress that he was enabled to give recitals at the Crystal sonority and great variety in the production of sound again, by his stormy outbursts of uncontrolled passion, Palace when he was fifteen years of age. Then he went to send it coursing along like molten fire. The strength Leipzig where be studied under Plaidy, Reinecke, Richter is to lay aside all stiffness. It is therefore indispensable and Moschelcs. Later he went to Berlin to receive lessons for the player to possess as much suppleness and as and unfailing quality of his performances borders from Tausig, Ehlert and Weitzmann. When he was twenty- on the incredible.” five years of age he became an assistant to Tausig in the many inflexions in the forearm, the wrist and the fingers, Schule des Hdhern Clavierspiels In Berlin. In 1873 he as the skilful singer possesses in his voice. In broad, founded the Academy for the Higher Development of Piano¬ RUBINSTEIN AND VON BULOW. forte Flaying In London. Later he was appointed a Pro¬ noble and dramatic songs we must sing from the chest, fessor and then one of the managers of the Royal Academy similarly we must require a great deal from the piano Billow, on the last occasion when he heard Tausig of Music. He-has written many noteworthy compositions play, said to him:.“You have become unapproachably for pianoforte and also has attained wide renown in Eng¬ and draw from it all the sound it can emit, not by Dukas, an assimilative type of composer, is at once land and on the contient for his playing. It Is as a teacher, striking the keys but by playing on them from a very great, my dear friend. Unfailing as my admiration of however, that Mr. Berlnger Is most distinguished and we your gigantic talent has always been, I never believed reactionary and modern in his harmonic taste and his have no hesitancy In terming the following article one of short distance, by pushing them down, by pressing them with vigor, energy and warmth. In simple, sweet and it possible that I should one day esteem you as highly POISSONS D’OR-Debussy. style. Ex. 20. the very best The Etude has ever had the privilege of printing. Among his pupils who have won fame may be graceful melodies, we must, so to speak, knead the as I did Joachim, when I heard him play the Beethoven EX. 14 Jfj}i piano, tread it with a hand without bones and fingers Concerto. Every note you play is golden, the quintes¬ SLOW MOVEMENT, PIANO SONATA - Dukas. of velvet. In this case the keys ought to he felt rather sence of musical feeling.” The extraordinary improvement in pianforte playing EX. 19 |^7“j j ^ than struck.” This extract, copied from a work written The testimony of such eminent authorities and my made during the last fifty or sixty years is to a great close upon seventy years ago, shows how advanced own personal observations undoubtedly prove to me extent attributable to the more scientific and physi¬ were Thalberg’s ideas upon this most essential feature that technically Tausig stood head and shoulders above ological treatment in the teaching of technique; that of pianoforte playing. any of his contemporaries. I had the great good for¬ is to say, the rational development of the muscles of Having heard most enthusiastic accounts of the mar¬ tune often to hear Rubinstein and Biilow, during my Debussy’s style and type of expression developed the fingers, hands and arms, to make them respond to vellous technique and almost diabolic accuracy of Carl stay in Berlin, and thus was able to compare the per¬ spontaneously with no artificial attempts at originality. all the necessary movements required for pianoforte Tausig’s pianoforte playing, I hied me to Berlin in formances of the three great giants of pianism at that Beginning with a simple harmonic idiom and easily playing, not only as regards velocity of movement but 1869. time. While Rubinstein with his elan and often bar¬ comprehensive, though often poetic moods, he became also in regard to quality of tone, in other words—touch. baric fire would sweep you clean off your legs during more complex and subtle in the Afternoon of a Faun To Louis Plaidy we are indebted for the first compre¬ TAUSIG’S REMARKABLE ACCOMPLISHMENTS. his performances, yet when one began to analyze his when he hqd a more delicate and fanciful subject to hensive work on this subject on more modern lines. Remembering Hans Von Billow’s definition of playing in cooler blood, one could not forget the many depict. Ilis later style is the logical outcome of an He it was who insisted on absolute looseness of wrist pianism as consisting of three attributes, firstly, wrong notes that had crept in to mar his playing, and and arm. Clementi, Kalkbrenner, Cramer and Mos- extended and varied scope of expression. Debussy is technique, secondly, technique, thirdly, technique— the headlong passion which often led to savagery. not monotonous harmonically. He still uses simple har¬ cheles, the great pianists of their day, all insisted on amplified with a small amount of brain power, I Biilow, with his keen metaphysical intellect, always IBERIA- Debussy. mony where it suits his purpose (and he knows how hands and arms being held in an iron-bound rigid con¬ naturally felt drawn to imbibe the three principles of analyzing and working out every composition he played Sans rigeur dition. I have a vivid recollection of Moscheles’ criti¬ to use it most effectively) ; he also employs modal har¬ pianism at the very fountain head, flattering myself down to the most minute details, went into the opposite cism of my playing of the last movement of Men¬ mony upon occasion with dignified and striking effect. that I possessed the necessarily small amount of brains extreme, and marred the effect of the whole often fey delssohn’s D Minor Concerto as being spoilt by playing To produce vivid effects he uses chords (often with required to complete the bargain. I found my in¬ this minute detailing. with loose wrists and arms. added dissonant notes) as impressionist painters use formants had certainly not exaggerated Tausig’s capa¬ Tausig neither went to the one extreme nor the bilities in the slightest degree. His stupendous tech¬ dabs of color with seeming disregard of “drawing,” HOW PLAIDY TAUGHT. other; while his playing was full of fire, he never nique and his unfailing accuracy were quite uncanny. without thought of conventional “voice-leading.” He In the Conservatorium at Leipzig, in the sixties of kicked over the traces, never forgot the effect of the is perhaps generally associated with the whole-tone Liszt, in speaking of him, said—"Briareus himself, had whole in working out details. In public he sometimes the last century, the teaching of technique, except it occurred to him to play the piano, could never, with scale and its chords. But Debussy did not invent the effaced his individuality too much in the effort to through the medium of etudes, was “non est.” Plaidy all his hundred hands have equalled this Tausig of the whole-tone scale. It forms a progressive evolution realize nothing but the composer’s ideas, but in private had left the Conservatorium. I felt that something ten brazen fingers.” Weitzman says of .him—“Tausig from the use of the augmented triad. The path may HJJf ft —ye gods, how he did play! On the last day of my was wrong “in the state of Denmark” and in conse¬ is the Mephistopheles of pianoforte virtuosi, with a be traced along such works as Liszt’s Faust Symphony quence made up my mind to take private lessons from stay in Berlin I marveled as much at his playing as (opening of first movement), occasionally in the Nibe- him. I feel grateful to him, even now, for the new I did on the first. Surely an absolute proof of his lung tetratogy, Dargomischky’s Stone Guest (Act III), road to which he opened the gate for me. The main greatness! All this is rather a digression from the in works by Neo-Russians, and in various works by improvements in his teaching consisted of the follow¬ object of my article, but I want to draw a moral from PELLEAS ET MELlSANDE, Act I,Sc.II-Debussy. Chabrier. It now appears that Fanelli employed the ing points: this side walk which may be of benefit to youthful From the general standpoint of substance, it must 1. Absolute looseness of arms and hands, with the aspirants. whole-tone scale in his Symphonic Poem Thebes in be noted that the evolution of modern French music tension of the fingers well bent. Now, although I knew all three of these giants pretty 1883, before Debussy, but his work was not known or has been due to the combined exertions of a group of 2. The centre of gravity leaning towards the thumb, intimately, and learned no end from them, it was more performed until 1913. The whole-tone scale was a fearless characters whose compelling purpose was to especially in five finger exercises, thus initiating what from listening to their performances or their exposition composite development in the minds of many. Debussy arrive at truth of expression. It was not a campaign Matthay calls rotation movement. of the aesthetic qualities of the works we were learning enlarged its scope, and systematized its use. If.one guided by theorist experts counselling revolution. It 3. That in legato playing the keys should not be hit, than from any actual or technical teaching. Artists uses whole-tones entirely there will be six notes within was a spontaneous and gradual revealing of material hut pressure should be used. Curiously, however, he of the calibre of those three are neither meant for, the octave instead of seven, i. e., C, D, E, Fk|, G^, All. and ideal. Incidentally, new departures in expression insisted thqt the full pressure should be retained until nor are they capable of, going through the drudgery Triads formed from this scale are all augmented, uncovered a fresh field of harmonic idiom, whose the next key was depressed, not realizing that the con¬ of teaching the more technical requirements of piano¬ sevenths and ninths are mostly altered. Extraordinary significance is best attested by a world-wide imitation. tinuance of this pressure after tone production was a forte playing. A striking example of this is that, after and radical developments of • harmony have resulted Through the mingled impetuosity of Chabrier, the total waste of energy and led also to the contraction of Tausig’s decease, an enormous amount of purely tech¬ glamor of Faure’s atmospheric songs, the seraphic from the use of this scale. But its prolonged use the muscles. nical material was found among his papers, yet, during becomes monotonous. Debussy is too great an artist moods, of Franck’s music, the glittering splendor of 4. He advocated the transposition, especially of five the more than three years I was studying with him, d’lndy’s second symphony and Fervaal, in Louise, not to diversify his method. His harmonic vocabulary Maurice Ravel is indebted to Faure and Debussy for finger exercises and arpeggi, into all keys, using the he never showed me a single technical exercise. A Pelleas and MeKsande, Daphnis and Chloc, The Sor¬ (so to speak) is adjusted to his expressive problem. harmonic and expressive material, but like any suc¬ C major fingering throughout. He thus initiated the selection of his technical exercises was published and cerer’s Apprentice, and a dozen other works, is found But striking as Debussy’s harmonic contributions are, cessful composer, he has developed his own style. Ex. modern fingering which Tausig so strongly advocated edited by Ehrlich and are now very widely used. the most comprehensive answer to the question as to they are secondary in importance to his mastery de¬ 20 shows affiliation with Faure, Ex. 17, 18 his more and amplified later on. lineation of a great variety of words of destructive personal style with true obligation to Debussy. what the world has gained through fhe rise of a new STUDY AT HOME WITH A PRACTICAL TEACHER. school of French music. A work which appeared about this time, Thalberg’s, finesse and subtlety, true additions to the development The Art of Singing Applied to the Pianoforte, had also I should like to warn young students, unless they of characteristically French expression. Ex. 12, 13, 14, CHARACTERISTIC WORKS. considerable influence in the improvement of tone pro¬ are technically already very far advanced, not to come IS, 16. duction, especially in regard to cantabile playing. Thal¬ to Europe to study with one of the giants of the day, Chabrier: Habanera (transcription) Bourree fan- berg’s compositions are now almost forgotten, and as they certainly will not gain Billow’s three require¬ tasque. DAPHNIS AND CHLOE - Ravel. deservedly so, as they were not of much real artistic ments. Much better to study with some lesser star Faure: Twenty Songs (Second Collection), Spin¬ value, but the impression of his playing can never be who has made pianoforte teaching his sole metier. ning. Song (Transcribed by Corlat) from Incidental forgotten by those who had the good luck to hear his There are plenty of excellent men and women of this CLAIR DE LUNE - Debussy. Music to Pelleas and Mclisande. wonderful touch and brilliant technique. In the pre¬ calibre to be found nowadays in all important centers. Franck: Prelude, Aria and Finale. D’indy: Poem of the Mountains. Debussy : Suite Bergamasque, Estampes, Preludes (First Book). Ravel: Pavane for a Dead Child, Sentimental and Noble Waltzes, Mother Goose (Four-hand Pieces). Dukas: The Sorcerer’s Apprentice (Four-hand ar¬ rangement of Orchestral Scherzo). THE ETUDE 493

492 THE ETUDE ear-training for young pianists. Tausig said himself, “I am not here to teach five- surgeon. This latter is, in my opinion, by far the most finger exercises and scales. If you want that, go to important work upon technique, from the physiological point of view, that has appeared up to the present date. BY S. HARRISON LOVEWELL. some conservatorium, do not come to me.” Another The gist of these successive efforts to systematize reason for my warning lies in the fact that a stu¬ and elevate touch and tone-production, seems to me to A well-known psychologist has said, “As in the pendous technique like Tausig’s must, to a great extent, be contained in the following rules: Getting a Start in the Concert Field have been inborn. In asking him one day how he had 1. Avoid all stiffness in the joints, fingers, wrists, case of the eye, so-with th^r^^everything to acquired his marvelous octave playing, he said, “I do elbows and shoulders. learn that pertains to the vast world of sounds. Ijj BY JAMES FRANCIS COOKE not know. I have always been able to play octaves. 2. Avoid the over-practice of any one particular I have never made a special study of them.” Now, movement, especially those affecting the weak finger it is manifestly impossible to teach anything really well muscles. (It was the neglect of this precaution that unless one has gone through the mill oneself, and they led to the injuring, and in some cases, the permanent have not—not, at least, in the way that ordinary mor¬ laming of the hand, which was so prevalent among „r trainins: is far from common. And of all tals must if they want to become efficient. pianists a few years ago.) SSfcll; pianists are probably ,ho wor« Mmppai After the years of study, the “ages” of practice and prompt in building up a reputation. This reputation is the artist rather than help him. We mention this only 3. Discontinue pressure immediately after tone-pro¬ The reason for this is very simple. The violinist, the “ions” of hope, the student finds that if he wishes supposed to come through printer’s ink. No one denies because we actually know of a great many cases where PRODUCING VARIED TONE QUALITY. duction. Continued pressure means unnecessary fatigue. the flute-player, the cornettist-each o: these artists has to become a touring artist the hardest part of the work that advertising v/ill help the worthy. But at the same performers of intelligence and talent, but without the 4. Use arm weight and finger pressure for cantabile- But, "Revenons a nos moutons.” The greatest to make his own tones. Each is obliged to tune his is still ahead of him. An organization, backed by a time we have the somewhat pessimistic and disgrace¬ savoir faire of society, have been brutally snubbed in playing, the fingers remaining on the surface of the achievement in regard to technique in the seventies was instrument to a given pitch before beg-J*?. number of the wealthy and influential people of New ful spectacle of seeing thousands of young artists the homes of some people of means, who should have keys during inaction. Use the weight of the whole the gradual perception that it was possible not only In the case of the violinist, especially, is the ear trained York City, known as the Music League of America forced to wait while some less worthy performer with known better. If the Music League does not exercise arm, regulate the amount of weight according to the to produce a loud and a soft, or a long and a short to perfection, for the violinist has . to “make’ every (with headquarters in TEolian Hall), proposes to step money compels' attention in the press through adver¬ a great deal of caution in such cases it will find itself quantity of tone required. tone, but also different timbres of tone, in the ever- tone he produces, and the slightest deviation of his in here and help the struggling young artist in secur¬ tising. This is most unfortunate. If the Music League sending sensitive young artists to the homes of some 5. In octave work, hold the arm higher than the improving pianofortes of those days. Teachers sprang left-hand fingers from the proper place yvill throw him ing engagements if he proves worthy of having en¬ can only do a little to help the struggling artist with¬ parvenues who might in the short space of a few min¬ up in all quarters of the globe, who wrote, lectured hand, to allow the hand, to fall from the wrist on to off pitch. His only way of telling whether his fingers gagements. The league “seeks no financial support,” out funds it will accomplish much. However, if it utes alter the entire attitude of the youthful musician and fought each other in private and in public, each the keys. Do not throw the hand back above the are on the right spot is by means of his ear. hut "is satisfied to become ultimately self-supporting.” undertakes to finance the making of reputations for in regard to music. Again, we have known musicians one trying to prove his pet theory and annihilate those level of the arm after tone-production. The pianist has no such difficulty to contend with. Its secondary aim is that of helping concert-giving all the deserving artists of the country it will have of positive genius, but. with the manners of slovenly of his adversaries. The fight is going on merrily still. These, I think, are the most essential points in the His tones are ready-made for him. All he has to do is communities in securing worthy artists without being need for the resources of the Standard Oil Company. peasants, to go to the homes of cultured people and In a book published only a few years ago, the author pianoforte technique of the present day. to train his fingers to hit the right notes, and it would importuned by what some feel to be aggressive agents The writer often wonders whether our artists are leave the impression that all musicians were little bet¬ maintains that you can only produce soft and loud A great saving of time has been effected by the elim¬ not make the slightest difference, so far as playing in with a pecuniary interest in selling talent—and in many not too impatient. Do not many of them expect their ter than gypsies, bummers, or low-minded tramps. and short and long tones, while another one asserts ination of the unnecessary quantity of etudes the un¬ tune is concerned, if he were absolutely tone-deaf. The cases talent with merely a “printer’s ink” reputation. Such occurrences are unfortunate for music, and for that it is possible to produce 42 different qualities of fortunate young student had to plough through for¬ returns from the public before they are really entitled consequence is that many pianists have very little sense The need for reliable agents is obvious to all, and many to them? Should they not work longer and harder musicians who hold their art in real reverence. ■ touch or tone. merly. of pitch, or even of tonal beauty. Nothing else can Space will only allow me to name a few of the most We now use technical exercises instead, and etudes agents have won honorable names for themselves. before they foist themselves upon the critics and the explain the amazing worship of mere digital dexterity LYCEUMS AND CHAUTAUQUA. prominent men who took up the cudgels. I will take are, or ought to be, used only as a means of testing The Music League of America is evidently a semi- audienqes? Unless the artist is really worthy, adver¬ which is characteristic of many modern piano enthu¬ them more or less in chronological order. the technique already acquired, not as the one and only philarithropic enterprise, a kind of idealized concert tising is a frightful waste. The performer must, iti What can the young artist, who wants to make a Dr. Adolph Kullak, in his “Aesthetic of Pianoforte means of acquiring it. siasts. bureau. The success of the undertaking will not de¬ all cases, be ready to “make good.” I know of a vio¬ start in the concert field, do? He has listened to the Playing,” published in 1876, was the first to speak of One hour’s conscientious practice of purely technical The first thing in piano playing is the training of pend upon the funds furnished by well-meaning rich linist of talent and some skill who has been advertised flattery of his friends and neighbors, and then ven¬ the “fall of the finger,” which phrase inevitably implies exercises is worth any amount of etude work. the eye. The beginner must learn the name and posi¬ people with fine motives, but upon the men and women far beyond his talent as an artist. Wealthy people in¬ tures to inquire the address of a manager. Up to this that the weight comes from the hand or arm; for So much for the technique of to-day, but what of tion of each key on the piano. As a rule the beginner selected to carry out the plan. Business acumen is terested in him, literally threw away fortunes to make time he has probably not learned that the managers of otherwise the uncontrolled fall of the fingers 'would the future? I do not much like the role of a prophet, is taught the white keys only. This is wholly insuffi¬ something for which even the generous motives of him popular. Yet he was received everywhere as the musical entertainments of the higher class are wholly not be heavy enough to produce a tone. Kullak further but the reader must take my remarks for what she or cient. Inasmuch as the groups of two and three black Mrs. Havermeyer and her associates cannot be sub¬ immature artist he really was. His “printer’s ink” apart from the managers of' general entertainments. keys are landmarks to guide the eye and the finger in insists upon looseness of wrist, and finger-pressure in he thinks them worth. stituted. A fortunate outcome of' the project will de¬ reputation was built upon the quicksand of mediocrity. One large Western agency has managed both lectures cantabile playing. Germer, in his book on Tone-Pro¬ finding the white keys, their properties as regards rais¬ pend upon whether there is another Pond, Redpath or Another case is that of Carl Flesch who, with very and musical artists of note, but as a rule the man who duction, holds to the old system of finger-work, or ADVANCES IN THE ART. ing and lowering the tones of the white keys must be ’volfsohn at the helm. little newspaper heralding, came to America last year manages Busoni is a wholly different person, in a very rather over-work, but, with it, he advocates a loose learned at once. and leaped into fame in a night. Violinists said to On looking back once more, I find that Tausig in different business, from the man who manages William arm. To Deppe is due great credit for being the first The keyboard is composed of semitones throughout; MARKETING MUSICAL TALENT. each other, “Here is a man who is really and truly a Jennings Bryan. In the entertainment and Chautauqua to go in systematically for the loosely-supported arm his few compositions certainly initiated a new kind of therefore, the next key to the right of C is C-sharp master of his instrument.” That .kind of advertising Selling musical talent to the public is, considered field there are almost innumerable agencies. ..They in tone-production, but he was not sufficiently far ad¬ pianoforte technique. In his studies Op. 1, in his tran¬ (D-flat). The next to D is D-sharp (E-flat), then does more ticket-selling, even in our much-abused from a business standpoint, not so very different from usually deal with artists and entertainers of less promi¬ vanced to realize the proper use of arm-weight in scriptions, notably in the Arabesques in Weber’s Invi¬ F, F-sharp (G-flat) ; G G-sharp (A-flat). and finally “dollarland,” than all the newspaper puffs ever printed. tation to Dance he invented quite new and very beauti¬ the selling of shoes or baking powder. Only the com¬ nence, musically, than those in the more or less re¬ playing. Caland, a pupil of Deppe, went further than A, A-sharp (B-flat). The youngest child quickly Flesch was a mature artist who had earned his rep¬ ful decorations. In the Strauss Vaises Caprices he modity and the customers are different. This may stricted musical field. Each agency has a different her master. She fully recognized the necessity of learns the modification of the names and pitch of the utation with his fiddle instead of his check book. Ad¬ intertwines his decorations with the melody, and makes seem a hard statement for a musical paper of the type way of conducting its business. As many readers of using the upper arm, shoulder and back. I will quote white keys by using the black keys. This extra trouble vertising money spent on Flesch, backed up by his use of all sorts of polyphonic devices, such as canonic of The Etude. The musical public of the world buys The Etude have asked for the names of representa¬ a few sentences from her book, which is called Artistic is taken simply in order that the pupil may be drilled manifest ability in pleasing audiences, would be well imitations, etc. only a small proportion of the talent for sale. The tive lyceum, entertainment or Chautauqua managers Piano-playing: “The hand must first of afl be eman¬ upon the exact intervals and the differences of pitch as invested. In the other case we have in mind, it might Godowsky, who stepped into his footsteps, becomes rest is bought by the general public, which must he and agencies, we give a few herewith: cipated-must be quite free from the hampering weight they are expressed in the terms, tones and semitones. have been better if the young artist had done his ad¬ still more complicated in his arrangements. I need kept in touch with the artist’s accomplishments. In The Coit Lyceum Bureau, Cleveland. of the arm. The hand must be light as a feather. The The eye having been trained, we may next turn our vertising after he had secured his experience rather only call attention to the over-clever arrangement of other words, it must know the artist by reputation, as The White Entertainment Bureau, Boston. hand will be light only when it is carried, instead of attention to the ear. It is obviously unnecessary for than before. carrying itself, over the keyboard. The lightness and Chopin’s Etudes, where he plays two, and even three, children to tune the piano every time they play—even it is no more likely to buy tickets for his concert if The Mutual Lyceum Bureau, Chicago. studies together. Max Reger, another of the moderns he is unknown than it would patronize an unknown The Music League can do much to assist deserving The Alkahest Lyceum Bureau, Atlanta. freedom thus imparted to the hand is effected through if they could do it-—but a good substitute which would young students by giving them a chance to gain ex¬ the agency of the shoulder and arm muscles.” In 1881 of the modern, also follows in the same direction. The afford excellent training could be found in a cheap manufactured article. The names of Melba, Pad¬ The Dixie Lyceum Bureau, Dallas. conclusion that I draw from the tendencies of the perience and a livelihood. According to the plan Du Bois Raymond, in the epoch-making lectures he mandolin. This instrument, like the piano, has two erewski and Ysaye are, .considered from the commer¬ The Ellison-White Bureau, Boise and Portland, 0. present day compositions, which lean again towards announced, “Save in instances where the capacity of gave in Berlin upon the physiology of the muscles and wire strings tuned to unison. The teacher could put cial viewpoint, just as much trade names as Baker’s J. B. Pond Lyceum Bureau, New York. what Parry calls the horizontal (polyphonic) in con¬ a musician shall be generally admitted, none will be Porter Lyceum Association, Minneapolis. their relation to the movements of the body, gave a one of these strings out of unison and then invite his chocolate, the Waltham watch, the Ford automobile. tradistinction to the perpendicular (homophonic) is, accepted as a candidate for engagements until he or fresh and well-directed impulse to this quest for the pupil to restore it to the pitch of its fellow. Not only The concert manager, therefore, tries at the outstart Redpath Lyceum Bureau, Chicago. (This bureau was as regards pianoforte-technique, that Bach, the foun¬ she has been passed on as by a judging committee of1 best means, scientifically, of tone-production. would the child learn something from this experience, to create a trade name, something he can sell, because founded in 1868, and has managed celebrated musical tain head of this school, will, at long last, come into impartial experts.” The Music League has an enor¬ Since that date book after book has appeared on the but the teacher also would gain a new insight into his he knows that those who have in turn to sell tickets artists.) his own, and his immense worth and importance, even mous task ahead. We await the outcome with much subject. Their authors include Marie Jaell, many of pupil’s possibilities. If the tone has been flatted—which for the local concerts can attract crowds through that Midland Lyceum Bureau, Des Moines, la. from a purely technical point of view, will be fully hope. If the league is able .to do nothing more than whose conclusions are, to my mind, quite erroneous; is better for the instrument—the chances are the pupil same trade name. Let us step up a little higher and Century Lyceum Bureau, Chicago. recognized. Better late than never. Technical exer¬ furnish private engagements at musical affairs in homes Sochting, whose system is an amplification of Peppe’s, will pass beyond the proper pitch without realizing that call our trade name by the high sounding title “rep¬ cises and Bach will, and ought to be, the daily bread of of the wealthy it will help many. If, however, this is The musical concert bureaus, as I have intimated, and a host of'others. unison has been reached. The teacher must watch for utation.” the pianoforte student of the near future. I wonder to result in placing these young artists in positions deal only with artists of renown. In the case of some this emergency so that the wire does not snap. It is Reputations in music are now reached through four if this will eventually lead to the appearance of another where they are to be patronized as unfortunates it bureaus new artists are accepted on their lists only LESCHETIZKY ON TOUCH. not likely that the child will learn to get unison at the channels : ' genius like Bach? A Bach who will make use of all might be better to see them in some other occupation when the newcomer sees fit to pay down a substantial very first attempt unless he has a naturally accurate I. Worth (talent, ability, genius). The soundness of Leschetizky upon the touch ques¬ modern harmonic progressions and devices. May kind where they could work honestly and take their hire on advance fee to cover the cost of exploitation and the sense of pitch. He must be taught to listen for the II. Time (patience, practice, initiative, industry). tion, although he himself has not written any book Heaven grant it! Saturday nights without any loss of personal dignity. agents time and services. Knowing as much as I do upon the subject, is exemplified not only by the ad¬ “beats” which occur when two strings are tuned nearly III. Money (working capital, required in any busi- One word more in regard to the modern French of the difficulty in putting an artist before the public mirable playing of his pupils, whose touch and tone- alike but not quite. After the student has been taught School, the chief requirements of which, from a A CONDITION TO BE AVOIDED. I see some justice in this fee, although in many cases production are unexceptionable, but also by the writ¬ to tune unison tones other intervals can be tried—the IV. Printer’s Ink (rightful publicity). technical point of view, seem to me to be a plentiful it may range from $1,000 to $2,000 for the first year, ings of two of- his disciples, Marie Unschuld and Mal- octave, fifths, fourths, etc., for all of which purposes Reputations are no cheaper to-day than they have There are good reasons why many of the musicians use of the so-called soft pedal (una corda) and a soft depending upon the salability of the young artist’s vine Bree, who, in her book on the Leschetizky method, the humble mandolin is well suited. ever been. In fact, they cost a very great deal more who furnish music at the homes of the rich do not duster to wipe the keys with, alternately the white and —more artistic worth, more time, more money, more talent. This fee may, in many instances, be regarded has a chapter on Cantabile playing, in which she When the student has carried his ear-training to the fit in with the luxurious life of their patrons so that as money thrown upon a gaming table. Even the black ones. This would be found of great use in pro¬ printer’s ink. There are, for instance, one hundred they can themselves feel comfortable under the differ¬ strongly urges that the weight should be released, and extent of being able to tune any required interval manager, -filled with enthusiasm about the artist, can¬ ducing “atmosphere.” Oh 1 for another Schubert 1 Let aspiring, capable pianists to-day,' where there was one ent conditions and in such different surroundings. the pressure on-the key relaxed, immediately after other tests can be provided. Many studios are pro¬ not be sure that he is right. Most managers are anx¬ us hope we shall not only have another Bach, but also in 1860. The number of opportunities for these pian¬ Some of the most gifted of musicians have, through tone-production: a point upon which Leschetizky him¬ vided with two pianos. Let the teacher be seated at ious to do the right thing, because if the artist is suc¬ another Schubert, and then music, the heavenly maid, ists has increased, but by no means in proportion to their struggles for success in music, neglected their self lays stress. will throw off her present hampering hobble skirt and one instrument and play a certain key. Then let him cessful, the manager will be accordingly rewarded by Two important works by English authors have re¬ the supply. Youths and maidens of to-day think general education in. such a way that they are ignorant will again appear in her perfect form and beauty, ask the pupil to name the tone, or else play it on the future engagements. cently seen the light. They are Townsend’s Balance nothing of technical skill that would have crowned of the social and intellectual niceties demanded in natural and unadorned, and will fulfil her glorious other piano. At first embarrassment or diffidence will of Arm in Piano-Technique, published in 1903, and The many a pianist of the sixties as a virtuoso. None hut homes where a more formal mode of living prevails. mission of leading mankind to ever higher and higher hinder the student’s precision, but after a moment or CONCERT BUREAUS. Apt of Touch, by Tobias Matthay. so he will become accustomed to the novel procedure the artist with talents and ability of towering eminence That a social gulf exists between such an artist and I now come to the two latest books upon the sub¬ and be able to name the notes with comparatively few can hope for real success in these days. the members of many such households is unfortunately Among the best-known concert bureaus in New York ject, both of them German publications; Breithaupt’s mistakes. When a single tone can be named, the • The astute manager knows all these things. He true. To send a performer to such a home and then are the following: Die Natiirliche Klaviertechnik, in which he summarizes, Do not seek for mere dexterity in playing. Do not teacher can pass on to the naming of two tones played makes his living by selling talent. Indeed, many man¬ have him patronized or snubbed by members of the Loudon C. Charleton, Carnegie Hall, New York. from the musician’s point of view, all that has been make your quest solely for bravoura. Rather, seek to simultaneously. By this time also the student has be¬ agers will not consider the case of the young aspirant household who are so narrow in their human experi¬ M. H. Hanson, 437 Fifth Avenue, New York. bring out the impression which the composer had in at all unless he is paid a large retaining fee, and this said hitherto with regard to touch, and The Physi¬ come familiar with notation and can write out the ences that they conceive of no other form of social R. J. Johnston, Broadway and Forty-first Street ological Mistakes iA, Pianoforte-playing, and How to mind. Anything over and above this is a caricature.— tones played on the piano. He should also be taught fee he expends to what extent his integrity may existence than that which surrounds them would hurt New York. Correct Them, by Dr. Steinhausen, an eminent German Robert Schumann. to write little melodies from dictation.

1 THE ETUDE 495 494 THE ETUDE The chief point » SELECTING THE RIGHT INSTRUCTION Hansel & Jones, yEolian Hall, New York. of elementary work °finisll. Because it is Wolfsohn Concert Bureau, 1 West Thirty-fourth BOOK. Street, New York. “'iTSS oTexSrintats with pleading that ence. We have tried to make the public is protected because custom makes it necessary suppose she, or it, died from lack of sawdust. How¬ door world. music has no language, says, musical tones have in Garden of Composers idea so elastic Practical Suggestions for an Effective Entertainment Which Any Club for one'to be able to point to a diploma certifying to ever I think our little musician will make us forget all themselves no meaning appreciable to the human in¬ that it will fit the spacious lawn of Beethoven—Moonlight Sonata; Pas¬ a special amount of study before one may gain em¬ about dolls and sawdust. She sees in it no joke, but Leader or Teacher May Adapt with Slight Expense tellect, and we agree with him that the language of \ rocooet It AT* a country home or a city back yard. toral Sonata; Worship of God in ployment. All serious-minded educators are realizing > cprlmic matter, and it behooves r Nature (Chorus). the necessity for some such credentials in music. The music in the last analysis is not subject to mind or The teacher whose lawn is confined reason, but to soul and emotion. People of a past age to a window box need not despair Brahms—Feldeinsamkeit: Sapphic difficulties which stand in the way of the preparation Ode. of a system of examinations and government cer¬ asserted that the Egyptian hieroglyphics had no lan¬ because there is almost always son : friend who is tive of the possibilities of an out-door recital. The guage; but we of a later day know that they held POLISH DANCE .Scharwenka willing to help and who can provide Chopin—Butterfly Etude; Maiden’s Wish. tification, so that the public may be protected and in-1 i suitable place, present plan provides for a semi-circular stage. Secure such an opinion merely because the Rosetta stone which In this piece we have the peculiar accent and abrupt If you o ask any serious-minded person what Grieg Papillons; Dance of the Elves; To Spring; justice may be done to none of those who desire, to chords which are characteristic of the national dance eight ordinary wooden clothes props about seven feet Morning Mood (Peer Gynt). teach, are, of course, very many, but such a certification has revealed that which was hidden, had not yet been was the thing of first importance at a musical recital forms of Poland, which are full of fire and dash. We long. These may be bought at any house-furnishing is surely coming. The public has the right to secure discovered. The following descriptive notes cannot re¬ they would answer you at once, “Why the music, of Handel—Harmonious Blacksmith; 0! Ruddier than a veal the “meaning” of the music—which can be trusted have heard that one desiring truly to interpret Polish Cherry; Water Music. competent instruction when it pays for it, just as it course.” Certainly it is the music which really counts store and cost from five to ten cents apiece. Be sure to take care of itself. They only suggest ideas which music should if possible fall in love with a Polish to obtain straight ones, as some are badly warped. Haydn—Gypsy Rondo; With Verdure Clad. (From has the right to demand competency in medicine or law.. woman, and so. perhaps, in this piece we may under¬ and counts most, but in many cases the general public help to give an added interest to their study of per¬ Sink these posts about fourteen inches in the ground ‘‘The Creation.”) This is the only way in which fraud may be suppressed stand the principal subject as representing the famous is greatly attracted by some special setting or unique formance. Henselt-If I were a Bird; Spring Song. in music teaching, as the task of informing the public war spirit of the Polish men and the intervening parts idea which gives a new character to the perfunctory so that they form a semi-circle with a distance of about recital. as to which teacher was entitled to teach and which typical of the witchery and grace of the women of this two feet between the posts. Next, run fine picture Gounod—Flower Song; Printemps. was not would be insurmountable in any other way. ROUGH RIDERS .Encelmann CONSIDER THE PUBLIC TASTE. The bare suggestion of the title, Rough Riders, calls much troubled country. wire at the top of the posts so that each post is con¬ Godard—Berceuse; The Swallows; The Postillion; En up a vision of open prairie, and a scattered group of It is no more than right that the teacher should con¬ nected to the next one in this way. Then purchase Courante; En Route; The Wood Choppers and, the sider the tastes, the natural appetites of the audience ON MARKING THE PUPIL’S MUSIC. stern men galloping on some heroic purpose. The BAVARIAN DANCE .Draa cambric, preferably dark green, and make curtains by clanking of spurs and sabres, and the rattling hoofs, are I am inclined to think that the Bavarian Dance, which she must reach. There is nothing so foolish as looping this over the wire at the top and letting it fall Heller—Brook Song; Barcarolle; Hunting Song. though copied after some dance popular in that coun¬ the attitude some teachers take in assuming a very BY MARY COLES CARRINGTON all suggested by the bright harmonies and quick move¬ to the ground. The cost of the cambric should not ex¬ Jensen The Elves’ Dance; The Mill; Murmuring try, does not represent any national characteristic, but superior position in their work. The old idea of “Bach, ment of this piece. ceed one dollar at the outside. You will now have a Zephyrs; Will o’ the Wisp; Happy Wanderer. has on the contrary been adopted through the medium Brahms, Beethoven or nothing,” is all very well for semi-circular back-ground big enough for a stage. If The practice, prevalent among some piano teachers, of Austria from French and Italian forms. the teacher who is located in a highly cultured section, Chaminade—Dragon Flies; Ritournelle; Madrigal; of marking a pupil’s music with comments on its ren¬ THE HUNTER .Bohm where every resident is an accomplished musician, if you wish to make the effect more finished the props may Summer; Water Sprites; Autumn. dition cannot be too harshly condemned. I have seen The hunters arc assembling for the chase. We hear TARANTELLA ..Heller indeed such a district exists. The audience which at¬ be painted the color of the cambric. Liszt—Forest Murmurings; Regatta Veniziana; Hark, a piece marked in blue-penciled letters, which are prac¬ on one side of the valley the blasts of a horn, which There exists in Italy a large spider whose bite was at tends the average pupils’ recital is composed largely of Hark, the Lark ( Schubert-Liszt) ; Friihlingsnacht tically indelible, "TerribleI” “‘Very bad!” etc. Would are at once answered from one in another direction, one time believed to be fatal. To overcome the effects the parents and friends of some particular pupil, who ATTRACTIVE PICTURES. (Schumann-Liszt). it not be human nature, or child nature, whichever then a number of bugles in chorus—the approach of of the bjte the victim was compelled to execute a rapid are there for the purpose of hearing that pupil play you choose, to cease any further attempt to master a another party of hunters, and then a movement, the On the day of the recital, place in the centre of each Mason Rustic Dance; Silver Spring; Spring Dawn. dance until dizziness and exhaustion brought him to and applauding and beflowering that pupil, even though piece so branded? The conscious or unconscious rea¬ marked rhythm of which suggests the beating hoofs of curtain or panel a portrait of the composer you select. Mendelssohn—Nocturne from Midsummer - Night’s the ground. The modern name of tarantella is de¬ the young person does not cover himself with any soning would be, since it is marked terrible, let it the horses as they gallop away down the valley. At They need not necessarily be the composers whose Dream; March from Midsummer Night’s Dream; rived from the name of the spider, and represents the very great musical distinction. When other pupils play remain terrible, as the stigma will remain always, no intervals we again hear the horns calling and answer¬ Spring Song; Hunting Song. music played for these dances by wandering tribes of they are more or less luke-warm in their interest un¬ names are on your program, as this might not be pos¬ matter how well the piece be played in the future— ing. gypsies. According to Lombroso, the bite of .the tar¬ less some one performer has that inimitable gift of- sible in all cases, but very excellent photogravures can Moszkqwski—Shepherd’s .Dance; Serenata; Autumn. and I think we should all feel the same way if so antula, while poisonous, is not fatal, and any deaths compelling attention through his personality or his be secured for this purpose, at a cost of five cents Mozart—Pastoral with Variations; The Violet (Song). treated. BEDOUIN SERENADE .Kern that may have occurred from it may be regarded as excellent work. Paderewski—^; evening. It is really a mistake to deface music at any time. The Bedouins are the most musical of the desert apiece. The next step is to trim the props with any the outcome of mental suggestion. It must be remem¬ Light-penciled remarks which, when they have served tribes. They often sit playing on their strange instru¬ The remainder of the audience is usually composed fresh flowers you may be able to secure or any foliage Rubinstein—Kamenoi Ostrove; Wanderer’s Night Song bered that the Italian peasant of the sixteenth century, their purpose, may be erased are permissible; but harsh ments before the tents of those Arabians who are less of a small number who really love music and who are that may be at hand. This suggests that the stage (Duet); Thou Art so Like a Flower (Song). and even of more modern times, was exceedingly su¬ strictures, however well deserved at the time, should nomadic than their fellows. The music suggests as glad to attend anything musical; others who are should be set so as to avoid the direct rays of the sun Saint-Saens— The Swan. perstitious. The dance possibly helped to stimulate never be perpetuated, and should never be seen by nearly as possible in a composition so limited in form curious, or who are investigating with the view of and thus prevent wilting the flowers. We knew of one Schumann—At Evening; Bird as Prophet; Flower the flow of blood and to clear the system of the poison. studying or having some friend study, and still others others than the child and its parents. A child’s self- the thrumming of the stringed instruments of the Bed¬ elocution teacher who had her own garden and whp' Piece; Entrance to the Forest; Farewell to the For- respect is always injured by a public scolding. ouins, and the serenades they sing. who come as the escorts of those who are more directly TURKISH MARCH FROM “RUINS OF arranged an out-door recital similar to the one we have e t, Humming Song; Happy Farmer; Soaring; Song A small note book or blank book is useful for com¬ interested. It should be very obvious to the one who ATHENS” .Beethoven indicated. Every year she trained morning glories ma- of the Reaper; Wayside Inn. ments of this sort, as well as for directions as to prac¬ arranges a recital that the whole body of- the audience SPANISH DANCE .Merz If you will transport yourself to Cairo, Egypt, and Sinding—Rustle of spring. ticing. It is well to insist that the pupil’s mother read The music of Spain may not be of great depth, but should be considered from the standpoint of holding de'ra vines and balloon vines, so that they would grow the teacher’s directions and comments occasionally, if look down that street to your left, at some distance- on the props. By the time the recital was ready in Tchaikowsky—April; June; September; The Skylark. it suggests in part the vivacity of the Spanish women, past those camels on their way to join the caravan, the interest of every one throughout the entire pro¬ not regularly, as every child works twice as well with the natural grace of the dancers, and to some extent gram. This is extremely hard to do and unless the August she had pillars of natural green foliage for Wagner Siegmund's Love Song; Magic Fire Music- the -understanding that an intelligent and genuine in¬ and that group of Mohammedans standing in front of their turbulence of passion. teacher makes every number one of great interest it her stage. Sailors’ Chorus from The Flying Dutchman; Swan terest is taken at-home in its progress. Since the their mosque—you will faintly discern the banners and Song from Lohengrin; Evening Star from Tann- teacher’s comments are to be read by the mother, the flags which announce the approach of a procession. It cannot be accomplished. The desirability of a central COSTUMfe RECITALS. SONATA, OP. 27, NO. 2, ADAGIO- hauser. child will usually make an effort to improve, that the is a Turkish parade and they are celebrating the arrb idea or a special setting was ridiculed only a few years ALLEGRETTO ..Beethoven By screening the sides of the stage, the pupils may notes may consist of praise and not blame. val of a prince from Constantinople. As you look ago, but teachers now realize that there are so many Weber—Arrangements of Der Freyschuts. Those acquainted with the life of Beethoven will you hear faintly the strains of a march played on their recitals given, and there is so much similarity, resulting make their entrance through the different curtains and A number of the above pieces are arranged for violin know that before writing this piece he had met with peculiar oriental instruments. They come nearer and in tedium for all who are not especially interested in give additional novelty to the recital. Some teachers and some for duet. All instruction in art, and to this belongs that of a very great disappointment in life which, perhaps, nearer, till at last, as they pass directly in front of music, that it really is worth while to introduce novel mtght even carry the recital to a more elaborate stage teaching the art of music, forms one of the noblest clouded all the years after. In this sonata we find you, you want to put your fingers in your ears to keep settings, where those settings contribute to the dignity and have each pupil costumed in the fashion of the occupations man can pursue, because in such spiritual an infinite longing, a hope never to be realized. You out some of the bang and twang of their monotonous and interest of the event rather than detracting from the epoch represented by the composer. All sorts of ideas Virtuosity of itself has great claim to its existence communication of man to man we touch the borders will hear in the Adagio, a song, one of the world’s melody. But almost before you have had time to turn real purpose of the recital or musicale. It is m no sense the cancer of art as some Philistines of the immortal. The teacher must, however, make a most beautiful melodies, occasionally broken into by your thought into action, they go by, and in another crop up when once this plan of getting away from the conventional is adopted. would have us believe. Virtuosity fa an integral part sharp distinction and not imagine that he is communi¬ a cry of the deepest anguish. This song will be re¬ minute you are straining your ears to catch the last AN ATTRACTIVE SETTING. cating artistic principles when he is merely outlining peated after a few measures of interlude, and will end faint notes, as they vanish around a distant corner, Unless the teacher has difficulty in having her piano' of art Only degenerates can fail to see this connec¬ Of course, the teacher may adopt any setting that technic.—Louis Kohler. with a coda evidently intended to express resignation, still playing their crazy march; moved, the cost of this recital over the ordinary recital tion. It is only through the inspiration of the virtuoso suits his fancy. The one given here is merely sugges¬ may be summed up thus: at the concert is raised to the mountain peaks of artistic accomplishment.—Franz Bendel. THE ETUDE 499 498 THE ETUDE GETTING THROUGH. GOOD BUSINESS JUDGMENT. lighter music suitable for out-of-doors. All this may strike the average teacher as finicky Atherton—Sun Shower; Morris Dance. BY ARTHUR SCHUCKAI. and old-maidish. As a matter of fact, it is just ordi¬ Bendel—By Moonlight; In the Gondola. nary good business judgment; the very thing that is Borowski—Danse Rustique. done in offices and business houses. It may, of course, “O, I wish I were through with this book!” exclaimed Brackett—Come Where the Blue Bells Ring (Two- seem horrible to associate the art of music teaching the pupil with great impatience Part Chorus). The Teachers' Round Table with the practices of commercial activities. Art is so “How so?” I asked, quite calmly. Cadman—Lilacs (Song). beautiful, and business so crude! To which we have v book,” replied the “student” Conducted by N. J. COREY Decevee—How Sivcet the Moonlight Sleeps. “So I could have only the reply that if more, not less, ordinary good This department is designed to help the teacher upon questions pertaining to “How to Teach” “What to Teach,” etc. Engelmann—Apple Blossoms; Over Hill and Dale. business system were introduced into all music activi¬ ■ W “Why dTyou want a new book?” I asked, still calmly. theory; history, etc., all of which properly belong to the Questions and Answers department. Full name and FokMAN—Pond Lilies (Two-Part Chorus). ties, things would be far better than they are. But that was so eccentric a question that no answer Hollaender—Spring Song. So our friend Jepson, being under no delusions about was made and the pupil eyed me suspiciously, fearing Koelling—The Fountain. art, is even further than I have indicated, systematic. my calmness might be the calm which precedes the lec¬ Lavallee—The Butterfly. He keeps his appointments punctually, demands the Martin—(Food Nymphs. ture fwhich was indeed the case). same courtesy from his pupils. He pays his bills Students wish to learn to play. They realize that Morrison—Golden Meadows. promptly; he votes; takes an interest in his com¬ 'books are graded. Their aim in life at once becomes Parker—Rowing (Song) ; Spirit of Spring (Song) ; MECHANICS IN MUSIC. listen, but to do. The creature is forced by its very day, asked the director the difference between major munity ; gives, as he is able, to worthy charities; re¬ the “getting through” the book upon which they are What the Nightingale Sang (Song). being to gain its highest and most enduring satisfac¬ and minor, the question having come up in connection spects money, but does not make it the chief end working. They are pleased when they have finished Reinecke—Rustic Dance. Their Effect Upon the Art. tion from the act of creating. Later in life we call with a hymn. “Well,” said the director, one of the. a page and most displeased when it is given them to Reinhold—In the Rose Garden. of life. . . this childish tendency the need for self-expression, and most distinguished musicians in Boston, “I don’t know He.has many pupils. On his desk, if you were privi¬ Renard—Iris. take over again. This would all be well if it were we find it in some one form or another of consecrated of any way to tell you except to play the two chords.” leged to see it, you would find a set of sheets, about mathematically true (like 2 + 2 = 4) that he who So many inquiries and letters have been received by Rreinberger—The Chase. this department conce'rning the effect of mechanical effort, which We term our life work, or our business. He played the chord of G major, and then G minor, eight by twelve inches. On the top of each sheet is works through six books plays twice as well as he who Rogers—Elves; Giants. players upon teachers and students of the piano that As timegofcs on afid the race develops, we are begin¬ and the distinguished clergyman, listening closely, said, the name of a pupil, with the following details: | works through three. If that were true, music study Rothleder—Summer Idyl. it seems practical and necessary to consider the subject ning to take into account more and more natural im¬ “The second chord sounds as if the first had been sat 1. When lessons were begun. Schnecker—Twilight Idyls; On the Hillside. would resolve itself into the simple matter of getting - in gross. pulsion towfird. some form of effort as exhibited in the 2. What teaching material is assigned (studies, through.” But such simple guarantees are not to be Schytte—Masked Garden Festival (Suite for Four In the first place, it is well to note that progress is child. Capacity is apt to declare itself early, though it Demonstration by chords is what you need for yotjr pieces, etc.). Hands). N had. change, and that the first impression produced by may, in some, instances, remain latent. Perhaps one pupil, not by scales, nor by theoretical definitions, im¬ Smith, W. L.—Babbling Brook; Laughing Waters; 3. The record of the pupil’s attendance. GET VALUE FROM EVERY STUDY. great accomplishment of the mechanical reproduction 4. And all bookkeeping necessary with that one change upon the human mind is one of depression. portant though these may be. Train the ear to dis¬ Pattering Raindrops. r ! A student says : “I am pleased with myself that I The most optimistic mentality is subject to this sense may be that of inducing the education and encourage¬ criminate the two chords for a few minutes at every Spaulding—June Roses. pupil. have learned this etude. My teacher says I play it ment of. only such persons as show a natural aptitude If Mr. Jepson gives fifteen lessons to-day, he will of futility, of possible loss, of vague apprehension— lesson, playing them in all keys. Teach her the ordi¬ SpiNdler—Bubbling Spring. well.” for music. Think of’the weary hours spared to pupil sit down to-night and fill up the fifteen reports. It yet from the beginning of time, change has been nary three chord cadence, and make her practice it, Starley—Magnolia. I reply: “The learning of this particular study means and teacher! The “grind” for both would be prac¬ takes a few minutes and is forever available for refer¬ proven to have been a self-existent factor in evolu¬ without notes in every key, daily, first as major, then Steele—To a Rosebud. nothing unless you have learned therein something tically eliminated! Suppose the quantity of pupils and ence. There are no end of teachers who boast that tion, the very concomitant of life itself, and of the as minor. It is simply the chords founded on the tonic, Stine—Under the Leaves. which will help you learn the next etude.” teachers diminished, what about the quality and the tliey can do all this “in their heads.” Perhaps they continuance of life, although under another form. As sub-dominant and dominant of a key, and closing with WaChs-—March of the Flower Girls; Myrtles; Shower • The student, much surprised that I should mention consequent achievement? Taking into account the can. But long experience among people has taught such, it must take its place. The point to consider is, the tonic. She must learn to construct it in each key. of Stars. such a thing, assures me that that is understood. enormous and steady increase in population, and the the writer of this article that heads differ, to say the what relation the mind should take to it in order to It may be formed as follows: WenzEl—Softly Sings the Brooklet. I But I reply: “That is just where you are wrong. attain a perfect readjustment, which will produce har¬ leisure and means available for aesthetics which are least. Williams, F. A—On the. Lake. " You place the emphasis on the wrong thing. You con¬ the result of our growing material prosperity, even the Some day, let us hope, the music teaching profession mony between the event and the individual. The over¬ WolLENhaupt—Whispering Wind. gratulate yourself on having finished the etude. The numerical proportions might balance, to the tremendous will be purged of all kinds, classes and varieties of ruling mind thinks, apparently, in masses. No one etude was designed for a certain purpose, was planned increase,-in general, Of the joy of life! So much for freaks. Its representatives will he musical to begin subject seems to receive consideration singly and apart the mechanical device from the point of deterrence or THE JOY OF BEING SYSTEMATIC. to give you a certain ability. Your teacher gave it to yet the whole is made to comprise all. with, well trained, systematic and sane. They will interference. give up the pitiful practice of spending their time in you because you were weak in a certain point. If the The production of a device for enabling multitudes purpose of this etude has been accomplished, that is the to create beautiful sound who would otherwise he un¬ On the other hand, what of its tremendous ihfluence BY THOMAS TAPPER. a perpetual effort to excuse their irregularities on the basis of being “an artist.” This has been so over¬ thing upon which you should felicitate yourself.” able to secure this enjoyment, must be, per se, a benefi¬ for good in the constant presentation of the best and worked that the comic papers have given it a place If the student had said: “One of my weak points cent thing. . Beautiful sound is not merely a sine qua highest models? What of the consequent cultivation The unsystematic pupil is an irritation to the teacher, beside the mother-in-law joke. Such musicians should in piano playing is my stiff wrist, hut I have been non in music, but it is the first and most essential ele¬ of taste? What qf a formation of a more or less • but not more so than is the unsystematic teacher an studying an etude which has helped me greatly,” I’d not fail to read the comics, and wake up. ment, because,.without it, there can only be an imper¬ unconscious basis of a standard of attainment? This irritation to herself. Example being a worthy precept, Her ear will gradually come to recognize these in¬ They do not, however, hurt the feelings of Mr. have replied: “That is well. I strongly advise you to fect conveyance of a beautiful idea. It is just here, standard will never be high enough to daunt the ei>- let us study an instance of system to ascertain if it stantly, and then you can go on to pieces. Let her also Jepson. He sees the point instantly, smiles at the continue the study of that etude, for result-getting in the matter of conveyance of ideas, that we touch thusiasm. of those, who are really called. It will only contains anything worth while for us. write these cadences in every key, thus learning to truth of it and goes on his way, useful member of studies are precious.” the crux of the situation. The marvelous transcrip¬ serve to stimulate it. It has been said that a perfected We will refer to him as Mr. Jepson, piano teacher, recognize their appearance on paper. The pieces will society, an artist true to the dignity of his calling, and That students should be so taken with the externals tions of a Wehlte, for example, are supposed not only mechanism will throw ohc back more and more upon vyell-pfepared. fully alive, not in any sense a bore; in thus gradually begin to clear up, and after a time both ■ lies, I suppose, in the nature of things, but teachers to give the idea of the composer, but the interpretation individual interpretation. Be this as it may, a perfect a gentleman. eye and ear will work together when she takes up a short, a gentleman, a good citizen and a credit to his should not tire of pointing out the principles of music . of this idea by each and every individual player, and technique.shofild be aitried at in order to express in- piecce of music. She should know signatures profession. study. Studies are designed to give us ease at the the accomplishment is really wonderful. dividual interpretation more and more clearly and thoroughly, and gradually learn to tell by her eye After a number of years of piano teaching,^ Mr. PRACTICAL CONCENTRATION IN PIANO keyboard, to meet special problems of execution. For There is, however, one factor in the matter which beautifully. whether or not the opening chords are constructed in jepson began to suspect that, as he expressed it, “good STUDY. can never be eliminated, and that is, the factor of a this lack of ease there is always a reason. This reason There Seems,. then, upon analysis, no reason to sup¬ the major key. A really good musician can tell exactly things were getting away from him.” He referred present personality. No suggestion of a great pianist must be known and understood. Does the clumsiness pose that the "introduction of mechanics in the tran¬ how a composition will sound, simply by reading the to the -fact that a large amount of new teaching mate¬ and no reproduction of the work of that pianist, can arise from a stiff muscle or a heavy mind? Is the stiff scription of musical sound will constitute any inter¬ notes, even though a piano may not be within miles rial was difficult to keep track of, and yet much of it ever become the perfect equivalent of the living, muscle in the finger or the forearm? Does the mental to the thoroughly practiced musician the spectacle of is so excellent that he could not afford to risk over¬ breathing presence and personality of the pianist, ference with-the schooling, the development, of the d study and nothing heaviness come from careless mental habits or a slug¬ a player being obliged 'to “try" a piece on the piano, looking it. So he devised a catalogue system, on cards, Dedicate your practice hour creating for our ears, before our very eyes. Person¬ individual musician, save as it eliminates the unwill¬ gish disposition? Analyze constantly. in order to find out how it sounds, is an amusing one. one card to a title. On these he entered composer, hut study. ality,that is the one dominant and eternal thing which ing, who are always, ultimately, the unfit; and that, The road to technical proficiency does not run through Therefore all pupils should have a good deal of prac¬ title, grade, and in music notation the characteristic It is human to let one’s mind wander. It is only a no change can really affect. It does not matter in on the contrary, it will serve a wide purpose of dis¬ a shelf of books but through a small world of difficul¬ tice, such as I have suggested in connection with the rhythm of the work. Below these items he added vigorous mentality that can fix itself on one thing only what form it finds its expression, personality rules, semination of cultivation in repertoire, and training ties, which one must meet and conquer. Etudes are the major and minor chords, with various harmonic forms in a line or two the essentially practical teaching until a purpose is accomplished. and will rule, and it can afford to be sublimely care¬ in the demand of the ear. It will also undoubtedly purpose to which the composition could be put. For Empty your mind of all distracting thoughts. The weapons we use in this conquest. One does not get m order to cultivate both eye and ear to work con¬ less of any apparently disastrous, evolution. We shall furnish an enormous increase in the pleasure to be jointly. instance*: young man who sits at the keyboard with his fingers through with a sword until it is broken or dulled, or always prefer greatness itself, if we can command it, derived from an. abstract aesthetic element, and so tend Passage work. aimed at a Beethoven Sonata and his mind’s eye fixed the enemy is vanquished. to any likeness of it; and the likeness will undoubt¬ to the establishment of a higher degree of civilization. Scales. on the last pretty face he chanced to see is never To a certain common sense extent we all must think edly serve to heighten our interest and increase our It should not be regarded as a rival, but as a sub¬ 1. In 6/8 time marked J. for the metronome Arpeggios. likely to accomplish much at music. of “getting through,” because all things have an end. desire to come in contact with the actuality. So much stitute, which, while not an actual equivalent, is of the Melody (right or left hand, or both). should three-eighth notes bo played to each tick or When you find your attention escaping lead it back But he has a sorry ideal who works through the day fur the singing record and the piano player as regards nature of a forerunner, preparing the ground for the Short chords. time and time again. Every time you succeed you make with the night on his mind, or who works through the the artist. Both will serve to incite a wider, and planting of the seed of musical art. 3. In 3/2 time, marked = 108, would the result Octaves, and so on. J way for a better and easier practice period on the conservatory because he wishes to graduate. Gradua¬ larger, and more intelligent, and appreciative audience. This opinion is the result of long and continued rea¬ Then he brought together all cards of one grade, But the players, who simply love to play, and are be the same if it were marked I = 54 counting morrow. tion is an incidental, a natural consequence of work soning and of practical, observation upon the part of tbree lieats to a measure? so that he had a practical and tried-out list of pieces not greatly gifted, what of them? Here again per¬ You can not concentrate your mind on a whole ocean well, done, but not a good reason for doing the work. the writer who has not felt that he could definitely for all grades from the first. While published lists sonality counts. The love which prompted us to action arm touch £e p&i*” h°W down and ”P of pieces by grades are valuable, the skillful teacher hut you can see a small part of an ocean. The micro- The reason is the same as that which applied in the range himself upon it before. will not cease because such action can be mechanically soon comes to appreciate the practicability, of his own scopist will find a world of interest in a drop of water. case, of the etude. We learn this study that we may 5 Should “stac^to^’f tOUC? the same? produced, nor will the interest of those who are inter¬ list because its worth has been tested in the hands of Most music students fail at concentration because they the better play that; we study here that we may the using ?;,wS *7^^ ested m us and in what we do, be diverted to an ab¬ MAJOR AND MINOR. several pupils, and thus each piece gains an individual try to cover too much ground in a given time. Take a better study there. The best teachers are not those stract gratification. The first uncertain step of a child “I have a pupil of sixteen, whom I cannot seem to be”eMheg?ad^ l°toE5°d Ite»emnlcf e*ercI^ estimate that it could not possess otherwise. Scales and Arpeggio ° 5‘ 1 am uslnS Cooke’s small passage and give it the best intellectual scrutiny who have been the best students but who arc the best is a source of much greater interest to a parent than inrtmmInnr ,ItaUd IH between majo“ From this list, which is constantly increasing, Mr. students. 7. What is meant by “rotary arm motion?” you are capable of developing. See “right clean through the free strides of a winner of a Marathon. The Jepson makes his assignment of work to his pupils. an X. Z. it.” Grasp every particular. Master it. Make it your Progress in music study lies along two lines—the hesitant fingering of John and Maria has a thrilling T Of every piece listed he keeps one copy (of the music shft rannot toil a k0y ig -n o^mi ^00 own. Don’t miss a single aspect. Keep at it until you technical and the mental. The absurdity of the “getting effect upon those who love them, which the most won¬ 1. Your own answer to yqur question is correct itself). It is his custom when assigning a piece to a o realize this?” are sure that nothing more can he done with it. Do this through” ideal is clearly seen when one realizes that derful music, exclusive of John and Maria, will never pupil to show him the copy of the edition he is to No amount of book study will teach anyone the with one measure to-day, another to-morrow. You may there is no limit to mind-development. The mind grows produce; and if John and Maria love their instrument procure. This, in the case of specially edited works, difference in sound between a major and minor chord, wake up some time to find that you are a master be¬ stronger and stronger, and constantly with this new and love the results that can be obtained upon it, it is desirable. If, after considerable test of a piece— this is a matter of ear, and only by careful listening cause you have followed the same plan that every one strength becomes capable of larger and larger flights will not lose its personal meaning for them, which is ‘ -d _ and training the ear will a person who is at all doubt- who ever became a master followed. That is what is of the imagination, of keener and clearer vision, of most interesting when they can make it a part of second o,a,k„,s I, ln„d, practice as it promised, p' ,°f ‘he chords learn to distinguish them. meant by practical concentration. richer and riper enjoyments. themselves. • The primary need of children is not to work is sought to replace it. Phillips Brooks, happening to be at choir practice one , ™ve answered this question during the hut couple of months, so that before this letter is printed

/ THE ETUDE 501

500 THE ETUDE special po»t, therefore, thev can decline all but advanced pupils who are study¬ you will have gained the information you desire gin this with music so P it up at once ing with a serious purpose. The aims of the amateur upon her technique. Tram her^ ^ ^ go ^ a another issue of The Etude. worker are perfectly legitimate, however and her 4. Hand and wrist touch have been much used inter¬ desire to make music a part of the home life is de in proper tempo. Do ^ ^ a sitting. Pass on to changeably. Very often when wrist touch is spoken serving of praise and encouragement. If music study given P‘ece.mo^r to take them up in the same manner, The Etude Master Study Page of, hand motion is really what is meant, or in other were confined to professional workers, where wou d others, forcing her again, however, words, raising the hand up and down upon the wrist the music teacher find occupation; also, where would These same 71, ,f «X ha. learned them. as a hinge. In later years there has been a growing be the field for a growing interest in music on the part tendency to speak of so-called wrist touch as hand of the public? Teachers sometimes fail, m trying to touch, and much more accurately. be too professional with pupils of the order mentioned • S. If you will make a thorough study of some book in the foregoing letter. on octaves, such as Mason’s Touch and Technic, for Of course, the more seriously you can induce them example, you will find that correct octave playing means to work in building up their technique the better. •eThlSm2“r»™Tght-reading in piano pl.yinp should ROSSINI’S PERIOD. an intelligent handling of the entire playing machinery. Technique is simply the ability to play the P°wer 'lore universal factor in teachmg than Rossini was always lying ,n wait for an op¬ Modern piano touch is a combination of many motions, control the fingers and hands on the keyboard. For be made a It is s;ght-reading that opens Gioachino Antonio Rossini was born a portunity to .joke. His wit was proverbial. Once of years before Verdi and died some thirty years he was commissioned to write an opera for the especially in octave and chord work. Detailed consid¬ a simple class of music technique does not need to De up the enormous field of enjoyment in playing Sup- eration of this question is impossible in the limited great, but it should be facile so far as it goes. Some up the enorm spell out every word when before the later Italian master. The periods of manager of. the San Mose Theatre in Venice, these masters is therefore quite different, because merely because that manager wanted to prevent space that is available on this page. Legato octaves of the popular music makes considerable demand upon ^Picked UP thf inorning" paper, and very slowly are a combination of arm and finger motions. the player technically, particularly if the player wishes Rossini retired from active musical composition him from taking a commission of five hundred at tot Because obliged to spell out every phrase, even 6. Cooke’s Scales and Arpeggios should be used to be able to take it up at sight, as is usually the some years before Verdi began to produce his francs from another manager. Rossini was in the simplest music, is the reason why thousands give throughout the grades you mention, and will form the case. This class of amateurs has little patience with better work. bound by contract to the San Mose manager and com¬ up thek playing, and abandon forever any practical basis of scale and arpeggio practice indefinitely. For slowly working up a piece after leaving the teacher. It was Napoleon Bonaparte, the brilliant and terrible, pleted the work, but was none the less mad.. When special technical exercises you will find Five Finger They will generally be willing to do this when, pre¬ Tnterest in music. There is nothing like doing, your- who caused an awakening in Italy during the last ten the opera was produced it was found that he had in¬ Exercises and Chords, by Sabathil, very useful. Also paring their lessons for the teacher, but their aim is XX keep the interest alive. Doing is being, for years of the eighteenth century. The Italians saw the troduced so many 'musical jokes, such as hitting on for more advanced work Philipp’s Complete School of to play simple music at sight. . only then is one alive. necessity for uniting against a common' enemy, and the lamp shades, repeating certain phrases until they Technic. For the development of technique, even though to oe the much-divided country commenced one of those won¬ became ridiculous, introducing a funeral march in a 7. It is an application of the principle of the rotation a limited one; it is not necessary to vary your usual PERFORMING A MIRACLE. derful processes of coalescence which mark the power comic scene, forcing the singers to sing at pitches that of the forearm upon its axis. Much attention is being routine of teaching. There is nothing special in the “I have a pupilwhose of a race to make national boundaries of its own. made their work so absurd that the performance ended given to it by some educators. Others do not regard way of etudes for this purpose. Music of the order Italy now had a flag to fight for and fierce were the in an uproar and was never repeated. it so highly. It would be difficult to give an idea of it of the dementi Sonatines, however, is not likely to battles that ensued before complete political unifica¬ Rossini’s next opera made a monumental hit and in a few words. interest them. Selected pieces of a semi-classic char¬ St”inn8twhathgeradeete Czerny’s ‘School of Velorfty,’ tion was possible. Napoleon’s influence should not be set all Italy singing. This was Tancredi, a really very regarded as a baneful one. In order to hold sway over acter will enable them to advance much faster, there Opus 299?” effective work, but rarely performed at this time. STUDY FROM AN AMATEUR STANDPOINT. is usually a superficial vein in this class of students, the Italian peninsula he instituted many reforms that Some of the melodies are very contagious, although “A married woman expects to begln lessoM Wlth which it is well to take account of, and which can When science can tell us how to create a man it may had been long awaited. There was also a revival in the work as a whole is not of the altitude of William me but says she does not wish to study “omK1® rarely be overcome. Therefore lead them by stages also tell us how to add to the size of those already the arts and in literature. These innovations, however, Tell. professional standpoint, but si™P1y,tto.nbetc^"lehoa1S1ee +stk#> nn easv music* and play it in the home. that will seem more comfortable to them. Music that existing. “Which of you by taking thought can add although considerable, could hardly repair the pillage After producing many other fairly successful works Her teacher has given her Clement, Sonatinas. What studies can I give her so that she can ac they enjoy will enable them to play with freedom much one cubit unto his stature?” asks Holy .Writ, and you of art works which the all-consuming Bonaparte Rossini was invited to Naples by Barbaja, the leading complish her end?” R- E- F' more quickly. . , might as well call it to mind in this instance. Con¬ transferred to his own French capital. impresario of the city. The rising composer was glad Studies will help develop finger facility, along with stant exercise in the way of practice will strengthen With the fall of the Napoleonic reign, Italy entered Many good teachers dread being threatened with a to get a position which insured him an income of the usual scales, etc. What yoUr student wants, how¬ the other fingers. Czerny’s Opus 299 begins in the what has since become known as the Italian Resur¬ something over $175.00 a month. His first opera pro¬ student of this kind. Others look upon them with ever, is the ability to apply this facility at once, when rection (1815-1914) ; at first political, then economical disdain. Still others decline to teach them, these being third grade, and leads into the fourth. duced in Naples, Elizabeth, Queen of England, was first taking up a piece within her range. Make a and educational. Rossini’s period of greatest produc¬ confined to those who have reached a position where especially successful and did away with the jealousy tivity came at the beginning of this Renaissance, as his "Everytljyig. Ought to Sound Melodious.” of other older Neapolitan composers such as Zingarelli wholly delightful and masterly Barber of Seville was first produced in 1816. AT THE BOLOGNA CONSERVATORY. and Paisiello, who at first looked upon the coming of the young composer as an intrusion. Through the influence of friends he was able to' ROSSINI’S ANCESTRY AND BIRTH. enter the Conservatorio of Bologna in 1807. There Paisiello’s best known work-was Almaviva, ossia Vinutile precauzione (Almaviva, or The Fruitless Pre¬ Like so many of the Italian composers who have he. becamej^'-'ptipii of Padre Mattci, and Cavadagnr. caution). The libretto of this work was taken from reached great musical heights, Rossini came from a The. fprrfier was one of the most noted of Italian Beaumarchais’ Barbicr de Seville and Rossini desired family in very humble circumstances. His mother was teachers of|countcrpoint and the latter was a fa¬ to set the same text and asked Paisiello for his per¬ The Best of the New Music Issued by the Leading Publishers the daughter of a baker, and his father an inspector of mous ’cellist. Ressini had .already composed some ju¬ mission in taking the same libretto. The older com¬ slaughter houses, who, in addition to this revolting venile worlds;:'inoluding an'jopera (Detnctrio). Mattel Selected, Graded and Recommended to The Etude Readers poser gave it with some reluctance, but when the opera occupation, had the more lofty position of ’town was a hard? peddntic^teacher’; «Rossini was a tempera¬ month. The pieces was produced' for the first time at the Argentina Thea¬ music of the various leading publishers as offered from month trumpeter. Both were people with light sunny hearts, mental,-“impulsive boy.- Imagine the inevitable con¬ This list of piano music and songs represents a gleaningjrom the tre in Rome (February 5, 1816), Paisiello had reason Grade / wry to Grade 10, very difficultthe'slage'of virtuosi^ The compass of the songs is indicated in a general way and the boy’s youth was one of merriment, which he flict ! It came one day when Mattei told his pupil that to believe that the young composer would be punished are graded in a scale of ten: fro 'sliding respectively for High, Low and Medium. When the song is published in several keys, it is so indicated. carried with him through life. For a time the father while he knew enough to write for the stage he must by the capital letters H., L. and M. was confined in jail for political reasons, but this was know far more if he wished to, write for the church. for his presumption. The public was attached to the VOCAL—Continued C. SCHIRMER, New York City. to the boy’s advantage, since the mother was thrown “What,” said Rossini, “do you mean to say that I works of Paisiello and Almaviva had been a public PIANO SOLO Grade favorite for years. Naturally it resented a young com¬ Grade Prioe upon her own resources and was successful in secur¬ know enough;to write operas? Then I shall study no Logan, F. K. Where the Purple poser taking a .famous libretto, and when the work was lith, Warren S. Op. 18, No. 1. Heather Blooms. 2 Keys. 3 High.. ing a position as a kind of female comedian (prima more, for my only desire is. to write; operas.” Song Without Words . ° Manney, C. F. Since We Parted. 2 Rogers, James H. Autumn. High.... first produced the audience hissed it fiercely. However, Op. 18, No. 2. Valsette Impromptu 4 .50 donna buff a) in some of the smaller opera houses. Necessity; forced-the talented boy to teach, play Keys.4 Love’s On the Highroad. High_ it was received with less disfavor on the second night! Saar, L. V. Little Day Star, The. Sea Fever. 2 Keys. Rossini, “the Swan of Pesaro,” was born, February accompaniments, in fact to do anything to eke out a G. RICORDI & CO., New York City. High. 4 Wind Song. 2 Keys. 29, 1792, at Pesaro, Italy. When .his mother was sing¬ living for-himself and his parents. For a time he con¬ and it eventually became the most liked opera of thIdylle . .40 No. ■ Indians on the Quilter, Roger. To ‘t Eventide ... 40 No. Fligt ‘ " ” Two Roses. Medium . 4 able to sing in church for pay, .although he was only The reception was altogether flattering aiid helped heard now. The work represents Rossini’s fatal habit Froli Glow Scott, Cyra. Autuir Salter, Mary T. To-night. Medium. . 3 Rossini to decide upon his career. Tins work was the of borrowing from himself. . No doubt it is thoroughly 11.’ Barcarolle ... Song of Arcady, 1 ten years of age. A little later he sang in Paer’s Ware, Cora W. Wistaria. High_! 3 beginning of a long -series of operatic compositions VOCAL opera, Camilla, but not caring to become a dramatic ethical for a composer to repeat passages from earlier ORGAN which unfortunately are of very uneven merit. Some singer, he soon gave up this work. In addition to operas that have proved failures, but it is hardly an OLIVER DITSON CO., Boston, Mass. I Ft8*0 ALo°ra. f^ ■ are genuinely great masterpieces, -others sink to the Busser, Henri. Prelude and Fugue in being a singer he was a capable player of the French artistic course, since the result is likely to be lacking Bullard, F. F. Jesus Calls Us. 80- Incline Your Ear. 2 Keys.’.. . \ . (O. Ricordi & level of mediocrity. Here and there through all his in unity, ® E-flat (Boston Music Co.). horn, as well as a good piano accompanist, and in this w! ’ To You.’ ■ 2 Keys! .... 4 450 | Kroeger, E. R. O Violet, 8 Prelude and Fugue in D-minor (Bos- works one may find passages of great beauty, although way managed to eke out a fairly good living when he Works now followed in rapid succession. In 1818 Wish, A. 2 Keys ., 3 Keys . he did not hesitate to follow in the footsteps of Han¬ was only thirteen years of age. He toured with his Rossini s Mose in Egit to was given at the San Carlo del by enriching later works with the best passages A LIST OF A FEW OF THE NEW PUBLICATIONS OF THE THEO. PRESSER CO. WILL BE FOUND ON PAGES 482 AND 540 father in itinerant opera companies. The combined at Naples This oratorio (Moses in Egypt) was in the from earlier works so little changed that the resem¬ salary of both was about one dollar a day. blance is easily seen. lore or less florid style of the day and only portions iiiiiiiiiiiiiiiiiiiiiiiiiiw .iiiiiiiiiiiiiiiiiiiiiiuf^ipEz^^ of it remain popular at this -time. Detailed description THE ETUDE 503 THE ETUDE 502 of the class and that by means of showing them (he great delight in being able to play with the hands she ter without besmlrclJ1ingishl™jinaryhenvironment with come. Following is a list of his best known works in will surely convince them all that one of the first of the lesser known value, and dominated intelligence which does alphabetical order: Adelaide (1818), Adma (j^S), operas of Rossini is all the hauteur of a super *w duties of the parent is to attend to the musical education hardly in place here, as Armida (1817), Asscdio (1828), not care to reveal itselt t of the child by having him well schooled in tlie per¬ Barber of Seville (1816), Bianca e Fahero (1819), I in many cases they have formance of some instrument. She can also show why due Bruschino (1857), La Cambiale di matrimony ROSSINI’S PARISIAN PUBLIC. passed so completely out it is that modern psychologists who give special atten¬ (1812), Cambio della valigia (1812), La Cenerentola ... Ket so much glory? His works, of use that it is difficult tion to musical education believe that, the mindjisf devel¬ (1817), Le Comte Ory (1828), La Dame du Lac Wh,enCe S ^Barber William Tell, and occasional to obtain full copies of oped enormously through the development of the hand. (1825), Demetrio e POlibio (1812), Eduardo e Chris¬ apart from thc f^Zise appear to have lost their A Home Music Culture Hour some of them. representations of Mo ^ the Th^tre Here is one of Miss Lee’s circulars. .Perhaps your tina (1819), Elisabetta (1815), Equivoco stravagante In 1821 Rossini mar¬ b°M. One stil goes 1the »high C” of A New Opportunity for the Teacher to Increase her usefulness and enlarge her income daughter’s teacher might like to look into the.’ matter (1811), Ermoine (1819), La Ladra Gasja (1817), ried a famous singer, Italien, but that Rossini entertained so little for herself.” Isabella Colbran, who Guillaume Tell (1829), L’Ingano fehce (1812), [tahano in Alaeri (1813), Maometto Secundo (1820), Matilda By CLARA A. KORN was seven years his senior and possessed an di Shabran (1857), Moise (1827), Mose m Egitto as “ O^or“ (original Italian version, 1818), Occasione fa tl Ladr [Editob’s Note.—What are you going to do about the 30 MUSICAL CULTURE HOURS.1 income of $2500.00 a advent of the piano-player? This is a question that teaelj- study music thoroughly. He works the player for them year. It is hinted that (1816), Otello (1816), La Pietra del Parangone every night and it seems to make them ambitious to IN CHARGE OF (1812), La pie Volcuse (1822), Ruaardo e Zoraide ir was at that time divided into two warring fac- flrst adront^of*tfe^piam£play eI--*_,_■ people’s___„ desires and appetites a player-pianos. We are inviting the parents in these among our residents. The numbers which will thus be taste. Rossini was sorely disappointed and when he controlled by their natural inclinatioi if a man received an offer to write an opera for London for Italian School, of which Rossini was the leader, nor wants a thing and is determined to __e it __n homes to come here and find out, what Miss Lee pro¬ introduced will be carefully selected from a point of preaching will make him alter his opinion.' Plano- poses to do.” artistic-value, and will be preceded by a short talk in the sum of $1200 he jumped at the chance. In Lon¬ to the school of Herold and Auber, which it had en¬ machines .... being.. introduced in “thousand’s of* homeland don-he immediately became the lion of the hour. His gendered. To the melodists, Rossini was a pa ladium, if the teacher is awake . the. situation she will master “I received your invitation last night and wondered explanation of the works, and by a free discussion, and .e the piano-player,, r or to her own advantage. The expression of opinion after they have been performed. Zelmira was produced with success and in addition to a symbol around which they gathered themselves to¬ Music Culture Hour is only one of the many ways in wliat a ‘Music Culture Hour’ could be. But let me this he gave concerts of his works at which he sang gether in serried ranks, making a rally.ng-ground of the teacher may bring herself in toucli wit1- *•—- warn you. I’m going to retaliate with a concert by fa¬ Occasionally some of these pieces will be played on the accompanying himself at the piano. The King took wn piano-players, benefit them, and at the sar piano, by way of contrasting the digital rendition with works of his which they should have allowed to fall he way for individual pupils in piano study. mous singers with our new sound-reproducing machine.” an immense interest in him and often went far out of into oblivion. “Good, the great performers in the big cities are that of the mechanical device and comparative remarks, “Mother, may I play the piano?” his way to indicate this. Rossini’s original operatic ROSSINI AND BEETHOVEN. ‘sealed books’ to most of the folks in small towns. for and against both modes of performance, are re¬ project in London brought him no returns, but his Little Archie’s blue eyes looked appealingly toward Miss Lee’s plan is to form a class, with the complexion quested. “From a few words allowed to fall in moments of London visit brought him the sum of $35,000.00, while the new piano-player and then into his mother’s, which of a club. Each member will be expected to pay a These .“Musical Culture Hours” are instituted with intimacy, I have gathered that this was a source of his own countrymen had let him struggle along on mirrored negation. weekly fee of twenty-five cents. We shall meet at the a view to stimulating an interest in the higher forms of trouble to him. It was a curious turn of Late that trifling fees. “No, darling,” replied Mrs. Smithson discontinuing music, which to many people are at present prohibited should have made Rossini, in spite of himself without houses of members who own player-pianos. Many of her embroidery for a moment, “not now.” owing to their tremendous technical difficulty, which is ROSSINI IN PARIS. doubt, serve as an engine of war against Beethoven the members have agreed to furnish light refreshments. “Oh mother, why not?” insisted the seven year old, Miss Lee will give systematic talks upon the theory of rarely mastered by any one excepting those executants In the Fall of 1824 Rossini became director of the in Vienna, where the success of Tancredi ended for¬ “may I.” ever the theatrical aspirations of the composer of music and the history of music. We shall have a sim¬ who make music their distinctive profession and their Theatre Italien in Paris and commenced that part of “No, child, not now.” ple hook on theory and a good history for beginners as lifework. his career which proved most delightful to him. In¬ Fidelia, and then in Paris should have used William “Why not?” . text-books. Miss Lee will play some solos and give In addition to the regular program, Miss Lee will out¬ deed, he became so popular in Paris that when his Tell to avert the encroachment of the Symphony and “You don’t do it well enough.” explanatory notes. Then she will operate some of the line the fundamental principles of Harmony in the first contract with the Theatre expired he was appointed Chamber music. “Will father teach me to work the machine?” rolls of the player-piano and have the members operate ten hours; Musical Analysis in the next ten hours; and Composer to the King and Inspector General of Song “I was twenty years old when M. and Mme. Viardot “Perhaps, but you know what your father has always similar rolls. Then Miss Lee will criticise both per¬ History of Music in the final ten hours. in France with an income of about $4000.00 a year. presented me to Rossini. He invited me to his little said about it, Archie. When he was a little boy his formances and make remarks leading to better under¬ In 1829 Rossini brought out his opera William Tell, evening receptions, where he welcomed me with the Rates :—25 cents an hour for each scholar, in classes parents gave him an opportunity to study the piano and of not less than 10 members. which was at once recognized as his masterpiece. Here bland amiability of which he was past-master. About standing and better playing. Very frequently one hears instead of taking it as he would have taken a big piece some novice operating a player-piano in a way that we find a workmanship and originality which indi¬ a month later, when he found I did not want him to of cake if it had been offered to him he neglected it. cates that Rossini must have had a particularly in¬ give me a private hearing either as a composer or as makes the musician’s hair stand on end. If Miss Lee Now he often wishes that he might have had the les¬ does no more than teach some of the ladies how to op¬ dustrious and conscientious spell, for many Voce poco fa. .Grade 8 photography was invented there were those who claimed not upon the beautifying elements which clothp his in 1845 and two years later he married Olympe 7. Chorus—Carnovale . Grade 3 next you.” classics. As they were playing, the door bell rang an¬ that the day of the art of painting and drawing was nouncing the advent of a neighbor. technic. To omit them means to have a tottering struc¬ Pelissier. His later years were spent in Paris. Dur¬ Also Arrangements from the Rossini Operas. “Indeed!” replied Ros¬ at an end. Never in the history of the world has there ture. ing this time he composed a great many pieces for sini; “I remember the “How splendidly your children play 1” -she exclaimed been so much painting and drawing as now.” In practicing scales, deliberation in the early wofle is the pianoforte, all of which have since sunk into SAINT-SAENS’ RECOLLECTIONS OF ROSSINI. macaroni, but I fail to to Mrs. Smithson. “How will Miss Lee divide the work?” very important. Take the scale of C ascending- with oblivion, although his widow sold the right of them The following extract is from a book of memory recognize you.” “Yes, their advancement is very satisfactory.” “She thinks that the best method will be that of form¬ both hands (two octaves). Play this at first very ffow- to one Baron Grant for no less than $20,000.00. A pictures by the great French composer Saint-Saens: On another occasion, “The piano-playing machine does not seem to have ing two classes or two divisions. The first will be com¬ hindered their progress?” ly counting eight to each note. What is the particular large part of his fortune went toward the foundation “It is difficult in our day and generation to form an at a dinner in Paris at posed of members who know nothing at all about music. advantage of this extremely slow speed? Principally of a conservatory in Pesaro, his native city, although estimate of the position occupied for nearly a half “Quite the reverse; it has assisted them.” The second will be made up of those who know something which he was observed that it gives the player time to criticise his own tone- there were some bequests of a charitable nature. century by Rossini in our good city of Paris. Long “Is that so?” exclaimed the visitor. “My daughter’s about music but who want to know more. In the first to remain silent and ab¬ producing mechanism, to determine whether he can retired from active work, he nevertheless maintained teacher does not seem to take kindly to it and I: have class the subject of musical theory, that is, the simple sorbed, a banker who strike the ensuing notes to better effect and also to ROSSINI’S STANDING AS A COMPOSER. in his splendid idleness a stronger hold on the popular an idea that she is afraid that if people buy player- laws of notation, intervals, etc., will be discussed during was on anything hut insure perfect repose between the strokes. Merely The uneven character of Rossini’s music led many imagination than all the others in full activity. All pianos it may hurt her business.” the first fifteen minutes of the lesson. Then one half friendly terms with him playing the scales at a laboriously slow rate without to condemn his good works, because of the weakness Paris courted the honor of admission to the mag¬ “If it does, it is the teacher’s own fault. If she were hour of music will follow. The remaining fifteen min¬ passed savories 'to the thinking about it would be valueless. Gradually in¬ of his works of less consequence. Berlioz was par¬ nificent apartment with the.high windows looking out wide awake she would see a great opportunity at once. utes will be devoted to the study of musical history, lady on his right, say¬ crease the speed by counting four to each note, then ticularly outspoken in condemning it, while Schubert, updn the corner of the Bouleyarde and the corner of My husband was foolish enough not to take advantage using a very elementary book for the purpose. In the ing: “I have already two, then one then two notes for each beat, then four the chaussce d’Antin. Since'the demi-god never went of his opportunities in his childhood and now em¬ other class the first fifteen minutes will be devoted to Schumann and Mendelssohn admired his best works eaten as many of these very greatly. Some of the effects in orchestration he out o’ nights, his familiars were always sure of find¬ ploys the player-piano to make up for his omissions, or the study of harmony and the last fifteei minutes to heatS Tint each beat and fina»y eight notes for each as Samson slew Philis- heat Unless your scale fingering and your method of achieved are astonishingly fine and even in this day of ing him at home; and at one time or another the most shall we call it boyish laziness. It has, however, shown the more advanced study of musical history. In so touch has become second nature to you, you will find orchestral extremes sound exceptionally effective. diverse circles of society rubbed elbows at his mag¬ him the great value of a musical training and he longs far as possible the records played will illustrate the “Yes, and with the tar more profit in slow playing than in fast playing Many of his melodies are exceedingly rich, and any one nificent gatherings,v where the most brilliant singers and to know more about it every day. As a result he is work in theory and in musical history. Miss Lee feels same weapon,” retorted My motto is, pract.ce all scales slowly until they are who is familiar with the delicious Largo al Factotem the most illustriousvirtuosos were to be heard. more insistent than ever upon having the children that she may even get some pupils from the members Rossini. mastered absolutely. ^ are from The Barber knows how individual he may be- “The lowest kind tif sycophantry surrounded the mas¬ 505 THE ETUDE THE ETUDE 504 gondouer-s in this contest two women composers are among the Prize CompositioD winners. This was not the case in the former contest. It will also be of interest to note that three of the Etude Contest TRIUMPHAL MARCH winners in this contest were also winners in the pre¬ vious one. Three of the above composers are repre¬ , | E.R. KROEGER sented in this issue of The Etude by their respective independence day-g.^l SPA1 wiu app(al Allegro energico m.m. J = i60 prize winning compositions. A very seasonable t ^ n*mheT some appropriate

“,S” are b.»», 11 THREE ORIGINAL THEMES FROM BEETHOVEN. These three beautiful melodies by Beethoven are used “THE ETUDE” PRIZE CONTEST. by him respectivley as the bases for three sets of varia¬ PRIZE WINNERS. tions. The themes are so good that it seems as though they ought to be well known apart from the variations We take pleasure in announcing that final decisions with which they are connected. In this present form a very easy set ot '^ Litth Miss Moffat is one of have been reached in The Etude Prize Contest which they are made available for many players who would tlem^GmdeV Mr.' Roger’s prize winning composi- closed May 1st. not care to cope with the difficulties of some of the fion as noted above, will appear in a later issue. In the former contest, a final announcement concern¬ variations. Themes One and Three are expressive slow ing which was made in The Etude of March, 1911* movements. Theme Number Two is also to be found THE FOUR-HAND PIECES. .there were submitted some 1500 separate compositions, in Beethoven’s Ruins of Athens under the title, Turkish ,, t; p Atherton’s Benedict March is a stirring representing about 1200 composers from practically all March. Grade III. Mr, F‘ fwo step^ full of rhythm and go. The parts countries. In this present contest the numbers were march or tw P ar£ well balanced, and all the slightly larger, and, as a whole, the class of work CONCERT' POLKA—A. W. LANSING. themes' and counterthemes should be brought out submitted was decidedly of a higher calibre Every This is a type of composition for which there is much manuscript submitted was given due consideration, and demand. An idealized dance form other than a waltz St!TotySoWcrs’eMarch, by E. Kronke is a very pleas¬ the compositions were all gone over many tunes, espe¬ in which there is considerable display without too many ing little duet by one of the successful modern German cially those which survived the first two or three sort¬ difficulties. Such pieces are especially good for recital comoosers This duet is suitable to be played by a ings. There was considerable difficulty in reaching the and exhibition purposes. Mr. Lansing’s Polka will teacher and pupil, or the teacher’s part might be taken final awards in each class owing to the general excel¬ require a clear and easy style or execution. The octave lence of the pieces which were reserved for final de- bv a rather more advanced pupil. Grade 11. passages must be played with light staccato touch, and 'ySecret Wishes, by Paul Hiller, is another attractive the passages in thirds must come out clearly and deli¬ duet also suitable for teacher and pupil. We wish to take this opportunity of thanking all the cately. Grade IV. contributors for their interest in the contest, and we MARIONETTE DANCE (Violin and Piano)—A extend our hearty congratulations to the prize winners. MAZURKA IMPROMPTU—E. F. CHRISTIANI. SARTORIO. The awards are as follows:. This is an excellent example of an idealized mazurka A new and attractive violin number, which may be rhythm. It should be played with much fire and vim, For the best two Concert Pieces for played in the time of the Polka, but with considerable well accented throughout. Grade IV. CLASS I. Piano solo. , „ , freedom. Grade III. First Prize.Albert W. Ketelbey. (London, England) HOPES AND FEARS—CHARLES LINDSAY. Second Prize..E. R. Kroeger.(St. Louis, Mo.) FESTIVAL MARCH (Pipe Organ)—L. SYRE. A very good example of the easier type of drawing¬ This excellent organ number will make a very good room pieces. An expressive nocturne movement. In CLASS II. For the three best Parlor Pieces for postlude for this time of the year. It is also good such pieces as this the player is enabled to devote most for study purposes, or for the closing number at First'prize.Reinhard W. Gebhardt.. (Paris, Texas) of his attention to the cultivation of a smooth and recitals. Grade III. Second Prize.. Henri Weil.(New York City) expressive style of rendition, as the technical demands are comparatively slight. Grade III. Third Prize. ...Marie Crosby.(Grenada, Miss.) VOCAL NUMBERS. For the four best Piano Pieces in Dance Form. TO A STAR—N. S. CALAMARA. The Song the Angels Sing, by Wildermere, is a semi-sacred number which would go equally well in CLASS III. (Waltz, march, tarantelle, mazurka, polka, A quick and lively waltz movement, lying right under church or home. It is easy to sing but very melodious the fingers, easy to play hut brilliant in effect. Grade III. As will be noted above, Mr. Calamara was one and with a good climax. First Prize.James H. Rogers.(Cleveland, Ohio) Mr. Tod B. Galloway’s Hills O’Skye is a character¬ Second Prize.. Archie A. Mumma.(Dayton, Ohio) of the successful competitors in The Etude Prize Con¬ test, his prize winning composition will appear in a istic song in the Scotch manner, one of the best Third Prize....Nicolo S. Calamara songs of this type which we have seen. The bag-pipe (W. Somerville, Mass.) later issue. imitation in the introduction is particularly good and Fourth Prize. .Helen L. Cramm-(Haverhill, Mass.) THE HAY RIDE—R. BARRETT. appropriate. CLASS IV. For the best four Easy Teaching Pieces in A charming little descriptive piece with a very sea¬ any style, for piano. sonable title. Apart from its attractive musical quali¬ DREAMING—A. L. NORRIS. First Prize.Hubbard W. Harris.(Chicago,11.) ties this will make a very good teaching number. The A very effective song without words by a talented Second Prize. .Richard Ferber... (San Francisco, Cal.) middle section is particularly good. Grade II54. American writer and teacher. In this composition the student is afforded abundant opportunity for cultivating Third Prize. ...J. W. Lerman. (New York Ci^r) the singing tone. In the final portion of this piece the Fourth Prize. .J. Lawrence Erb.(Brooklyn, N. Y ) QN THE PARADE GROUND—M. LOEB-EVANS. • A sprightly little march movement in the grand march pedal must be used with considerable care in order to It will be noted that with one exception all the style, very easy to play but with just the right rhythmic have the melody stand out and not be obscured by the prize winners are Americans. This is a larger-portion swing. Grade II. heavy chord accompaniment. Grade IV. than in the previous contest. It will also be noted that

E. R. KROEGER. ARCHIE A. MUMMA. RICHARD FERBER. Mr. Kroeger was born at St. Archie A. Mumma was bom Mr Ferber was born at Dan¬ Louis, Mo., Agust 10, 1862. His in 1887. His early musical in¬ zig, Germany, in 1848. He was father was German and his struction was begun by his exceptionally fortunate in secur¬ mother English. His musical mother. Later he studied with ing Louis Kohler as his teacher, training has all been gained in for Kohler was undoubtedly one the West, and most of his work Louis Waldemar Sprague, of his of the most successful piano has been done in his home city. home city, Dayton, Ohio. In teachers of his day. Later he Mr. Kroeger was, for some time 1909 he went abroad, studying in studied the organ with Markull. director of music at the Forest Berlin under the Spanish master, Mr. Ferber studied harmony at Park University for Women. J. Joachim Nin. Fifteen months Stuttgart and Geneva with He was President of the Music later he returned to America, as Charles Lysberg, who was a Teachers’ National Association, he himself says, “with love of pupil of Chopin and a composer 1895-6, and of the Missouri his native land and faith in her of very graceful and popular State Teachers’ Association, 1897-9. He is also a musical future increased tenfold.” The greater part piaho music. Mr. Ferber came to America in 1885, and Fellow of the American Guild of Organists. He was of his energies have been devoted to song writing. Master of Programs in the Bureau of Music at the st. was appointed organist at St. Patrick’s Cathedral l Louis Exposition of 1904. His compositions include a He has set a great number of James Whitcomb Riley’s Eau Claire, Wisconsin. After that he moved to San symphony, a symphonic poem entitled Sardanapolis, and poems to music, the best-known of which are prob¬ Francisco, where he has since been busily occupied as other works in large forms as well as chamber music, ably the Ten Songs of Childhood, from the Rhymes a teacher of piano and harmony. He has written many salon music, organ music, etc. of Childhood. successful works for piano, voice, and sacred use. Mr. Kroeger’s prize composition, Triumphal March, Shepherds’ Dance is a quaint and characteristic num¬ Mr Ferber’s Merry Gambol is written in a free but is a splendid con'-cit or exhibition piece, strong and ber reminding us somewhat of the older folk dances. well-connected rondo form. It ripples along cheerfully, sonorous. For purposes of chord and octave study it While the rhythm is a familiar one, the treatment of much in the style of some of the final movements in would be hard to find a more satisfactory piece. The it is fresh and original, and the harmonization through¬ the older sonatas and suites. Pieces of this type afford melodies are bright and attractive without being com¬ out is particularly good for a piece of this type. Grade excellent drill in light finger work and in steadiness of monplace, and they are easily held by the listener. IV. rhythmic swing. Grade III. Grade VII. British Copyright Secured THE ETUDE 507 THE ETUDE SOM THE ETUDE 508 THREE ORIGINAL THEMES FROM BEETHOVEN Prize Composition SHEPHERDS’ DANCE Tltude Contest archie a.mumma

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Copyright 1914 by Theo.Presser Co. British Copyright Secured the etude THE ETUDE 511 610 BENEDICT benedict MARCH march F. P ATHERTON Secondo Vivace m.m. J- = 120 THE ETUDE 513 TOY SOLDIERS’ MARCH TOY SOLDIERS’ MARCH MARSCH DER ZINNSOLDATEN EMIL KRONKE MARSCH DER ZINNSOLDATEN Tempo Giusto m.m.J=1os Primo EJMIL KRONKE

SECRET WISHES

Moderato m.m.J = 96 Primo P. HILLER,Op.51, No.6 THE ETUDE 515 THE ETUDE 514 THE GONDOLIER’S SERENADE ^ BARCAROLLE t-rc'.ixi'mr.viHEINRICH ENGEL, OpDOp.4, No.2

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Copyright 1903byTheo. i.Presser Co. MAZURRA IMPROMPTU Emile Foss Christiani Moderato M.M.#=126 -

Copyright 1914 by Theo.Presser Co. British Copyright s< L. Copyright 1914 by Theo.Presser Co. British Copyright secured THE ETUDE 517 THE ETUDE 516

Prize Composition MERRY GAMBOL Etude Contest SCHERZO RONDO RICHARD FERBER

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Copyright 1914 by Theo. Presser Co. British Copyright Secured 518 THE ETUDE THE ETUDE 519 HOPES AND FEARS REVERIE

LITTLE MISS MU FEET Not too fast M.M.J =54 JAMES H. ROGERS

4 4 aOL4 5 » "LA 5 LlirT 2 A 3 2 ^ 3 2 A 3 2 3 4 3 4 3 2 j? it / 1,

Little Miss Muffet Sat on a tuffet, Eating her curds and wh'ey. t^A- long came a spider And sat down beside her, And 1 frighten’d Miss Muffet a - way. mj> P ^ r r

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5 5 5 5 | Copyright 1914 by Theo. Presser Co. British Copyright Secured Copyright 1914 by Theo.Presser Co. British Copyright Secured THE ETUDE 521 520 THE ETUDE TO A STAR VALSE NICOLO S. CALAMARA Tempo diValse m.mJ-=54

4 3 5 4 j) 81 4 8 5 4 ^4 J_ 5 ’f ! 1 3^2i 1 ITT2 i ■p- p-

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Copyright 1914by Theo. Presser Co. MARIONETTE DANCE British Copyright secured 523 THE ETUDE THE ETUDE

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A 24 THF ETUDE THE ETUDE 525 DREAMING CONCERT POLKA A.W. LANSING Allegretto aLM.J = L _L_2 . a '■ 3

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Copyright 1914 by Thee. Pr . & From heregoto $$ and play to Fine, then plav Trio. i.-h t opyr- : tbecute« Copyright 1918 by Theo.Presser Co. ' British Copyright Secured THE HIDE THE ETUDE 527 526 To Cecil Fanning; Thrice blest by the Muses tod b. galloway THE SONG THE ANGELS SING WILLIAM MC LENNAN THE HILLS O’SKYE Andante HENRY WILDERMERE Moderate) %

It’s sweet - ness seems to come from realms on high, And brings my Sav - iour An’ through a’ the nicht she And while the cares of life sweep o’er my soul, It guides me safe - ly -r ya jsgd yy Tn this land sae fair, but

=p_.. t hj r- tp [ p p- frj.. m r % ->p-1 — ■ His voice so sweet is sound - ing in my ear, His hand out-stretched to which I

pmm mm |,J J jjj ■3 t t \ a tempo J -—I—— JJ i i| 1 = ■4). 1 .fs3^ IT U o1

And to my heart great joy ’tis ev - er bring-ing The song the an - gels sing._ It cheers me on to joys that reign E - ter - nal The song the an - gels sing

L TL-.in tn« moors and hills o’ Skye’.’ OK mv heart! My wea - ry heart! There’s ne’er a day * a_) tu viv.ri cpi shuts me in. ------^ .

A - bide with me! Fast falls the ev - en-tide, The dark - ness deep - ens, 0 Lord, with me a-bide! Tho’ oth - er help

heart,! There’s ne’er a day goes by But it turns hame to Dun - ve - gan_ By the storm - beat hills o’ Sk)^_ fail andcom-forts flee, Help of the help - less, a - bide with me! ^ Help of the help - less, a - bide with

Copyright 1913 by Theo. Presser Co. _ British Copyright Secured v Copyright 1914 by Theo. Presser Co. British Copyright Secured THE ETUDE 529 528 THE ETUDE The New Social Status of Musicians THE HAY RIDE By EDWIN H. PIERCE REGINALD BARRETT, Op. 64, No. 5 Within the last few hundred years personal reminiscence, as it so well illus¬ several different professions which were trates the point.) Many years went by, formerly looked at somewhat askance, or and in course of time it happened that at least regarded in a very humble light, for a change and recreation from my have advanced to social respect and musical labors, I took up the raising of poultry, as a hobby, and later on bought At the present day, for instance, a a small farm, a few miles out from the skillful surgeon is usually a man of note city, taking my family out there to live, in the community, and earns a large in¬ and going to the city regularly to fill a come, yet not many centuries ago surgery position as organist, and to teach my pu¬ was a mere side-line, not to the practice pils. Being reasonably successful with my of medicine, even, but only to the barber's poultry, and quite fascinated with country trade. And again in Shakespeare’s day, life, I thought for a time quite seriously a troupe of actors was glad to be billed of giving up my profession, and going as “Lord So-and-so’s Servants,” and this into poultry farming on a large scale. was not a humiliation, but rather an honor From this step, however, an uncle (the and a practical convenience. It gave only one of my grandfather’s sons who them a certain social status, if only a had become a farmer) dissuaded me, say¬ humble one, and made it possible for them ing that I would always find it more con¬ to enjoy the common rights of citizens. venient to depend on music for a steady Without some such protection, actors income, and also, that I enjoyed a more were practically outlaws, classed with dignified social position in my present line “sturdy rogues and vagabonds,” and if of work. So, you see, music teaching injured either in property or person, had was much less “respectable” than farm¬ no redress before the law. How greatly ing thirty years ago, but now conditions Kranich & Bach the status of the Stage has changed, be¬ have changed, until in the minds of the tween that time and the present day, it is same sort of people, it is more, rather unnecesary to enlarge upon:.' than less, “respectable.” The truth of the Ultra-Quality PIANOS matter is probably that both opinions are THE TURNING POINT IN GERMANY. equally wrong, and that all kinds of serv¬ and PLAYER Music as a profession has had a some¬ ice to society, faithfully performed and PIANOS Created with thousands of bits of wood, felt and glue—materials of little natural per- what similar rise in various countries. in a right spirit, are equally honorable. In German-speaking lands, the turning- t““mnoCsn,arvai ” °f LAA°NG EXCELLENCE in piano construction is one of “Respectability” goes with the nature of a inrYY T examples of human ingenuity in the world’s history, and is insured point socially seems to have come in Bee¬ man, rather than with his employment Bu“LDINGaEVER^PARTn f t^r?U!h the t"ne"honored Kranich & Bacl» P°licy of thoven’s time. Joseph Haydn and Leo¬ As Woodrow Wilson has said of char¬ Yif nr i RY PAHT ?fthe instrument from start to finish under one roof and pold Mozart (father of the great Mozart, acter, it is a “by-product.” der watchful supervision that demands mechanical perfection in every detail, no but himself a learned and talented musi-' , matter how minute—a policy followed by no other man¬ Among the causes, however, that have ufacturer of high-grade player pianos. cian), were practically little more than led to this change of attitude toward the household servants in the homes of their The address of the Kranich & Bach dealer nearest musical profession has been the fact that noble patrons. The genius of the younger to you will be sent on request, together with a there are now many more music-teachers copy of our beautiful Golden Anniversary booklet Mozart, it is true, brought him before entitled “Fifty Years of Kranich & Bach Quality.” kings and queens, but his attitude was than formerly who are well-educated, not nearly always that of the courtier, the only in their own specialty, but in matters dependent, except when he chose to dis¬ of general culture and intelligence. More¬ KRANICH & BACH play an independent spirit in some tech¬ over, many of them are good business¬ 237 East 23rd Street - . New York City nical point of his art. Beethoven, on the men, as well, earning reasonably good in¬ contrary, had friends among the highest comes, and meeting their obligations aristocracy, and was able to treat with promptly. Then, too, nearly every college The Crowning Attribute of Lovely Woman is Cleanliness" them as with equals, never stooping to. now has its musical department, furnish¬ anything remotely flavoring of fawning ing in the aggregate, dignified positions herself—and the world—for she adds to its joys. subserviency. for a large number of capable men. This Passing to our own land and age, some' fact alone greatly increases the standing Naiad Dress Shields three generations ago there were a num¬ of musical art in the eyes of many of the ber of deservedly-respected musicians who public. taught singing-schools, trained choruses and composed choral music of a simple WHAT UNIONS HAVE DONE. but worthy sort. Among them, the most Again, in the matter of orchestral prominent were Lowell Mason, William B. players, not only in symphony orchestras, Bradbury, and Thomas Hastings. Owing but even in the humbler lines of theater lent of Woman’s Dress, to causes somewhat difficult to define, this and dance music, the widespread activi¬ excellent type of man seemed to run out ties of the musicians’ unions (which are pair guaranteed.Pa r 0C and to be succeeded for a time by another now connected into one national federa¬ The C. E. Conover Co., Mfr»„ 101 Franklin St., New York sort, largely men of dissipated habits or tion), have done great good in obtaining doubtful morality, who brought the profes¬ fair salaries and honest treatment for their sion into disrepute, so that it is no wonder members, who, in turn, being enabled to that the writer’s old grandfather, a live in a more fitting style, command THE MUSICIANS LIBRARY sturdy New England farmer, was vexed greater respect from the community. The MASTERPIECES OF SONG AND PIANO MUSIC with the writer’s boyhood determination traditional old impecunious “drunken The Musicians Library (67 volumes) is now sold on Easy Payment Plan | to become a musician, and exclaimed to, fiddler” is now, happily, almost as extinct him, in disgust—“You a musician ! Why as the dodo. don’t you make up your mind to do some¬ Taken as a class, we are without doubt Oliver Ditson Company, Boston, Mass. thing respectable?" That represented, too, coming up in the world, and every musi¬ the common sentiment of thirty years cian should remember that he owes it as ago, but curiously enough, time has at last a debt to his profession, so to live as to brought its revenges. (I may be par¬ increase, not diminish, the respect of the doned, I hope, for continuing a purely public. BEGINNER’S BOOK y THEODORE PRESSER Price 75 Cents THE latest work along lines of elementary instruction. The material used is entirety fresh and is presented in an attractive manner. A mended note -o , “ the veriest beginner; httle tots just out of kindergarten. A very large note is used m the early part of the book. Questions and answers are given to The expressive accent, to' be felt and The composition which is constructed clinch every subject. Writing exercises are introduced at the very start rendered, demands a soul, and is, above along the fashions of the time and has The utmost care has been given to every part of the work to make it as nearlv a all, a sign of the true artist. It might no higher purpose loses all higher mean¬ perfect Beginner’s Book as it is possible to make. A trial of this new book is be more justly called the poetic accent, ing and art thereby sinks to the level of for it certainly supplies the poetic color¬ mere craftsmanship.—August Reiss- aesus?by *" wi°»d“i "*h ing to many compositions.—LussY. mann. THEO. PRESSER CO., 1712-14 Chestnut St., Philadelphia. P. Copyright 1914 by Theo. Presser Ca. " Please mention THE ETUDE when addressing our advertisers. ~ British Copyright Secured 530 THE ETUDE THE ETUDE 531

How Beethoven Composed Standard and Modern attitude of vulgar ignorance in these matters. He is disposed to look down it the pianoforte, the I am composing, and work as thoug Instruction Books •• The Eroica, Pastoral and on all that he is unaccustomed to, and MR. MUSICIAN whole of Beethoven’s morning, from the guide not knowing tl;e true distinctions he es¬ earliest dawn.. till dinner-tit^.v, ..... Battle Symphonies are examples, among for the Pianoforte teems his own (degraded custom as cor- A VEGA ployed in the mechanical work of writing; many, of compositions which owe their All or any of these Method* cheerfully Hm I should -send him ter Scotland •On Sale” or on approval. the rest of the day was devote 1 to thought character and titles to the causes men¬ for his ixpecericns! . . . Yet there- and the arrangement of his ideas. Scarce¬ Means Musical Satisfaction tioned. are many other. Ijke degradations going ly had the last morsel of his meal been BEGINNER’S BOOK Beethoven’s—and for the matter of that, School of the Pianoforte on. Nature fpr'Jnstance, is now always •swallowed, than, if the composer had no every composer’s—manner of writing is a ncycher, Tuesday is generally Chettsdy, □ VEGA Standard Cornets more distant excursion in view for the every composer By THEODORE PRESSER matter of peculiar interest. Unlike Schu¬ The latest wort along lines of elementary Instruction. TV and tune will very soon be chiune.” day, he took his usual walk,—that material used is enbr-ly fresh and is presented m an attractive □ VEGA Standard Trombones bert, who wrote on the spur of the mo¬ There are certain'weirds to which the say, he ran in double quick time, nanner It is intended for the veriest beginner; little tod jut “SPEAKING, SINGING AND THE This last sentence brings me back to ment on any scrap of.paper at hand the jut of kindergarten. A very large note is used in the eady Doctor incidentally and rightly calls at¬ haunted by bailiffs, twice round the rail of the book. Questions and answers are given to ditch POET LAUREATE.” Mr. Greene’s. Rule 3, “Sing as you speak,” □ T. & 0. Band Instruments and snowed or- hailed, back of a bill of fare would do so long as Writinn exercises are introduced at the v. tention: “What’I object Jo, is .» Whether it rained ™ to which I would add yet another rule Supplies freezing-point it enabled him to get the ideas out of the thermometer vork to make it as nearly a perfect without which singing based on such a I came fr'erm' Oxford tier London, —whether Boreas blew a chilling blast self—Beethoven adopted a deliberate and BY HERBERT SANDERS, MUS. iJ&C. VEGA Banjo-Mandolins possible to make. A trial of th precept .would be in a condition more whereas they pre taught to. say □ '(> from the Bohemian tpountains — or serious method of transmitting to paper olicited by all who have to deal wit nstruction. Liberal discounts. hopeless than before—“Always speak cor¬ I came frSm' Oxford tu. London, Every Orchestra Leader should y whether the thunder roared, and forked the glorious emanations of his master- In his “Interpretation of Song,” that get busy with this instrument. Same Price, 75 Cents rectly." and teachers will agree that/ the difficulty lightnings played—what signified it to the mind. What he wrote down and allowed -————_— cultured singer, Mr. Plunket Greene, of teaching them to do, ' this is that, scale as a violin. All the rage in whose to remain was the result of a slow reason- FIRST STEPS IN PIANOFORTE For if speech quantities and qualities New York and Boston Orchestras. enthusiastic lover of his lays down three guiding rules for the while the average man pays ter easily Perfect Beauty genial mind, perhaps, were budding, at the ing process and severe inward working. are wrong, singing will but magnify a STUDY vocalist with artistic ambitions; the last and unconsciously, he will SAY- til awk¬ □ VEGA Mandolins and Lutes, etc. Every woman who spends the very— j moment...... when...... the.... elements were in His stories of musical memoranda were thousandfold the very defects we wish Summer at the seashore, in the The combined and condensed results of the work of several of these is: "Sing as you speak.” wardly and consciously, and the former fiercest conflict, the harmonious feeling of constantly requisitioned. The musical to correct. mountains or at some fashionable practical teachers of the young Wagner has told us—and he has set a condition is preferable to the latter. □ Easy Payment Plan balmy spring; notes and ideas, which, as they occurred Carefully Edited and Revised by THEO. PRESSER If there is a man of to-day who should watering place should take with supreme example to composers for all But the awkward self-conscious pronun¬ to him, he regularly recorded in his This book begins at the beginning and serves as a praefal be considered an authority on pronuncia¬ her a few bottles of Nothing suited Beethoven better, how¬ and melodious introduction^to the study m our edition c< the PRACTICAL wrong. If the character of the tone fit English do. We have our own ‘accent,’ METHOD u recognized a. definite-it i. the «tlw po the character of the word, the tone is as it is called. We are a nervous, eager, Classes excellence for the AMERICAN PUPIL; nevrrtheka that thert One Year’s Free trial By FREDERIC W. ROOT ourpnee i. lower than that quoted oo aoroe. and no W» essentially just. Every word projects its the ther strident people. We know it, though we I. Methodical Sight-Singing. Op. 21 own atmosphere, and that atmosphere suggest sergest do not relish having foreigners tell us Parti. The Beginning.55 from^hJ,"deri'^"'ih^'^’fo, £*PRBs3< will be reproduced in the singer’s tone. idea ideer about it. We speak not mellowly, but If DOROTHY M. LATCHEM. Part 3. ProgressiveMusicianship. .60 Volumes 1 and II, each. 50c. Combined, «1-M . . . There is perfect correlation be¬ produce prcrduce with lax tongues and palates, and sharply, Cornish (5®. Washington, N. J. II. Introductory Lessons in tween the tone and the thought which is shrilly, and with hardened mouth and Voice Culture. Op. 22 - $1.00 and experience would be something like It is well f0 be up-to-date. Parents are In these days of self-advertising and bluff, LEBERT AND STARK’S PIANO in the brain. . . . The sung word tones forced back upon the- palate. III. Thirty-two Short Song Studies ixpecericns, n T fr* A Paris, 5, rue Gounod For high co - Op. 2_ looking for the up-to-date teacher. The it takes great strength of character to SCHOOL must have the penetrating power which “Pure, round, sonorous tones are al¬ For mr1--- jmpass. Op. 25... modern pianist is not “long-haired and hold to the truth. ° belongs to the fine elocutionist, whose Dr. Bridges contends that the vowel most never heard in our daily speech. For li . Op. 2 oddly dressed.” Hold fast to the good vocal IV. Scales and Various Exerci utterances as such approach ordinary sounds are more corrupted in the south We hear much of the ease of singing in one,A old truths, but add to them that which for the Voice. Op. 27 - 60c evenc/en though t0you f °rknow,bear fromwhereof criticism you speech more nearly than does the singer’s, than the north of England. He says: Italian because of the purity of the = INSTRUCTION V. Twelve Analytical Studies. science and time have improved. Masters of pisnoforte initrucri^wtiD^wiioys'lh^’woW®^*^ and is also, in general, more rationally “We have only to recognize the supe¬ Italian vowel sounds; but suppose the ' s in Opera in France Op. 20 $1.00 It is well not to become too enthusi¬ in &e end°”CSt ^ WiU be ^P^Utted do't^T klr’m“ IO 'T’'1 'LoroL-ghuess to their work tnd I* method •• pV j ,n value of a so-called effective. . . . But ordinary conver¬ riority of the northern pronunciation and Italians pronounced their vowel sounds VI. Sixty-eight Exercises in the astic over one method. No method holds “THE CHOICE OF A VOICE-TEACHER.’ It ts well not to practice your own sational tone (of course) could never to encourage it against London vulgarity, as we pronounce most of ours. Would Synthetic Method. Op.28 75c all truths. repertoire when you are tired Tw m! become the singing tone; and yet it is a instead of assisting London jargon to it be easy to slug in Italian then? No. (The General Principle of Vocalization.) It is well to impress upon your patrons p“t 2 plcme.n,arv School-First Degree. $2 VII. Guide for the Male Voice. minutes early morning practice is worth Pal-t ?' p*erc;scs & Etudes Second DeSree. fact that if you change, in an infinitesimal overwhelm the older tradition, which is We must first learn the correct sounds Op. 23. $1.00 at the -very first, that teaching is not a * 3- EgercuestA Etudee-Third Degree, $2 degree, the character of the word when quite as living. If one of the two is of our vowels. We must cultivate beauty D. A. Clippinger VIII. Studies in Florid Song, $1.00 work of charity. Punctuality and regular¬ Ti h°UrS late " the -enTng ™Tr you sing, making it other than it is when to live at the expense of the other, why of tone in daily speech. We must learn Teacher of Singing ity are points to be insisted upon. correctly spoken, your tone cannot he the not assist" the better rather than the that every vowel sound in the English Theo. Presser Co., Philadelphia, Pa. Author of SYSTEMATIC VOICE TRAINING, It is well to adhere to the belief that true tone. If we took the trouble to worse? A Londoner will say that a tongue can be formed without inter¬ Price one dollar, and other books on under discussion until the explanations the voice. Send for circular. there is a demand for honest work. speak correctly the case might be dif¬ Scotchman talks strangely and ill; the rupting the flow of a beautiful speaking THEO. PRESSER CO., Philadelphia, P ferent.” truth is-that he,- himself, is in the typical 414-415 Kimball Hall, Chicago, III. 532 THE ETUDE 533 Well, just examine and utilize the spring, THE ETUDE INDISPENSABLE AIDS. ing-board. In thinking about the awful There is another thought calling. or high note you’ve probably neglected and “DOES IT PAY TO TRAIN THE sional life, testifies to the mental relax- THE TONSILS AND THE VOICE. expression which is, that the voca » maltreated the tone immediately before VOICE?” ation, the different viewpoint, the spir- jQ £(nt0f the personal social accent and sound it. Have plenty of reserve breath at itual uplift which he finds in the study R f . to'the article pri„ted in the of our common speech is a reflection o your command, let this preceding tone BY H. LOREN Clements. of song classics, or the larger form of Etude hcadcd> the removal our civilization, so much, so that Mr. Corset be round, easy, ringing, with the mouth - music found in choral societies and r .oration.” Henry James says: “Judged in this light, of the tonsils’ an undesirable operation.” well open (not gaping), the whole vocal It is to be feared that nine out of opera, The article was the opinion of a spe it must frankly be said, our civilization every ten people who read the above Mothers, fathers, are you concerned apparatus well dilated, and thence spring cialist, Dr. R. B. Faulkner. remains strikingly unachieved.” If then will immediately have a mental vision over the future of your boys and girls? swiftly to the upper tone by a sudden To me, the statements were absurd s speech is a partial indication of our r Iiy IU liiici cal iiicm in in.uaiu. ^ . i 11 _ Results increase of the breath pressure (as though of the dollar sign glowing before their Try to interest them in good music. character, making apparent our state of IracticaTeyes. Tortduce any proposi- Send them to good teachers that they question. you were suddenly emptying the lungs of refinement or unrefinement, it behooves a dollar and* cents- ’basis • - may learn to handle their voices and t0 present anouier w h QAre you satisfied with us all to rectify any such impurities we air—somewhat as you do when coughing “hard-headed,” practical thing thus gain confidence. Then encourage Dr. Faulkner says, To dest oy the result your corset gives hard- them to join some first-class church tonsil is to destroy its function, ye i l you? Are you wearing may detect—a refining process which in a little, the body walls shrinking jn but is it not possible to be to American Lady Corsets ? sharply all around just above the waist headed? too practical when you try choiriir or singing society. If you insist generally admitted the tonsil has no its operation will help to refine ourselves. If not, why not try the line). Make this increase in breath pres- 3 estimate the benefit of art? Money the best in this line they will meet function. For the acquirement of a perfect dic¬ Tonsils removed with care leave a good American Lady model de¬ tion in speech and song (you cannot have sure your only voluntary muscular act generally comes to him who is devoted a class of people there whose associa- — -- r signed for “you”? Amer¬ them separately) the following aids are as you plunge to the upper sound. Try fn a broad-minded way to his art, but tion coupled with the music they sing relation of the structures bounding the ican Lady Corsets are seldom to him who is continually cannot help but raise them into a higher tonsil area recesses, and the f g indispensable: to let the mouth, tongue and throat re¬ charmingly modish in 1. A continually attentive ear to the main as nearly as possible as they were blinded by the dollar sign. Shall we spiritual life. mortality of which Dr. Faulkner speak every respect, and are be¬ during the tone from which you sprang. consider the question under the dif- has been considerably lessened m the pa t ing sought more and more sounds of our own voices as well as to ; “1“ nf life? DOES IT PAY FINANCIALLY? few years due to the now generally rec- by particular women who tile voices of others. A thorough at¬ For instance, suppose the difficult note Financially. The dollar sign has inten- ognized technic and newly devised m- know and demand perfec¬ tention to this will convert a poor voice is on the syllable “men” in “Amen.” tion in corsetry. There is into a good one. It will accomplish the •Proceed thus:— DOES IT PAY PHYSICALLY? tio’nally been left out of this article, struments. almost an innumerable difference between the voice of the deaf ■ Does high vitality resulting from The American people are rapidly raising His percentage (95) of the disease number of styles of Amer¬ and the voice of the average hearing, bull deep breathing appeal to you? Do you their standards in regard to vocal music; tonsils that can be cured without opera- ican Lady Corsets, and KEEPING THE INTEREST OF THE PUPIL inattentive person. want to banish stomach and intestinal the American people are always willing tion is too high, no one specialist wou among them there is “a particular model for your 2. Write phonetically your speech- troubles? Try diaphragmatic breathing to pay for the best they can get. Set claim to cure 95 out of 100 with simple and the inevitable kneading processes yourself to a high standard, be willing medical treatment alone, individual figure” ALIVE DURING THE SUMMER MONTHS sounds and then make a comparison of range, the spoken and written word. Thus ter which such breathing demands. Do to work as long as a doctor or a lawyer Take cases of recurrent tonsilar ab- It is essential that the teacher provide some means of keeping the interest of the be or not ter be must be tu be or not you have throat trouble? Does a few to reach this standard and you will find scesscs, chronic sore throat, obstruction pupil alive during the summer months. There is a tendency on the part of the student minutes of singing or loud talking that the training of your voice will pay, to swallowing, respiration or speech, to consider musical studies completed after the Spring Recital, especially as the tit be. Dr. Bridges strongly recommends this aid.. make your throat sore? Try to sup- not only physically, socially, mentally when medical treatment is of no perma- teacher is seldom in touch with the pupil from July to'October. nent relief, the tonsils should be removed. 3. Sing all vowels, (short ones espe¬ port your voice on your breath and to and spiritually, but financially. ^ Children and young adults who have cially) with ear attentive and mind alert. your head as a sounding board^ reason to fear tuberculosis are justified ETUDE Trial Subscription Offer As I remarked before, the singing voice Should the difficulty persist, practice in Do you desire a long life of happiness? in having tonsils removed, to close off is a magnifying glass which will enlarge the same way in a lower key and work Review mentally the long list of sing¬ POVERTY AND ARTISTIC tfmetiam. ANY THREE COPIES FOR 25 CENTS the avenue of entrance to the lungs and make more conscious the vocal qual¬ up, a half-tone at a time, to the actual ers. Very seldom can you recall one CREATION. ity. pitch. who has died before sixty and many (through the lymphatics) of these deadly by having pupils take advantage of our Special Three Months’ Triaf Subscription—any 4. An analysis of the mechanism and A successful dive to a high tone is of them have done and are doing germs. three issues for 25 cents. This is just about half the regular subscription price. Any mighty enjoyable. Don’t neglect the When toxic absorption of diseased numbers from June to October can be selected. movements of the organs of speech ac¬ almost their best work at that age. cording to the standard authorities, so springing-board. Happy? They are the most joyous, The psychological effect of poverty tonsils shows systemic effect, and local The receipt of The Etude each month awakens the dormant interest of the pupil that in case the voice fails to respond contentednuvuu»«>. people on earth—. upon the human mind of the victim can treatment does not effect a cure, the by furnishing at least fifty pleasing and instructive pieces of music suitable for summer to the aural demand the deficiency can Socially. A well modulated resonant only be imagined, but volumes have been tonsils should be removed, COR,SETS playing, in addition to a wealth of live musical articles. Thousands of teachers take speaking voice is a tremendous force written upon the physiological effect of The operation is generally condemned advantage of this special offer. Some donate the subscription to their pupils; others he rectified by means which are longer in THE UP-LIFT. order the issues sent and add the amount of 25 cents to the regular instruction charges. accomplishment but which, when rightly towards the realization of personal a slender diet and uncongenial quarters by those who were unfortunate in having applied, are certain in result. magnetism. The most commonplace upon creative genius. Some make a point an inexperienced operator, That teachers may acquaint pupils with this offer we have prepared special F. W. WODELL. coupons for distribution. A quantity will gladly be sent upon request. Ffrangcon Davies says: “The training platitude may demand attention when of trying to show that the spontaneous Comparing removal of tonsil with re- of the ear is one-lialf the training of a well modulated voice is the vehicle simplicity of Schubert and Mozart are moval of eye is not logical, one has a Those haying accounts with the Theo. Presser Co. can have the subscriptions charged the voice, i. e., aid No. 1, but your Some of the most earnest students of expression. Who holds the closest the result of a frugal life, while the com- separate function, the other none, mind is the court of appeal when iii suffer through their very earnestness and attention in a social gathering?—a good plexities of Brahms and Richard Strauss Comparing tonsil and appendix removal, The Etude, Philadelphia, Pa. doubt.” (This is aid No. 4.) The train¬ consuming desire for progress. Through pianist or the singer whose words have been due to the copious means they infection is common and often fatal fol- have always possessed. The case of lowing appendix removal, with tonsils ing of the ear we may designate the lack of experience they are unable right¬ be understood? Mendelssohn, however, disputes this, and there seldom follows any infection. natural method, the appeal to the mind ly to estimate the work they are doing : If. you have a well-trained voice, might be called the mechanical method, and its inevitable influence for good, r. the heart of your hostess by offering it it would seem that there is no advantage Comparing hip joint and tonsil opera- in poverty so lofig as the composer does tion, hip joint operation is done for but the training of, and the appeal to.’ And so they become discouraged, and i t expect uncounted gold : you deign i not use his wealth to abuse his body. severai main reasons, gangrene in ex¬ beth ear and mind is the only rational worst of all, lose confidence in their vocal | or sure method, for it is not instinct or gifts and ability to learn. While in this | sing. Volunteer your services to good Rossini might have been a far greater tremity, malignant growth in extremity, choirs; organize a choral society. Give composer had he been less fond of the secondary hemorrhage or the spreading of knowledge but that irresistible coalition state of mind the pupil can accomplish | freely and you shall reap the highest elegant viands which a large income disease above the seat of operation before instinct plus knowledge. but little, and it is important that the [ teacher should do what he can to bring j of social good and do your part brought to his plate. _ performance, in tonsil removal there is towards raising music to a higher stand- Notwithstanding some surprising inci- seldom if ever any of these factors to him out of it. Better still, let the in¬ ard. Forget the dollar sign. dents showing that men with plenty are contend with, so why compare these two the SPRINGING-BOARD. structor take all means of prevention quite capable of producing masterpieces, operati0ns? when lie once has noted the tendency. I DOES IT PAY MENTALLY? there is a deep-seated idea that success Dr Faulkner states, “Not one death Especially should he be careful that noth- . The Latest and Best Word in Voice Building It requires a great amount of mental is injurious to genius. Cervantes, the bas resuited from adenoid removal," yet, ing in his manner or way of teaching I Are you a swimmer and do you div concentration to master the first prin- author of Don Quixote, and father of this operation usually accompanies tonsil shall give these sincere but doubtful ones well? If you plunge in from a rock c ciples of singing. To change the habits Spanish literature, used to live in removaj THE VOCAL INSTRUCTOR cause for feeling that he. too. is dis¬ By EDMUND J. MYER PRICE, $1.00 from the shore at nearly the level of tl of breathing of a lifetime from shallow, extreme poverty, depending upon a very As {or tbe operation being painful, water, you may scrape your shins as Vr couraged or lacks confidence in them. I gasping efforts of the chest to the deep, small pension or allowance from the arch- bloody and dangerous, the anesthetic There are a few students of singing who I togical sequence. is boru'of leave terra firma or you may “land” i muscular control of the diaphragm and bishop of Seville. Once a French ambas- overcomes pain, operations are usually a prone position neither elegant nc arc too sure of themselves and need to I lower ribs; to make the resonating sador protested to the good archbishop bloody> and the only danger is an inex¬ agreeable. You feel as though all or he humbled before anything can be done | chambers of the head act in the same that a genius like Cervantes should be perienced operator, or slight chance of for them. These at present we will not | m«er1aljL“?nfomation^f' d^highest Mtoelpthi?£££“^0^^’thVyoun/tcachcT jusT starting^uf of side of you had been “spanked.” Yo capacity as the horn of a talking-ma- permitted to rise and have the comforts patient being a “bleeder.” have followed the line of greatest res? consider. Leaving them out of account, I chine; to relax certain unnecessary to which his talents entitled him. The Dr Fauikner-S book, to which he so fle°x1lbirdoth?Upricer?irmd thr°UghoUt- The book it is certain that the teacher who is able | muscles and still he buoyant; to change archbishop is said to have answered, We 0ften refers> does not state how many THEO. PRESSER CO., 1712-14 Chestnut St., Philadelphia, Pa. WheVa" fgrer?heWehnToraUdriSh P to make his pupil believe in his own | one’s impure vowelization and correct agree with you in that he is a genius. • ers havc bad their powers, who can bring him to attack bis I CJ ]Ve will send, upon request, free catalog, the spring flings up your heels™* brim one’s slovenly enunciation; all this re- All of us recognize him as such, but moved, andnnr( theirtVioir nninicopinions differ about task with the conviction that he is able I showing American Lady Corset Models, de¬ down your head almost automatically an quires mental concentration. But under since he wrote all of his best work dur- equally, for and against tonsil removal. you dip into. tbe cool depths with to conquer it, will make many successes. I signed for all types of figures. Address guidance and with patience it at last ing a period of poverty, would, it not be Singers whose voice is their fortune ‘he studio should be a place of “up-lift” [i American Lady Corset Company, Dept. A, ZABEL BROTHERS sinks into the sub-conscience, becomes tampering with divine Providence would naturally disapprove of operations, Detroit, Mich. or encouragement, of stimulation, | s best t “second-nature,”~ ~ ^--- and thus leaves- - the• make ...him wealthy?,11 Surely it - i. 1 lif1 protractedUIULldUCU locallULftl treatmentucauucu would enable MUSIC PRINTERS m ENGRAVERS voice^vhicl^frequently precede ? fa'th, confidence. Failure is but tempo- j mind free to the higher efforts, of keep him in a state where he must work tbem tQ s;ngitlgi rary; the next time victory is yours;he- I Send for Itemized Price List and Samples "°t£Lm j S°ng’ should serve as a scrim proper phrasing and interpretation, all the harder if he would live. them as authorities on the subject? COLUMBIA AVE. ANP RANDOLPH ST. PHILADELPHIA, PA. mg-board to help you to reach this M' hove in yourself. Do you know what J Going up on the scale we come to the There can be no doubt that many a Jn concius;011) my daughter, a child of note. If you are vocally at ease on H® a:e f° do- ar|d the manner of doins I memorizing of recital programs and the genius has literally starved to death from nine. bad ber tons;is removed four Tindale Music Cabinets springmg-board your chances of • u - T cs ? Then be sure you can do h I DECIDEDLY DECORATIVE roles of opera. Good vocal cords and lack of material... appreciation. There. , , y months ago by a prominent specialist, TO MUSIC MANUSCRIPT WRITERS V to subsequent tone^with ease”"1 Une of the most talked-of American ! the control of breath make hut the be- 1 a genius ~~ut-right in your own c.rcle who previops tQ removal sbe was subject to -' — kind. THE BENSINGER RAPID DUPLICATOR will make 2, 10, 20 or 50 exact co improved sixty per cent teachers who has settled in Europe gains I ginning. The successful singer must -s hopelessly. _ incapable of supporting and co),ld not s;ng a note, Do you worry in advance over 9 e much of his success through his greal j. 6J<*10, $3.00; 10x15, $6: work for mental concentration. himself as the bright little canary 1 13. to-dayto-aay shesne is penecuyperfectly healthyneaiuiy anuand tonelone- Wide variety of -—tCHERS,TEADCHVRS, ?B^DMVsT^'^fcHOmBANDMASTER!., _... 8'L^ADERShfind U to and constantly exerted ability to inspire I Lastly comes the effect on the finer, golden prison To neglect that genius is perfect; naturallynatllrallv 7X say it js best, “to *s, 317 to 385. E. BENSINGER—- CO., 34- E. STONE —ST. NEW YORK CITY Ins pupils with confidence in their own &S5 0v°«'i“ r " higher life of the individual. Here the about as cruel as it would be to send the remove tthe^e tonsil.” Write to-day for Design Book No. Please mention THE ETUDE when addressing o how rdy„i“te"» powers. It is not hypnotism—just P,al” results cannot be written about, they pet songster free in the midst of a bliz- TINDALE CABINET CO. common sense put to work. Respectfully yours, can only be felt. The hard-working zard. Neither'has had the training which No. 1 West 34th St., New York man, be he in business or in profes- enables him to care for himself. Mrs. Arthur D. Smith. Please mention THE ETUDE when addressing 535 534 THE ETUDE THE ETUDE

ROUTINE OF CHOIR ORGANISTS AS VOCAL teacher or a trombone teacher who was or the performance of some tuneful and REHEARSALS. TEACHERS. compelled to send his pupils to study piano, popular cantata, but it is impossible, An over-long rehearsal brings fatigue From time to time we hear or read being unable to instruct in reading the without the most constant and well- A Tonic and strain on the voices, and in the case Austin Organs complaints from vocal teachers that notes correctly from the staff, or to in¬ directed efforts, to secure regular at¬ Department for Organists^ of a volunteer choir may dampen the organists are competing with them un¬ culcate correct time keeping? As matters tendance at weekly. rehearsals or at the Horsford’s Acid Phosphate taken Edited by NOTED ORGANISTS zeal of the members through its tedious¬ fairly in their chosen field. They usually are at present, it is absolutely no exag¬ regular grind of Sunday services. The when you feel all played out, can’t ness, consequently the leader must have further allege that organists are not prop¬ geration to say that the most mediocre leader will carefully prepare some more sleep, and have no appetite, refreshes, Editor for July EDWIN H. PIERCE every detail of a rehearsal carefully THE mammoth Panama erly qualified to teach voice, that they professional orchestra-player is a better or less elaborate anthem—Sunday opens invigorates and imparts new life and Exposition organ—114 musician than the best singer, barring a planned to secure the best possible results do more harm than good, and that they up rainy, and perhaps there will be no energy. few honorable exceptions, from a minimum of time spent. even use whatever influence they may tenors present, perhaps no altos, so he ' struction. i Until such time as vocal teachers see First of all, begin strictly on time, even have in the matter of choir appointments must lay it aside and substitute a familiar if only one or two singers are present- Other notable work in fit to mend their ways and become real CHOICE OF CHOIR MUSIC. | is really capable of good effect, as planned as a means of obtaining pupils. These hymn. This discourages those who are make a show of doing something, if it is progress including large musicians, there will always be a perfectly In choosing appropriate ' and varied with the forces at hand. Sometimes even are indeed serious charges, if true, but present, and have labored to prepare their only to run over some already familiar four manual for St. Clem¬ legitimate field for the organist as a music for Sunday after Sunday, through- ^experienced choirmasters will make the the writer's own investigation convinces part. Nor is the choice of very simple Church Organs hymn which is to be used the next Sun¬ ents, Philadelphia. him that in most cases they arise either vocal teacher. out the year, the choir director finds con¬ -mistake of choosing a piece too difficult music any solution of the problem, for day, then when the tardy ones arrive they Contracts signed since from the professional jealousy of singing- Latest Approved Methods. Highest fronting him a problem somewhat similar or their choir to master within the avail¬ this will make the more ambitious and will feel more effectually rebuked to find January, this year show the teachers, or from a failure to realize cer¬ Grade Only. Established 1827 to that of the housekeeper planning the able time. In this case it is wiser to with¬ musical members of the choir lose their the rehearsal has begun without them highest favor for Austin tain of the necessary qualifications of a QUARTET VERSUS CHORUS daily bill of fare. There are many things draw it and substitute an easier one. If A thoroughly modem two-manual instru¬ than they would by a wordy admonition. tone and Austin console choir-singer. CHOIRS. interest. The most practical solution of ment of our make-in use less than one year- to be considered, aside from his own there is no easier anthem on hand exactly for sale at a bargain. Built for exhibition Sometimes one can make the effect even control. It is somewhat strailge that organists Not long since the writer’s advice was the difficulty is either to pay every mem¬ purposes. Excellent opportunity. fancy. The liking of many of the con¬ suitable to the occasion, one may often more forcible by saying in a courteous Illustrated information in general have taken these., accusations sought by the chairman of the music ber of the chorus a small sum, as is done HOOK & HASTINGS CO. gregation for certain old and favorite save the day by a search of the hymnal, tone, “We will now rehearse such and concerning all details al¬ so meekly, instead of replying in print, committee of a good sized church in a with boy choirs, or at least to pay one Main Office: Kendal Green, Mass, (near Boston) numbers must be balanced up against the nearly all good hymnals containing, be¬ such a number once more, for the benefit ways immediately avail¬ and telling the real truth pi ..the matter. city of some hundred thousand inhab¬ or two leading singers of each kind of constant demand for newness and variety, sides those hymn-tunes really suited to of Mr. A. and Miss B., who were unable able to those interested. The facts of the case are-generally as itants. It occurred to him that the letter voice. The “salaries” paid to those who and a judicious compromise must be to get here on time this evening.” congregational use, a certain number of follows: which he wrote in reply, omitting purely would almost be willing to sing without struck. The season of the church year more elaborate settings of hymns, which As to the order of procedure, I have local references, might prove of value to pay may be absurdly small, and yet an¬ Steere Organs found the following as good as any: Pre-eminent for Forty-six Years must be considered, and special occasions, are suitable and only suitable for a choir. VOICE TEACHERS WHO ARE NOT a wider number of. readers, among those swer the purpose of securing regularity 1. Vocalizing exercises. (With boy Built for churches, schools, theatres, lodges, whether of a joyous or a solemn nature, One of these may be prepared on short ! Austin Organ Co. MUSICIANS. . interested in the problems of church of attendance. I have known a dollar a halls and homes. choirs only.) |a properly provided for. The present notice, and prove quite acceptable to all 165 WOODLAND ST. music. It read essentially as follows: week, or even fifty cents, to do the trick, Second hand organs for sale 2. Rehearsal of hymns. (Unfamiliar Many of those vocal teachers who are Specifications and prices on request. repertoire of the choir must be well kept I HARTFORD, CONNECTICUT Dear Sir :—I am delighted to hear that concerned. They are also a good recourse ones sung entire; familiar ones, only a most competent and successful in the in a small city. At this rate the salary your parish contemplates replacing the J. W. STEERE & SON ORGAN CO. in mind, in order to utilize it when in cases where the choir is weakened by stanza or two.) matter of voice-building and “placing" of a good quartet would secure quite a Springfield, Mass. Established 1867 quartet with a chorus choir, and also in¬ practicable, and their ability to master new the unexpected absence of important 3. Rehearsal of anthems, chants, etc., the tone, are but poorly educated musi-' sizable chorus. Of course, if a church troducing a liturgical form of service, as music of any given grade must be fairly voices. for use on the coming Sunday. (If new, cians outside of this one small but im¬ is able, it is quite a good thing to keep well as a more “churchly” style of music. judged, and not overestimated. ' Coming now to the matter of suitable these are supposed to have been already The Guilmant portant specialty, and even where they on salary four competent soloists in addi¬ It is directly in line with a wide-spread In churches having a liturgy, and ob¬ variety. One successful choirmaster of practiced at one or more previous- re¬ have the necessary ability, they never take tion to the chorus, merely for the inci¬ any interest or are willing to spend any spirit of reform which is now going on Church Organs serving the Church year closely, it is pos¬ my acquaintance keeps a methodical hearsals.) Organ School dental solos in anthems, but solos are not record of each Sunday’s program through¬ time and effort in teaching a pupil either in the matter of church music. A quartet, BUILT BY sible and convenient to make out a pro¬ 4. Rehearsal of new music, for future necessary to good church music—indeed, out the whole year. By referring to this William C. Carl, Mus. Doc., the rudiments of sight-singing, which as you no doubt understand, however ex¬ with a discreet choice of music they will Hutchings Organ Co., Boston, Mass. gram, at least provisionally, for the whole he is able to remind himself of music should precede what is commonly known cellent, is, strictly speaking, chamber- 5. In exceptional cases, one more repeti¬ never be missed in the work of a well- year in advance, including hymns, chants, found suitable for various special occa¬ as “vocal culture,” nr the broad and in¬ music—too small and delicate for a large tion of any important or difficult number balanced and well-trained chorus. anthems and even organ preludes and sions and also to guard against the too about to be produced, and rehearsed 25 Students now holding; N. Y. telligent musicianship which should come hall, and incapable of any breadth or postludes.- In one Episcopal Church frequent repetition of the same pieces. already under No. 3. positions after it. The result is .that one of their grandeur. The personal element, too, is THE MOST SUCCESSFUL CHOIR. sure to be too prominent, the singers be¬ where the writer was organist, the rector Speaking of repetition, however, con¬ Students aided in securing positions pupils will apply for a- choir position, With the “paid” portion of the choir with a voice of lovely quality and a reper¬ ing liable to vie with each other to “show made out for him a complete list of suit¬ gregations where certain canticles are STUDYING NEW MUSIC. as a nucleus it will be easy to add a num¬ used as parts of the liturgy (like the Send for Catalogue toire of two or • three songs, learned off,” and to feel always that they are able hymns for both morning and evening In learning a new and unfamiliar ber of volunteers, but as an aid to their Te Deum, Magnificat, etc.), will tolerate parrot-fashion, but totally destitute of any performing before an audience. Indeed, service throughout the year. In actual anthem I find the best plan is to give the 44 WEST 12th ST., NEW YORK regularity it is well to offer one or more and even approve of the long-continued training in sight-singing, and so weak in it would astonish and perplex not a few use this had to be modified somewhat, as chorus a broad and general idea of it use of one familiar setting of these the matter of. time-keeping as to be of them to be told that any other atti¬ prizes for steady attendance throughout he agreed with me in observing that he first of all, making them sing through it canticles, if only they have the desired shaky about entrance after rests, liable tude was expected from them. Yet in the the year, and to cultivate a social spirit had selected too large a proportion of from first to last at a proper tempo, even variety in the matter of hymns and to cut short long notes, ..etc. canons of one denomination I read that among the choir in various ways which unfamiliar hymns, and he requested me if they are unable to sing every note. CARL BARCKHOFF anthems. Notwithstanding this tolerance Music committees, impressed by 'the the choir is to be considered “part of the will easily occur to you. Once success¬ to make a more frequent use of the old Next divide it into convenient sections, of the familiar, it is best to change the BUILDER OF worshiping congregation,” in another that fully established a choir of this kind will tUrttitlLt favorites, at my own discretion. Never¬ and have them study these one at a time, quality of the voice, and not realizing the g’dtnolofChitrrl) lIuBtr settings from time to time, if only to keep they are “persons skilled in music, en¬ draw its membership even from outside theless, the list was a valuable guide. but in the same manner. Then, and not young singer’s deficiencies, will frequently up the interest of the choir, and a good sooner, give accurate training in all the Church Organs insist on appointing them -to choir posi¬ gaged to assist the clergy.” It will take of your own parish and your own AND PLANNING AHEAD. time to present a new musical setting of, detail, taking single phrases, and where tions, to the great dismay of the organist, no lengthy argument to demonstrate that denomination. , Headquarters, £ In those denominations where a freer for instance, the Te Deum, or the various necessary the voices singly. Invite re¬ Self Playing Instruments who must spend many hours of valuable the quartet choir fails to realize either of One more point before I close. In at¬ form of service is the rule,1 one can do numbers of the Communion Office, is at quests from the singers for special prac¬ time in coaching them, .outside of the these ideals. tempting to introduce radical changes of Daily training in the Liturgy a some high festival, such as Easter or Episcopal Church. For particul; little more in the line of long-distance tice on any places which they may find Over 3000 Barckhoff organs in use regular choir-rehearsal hour, in order to Nevertheless, before making any change, this kind be sure that your committee is Secretary, Trinity School or Christmas. Well equipped and capable it would be well for your committee to 14 W. 12th Street, New York City planning than to provide suitably for more difficult than one would expect. In which testify to their Superiority make their services in the choir even so prepared to act as a unit, or at least that choirs often make an entire change of all much as a possibility.- In1 cases like this, realize the difficulties in the way, and be Easter and Christmas, and this very free¬ the course of training demand, from time and Durability in Construction, you have a safe working majority. There the ritual-music as often as once a month, to time, unaccompanied singing, even in Workmanship and Sweetnessof Tone it is no more than fair that the young ready to meet them bravely. Not that I dom of choice often becomes an embar¬ is nothing more disheartening than to go but this is by no means netessary. The cases where the accompaniment forms' an singer should take lessons from the or¬ would discourage you, for anything worth rassment, as there is a much greater like¬ to the labor and expense of establishing lihood of chance inappropriateness. There minimum equipment f.or even the least important independent part. There is no BASIC CITY :: VIRGIN!/ ganist, and pay for them as well. doing is sure to be some trouble, and the GEO. KILGEN & SON a chorus choir and then to find strong * have been some instances of this so pretentious choirs, however, should be at surer way than that to discover weak We are assuming, for the sake of fair more well-worth doing, the more trouble, reactionary influences at work to dis¬ strikingly absurd as to have passed into least two complete settings of the Com¬ places and give absolute certainty in per¬ argument, that the organist has no knowl¬ as a rule. Pipe Organ Builders newspaper jokes. Witness, for instance, munion Office and all the canticles—one formance. the ORGAN POWER 0 edge of vocal culture as a; specialty, and As a matter of mere convenience and credit all you have done and bring about after a good old-fashioned sermon on for ordinary use, and another, somewhat Certain choirmasters proceed on almost HARTFORD, CON that his work with singers is either the reliability, the arguments are all in favor a reversion to the old regime. Sometimes more elaborate, perhaps, for high festivals. “Hell,” a sentimental Gospel-Hymn solo, the opposite plan, and attempt to secure teaching of sight-singing and the general of the paid quartet, and despite the cost such a movement is set on foot by per¬ beginning with the words “Tell Mother the greatest possible perfection of detail rudiments of music, or else is a coaching of the salaries the quartet has even some sonal friends of the members of the old in the first study of a new chorus or I’ll be there.” HOW BEST MADE A DECISION. in anthems and other' repertoire of the elements of economy. Take the matter quartet, so be on your guard. M. P. MOLLER PIPE ORGANS If the director aspires, in spite of these anthem, taking it bit by bit, and bringing choir. This, however, is to give far too of printed music, for instance. The Of the caustic wit of the greatest or¬ I would not advise any parish to under¬ the singers to a sudden halt at every little credit to the ordinary; standard of quartet may be supplied with copies of a conditions, to make the musical part of ganist of the nineteenth century—W. T. branch Offices take a chorus choir “as an experiment,” error. Their patience is commendable, C. FOSTER, 218 Tremo equipment among organist-choirmasters. new anthem for twenty-five or fifty cents, the service an artistic unit, it is well to Best—the predecessor of Dr. Peace, in because the difficulties are such that they ask the minister to choose hymns as early but ill-directed. Their choruses are free A great number of them';'-..possibly even while for a good-sized chorus the bill dorsed by the most eminent organists. Speci¬ the important position of organist of St. GEORGE W. WESTERFIELD, 26f°Vb£ta“'A will be sure to abandon it, but if they are fications and estimates on request. For in the week as possible, appropriate to from any marked technical error, but ' a majority, have at oqe' birfie Or another might be from three to five or six dollars. George’s Hall, Liverpool, many stories JAMES TOPP, 613'sSnwly' HaMBldg., 64 E really convinced beforehand that a chorus catalogues and particulars, address the intended subject of his discourse, in always lack sentiment and quality of tone, ___Buren St., Chicago, III. made a study of vocal; culture, under Another matter of economy is in the M. P. MOLLER, HAGERSTOWN, MD. are told. Here is one which I do not choir is what ought to be and must be, order that the choir-director may in turn and are frequently marred by a sort of competent masters, and have at least think has appeared in print before. Be¬ organist’s salary. A good organist, who provide for suitable anthems, etc., guided timidity of performance. It is far better sufficient knowledge aq}tT gcjbd judgment then they will succeed, and are on the ing requested by a music committee to is capable of collecting and training a f— ESTEY CHURCH ORGANS- by the character of the hymns. to let the singers see what you are driv¬ to avoid any errors sin- teaching which right road to a dignified, inspiring and adjudicate upon the performances of chorus, expects and deserves a much Estey standard maintained. Passing to the matter of preparation: ing at, as a whole, and then it is sur¬ The Hall Organ Co. could be of direct and serious detriment churchly sort of music, which can never Maximum facilities. three applicants for a church position, higher salary than does an equally good It is well to have the choir begin to re¬ prising how many errors of the very first New Haven, Conn. come from the much overrated quartet. Highest grade of product. Best heard the trio without note or com¬ to the voice. player whose responsibility is limited to hearse any new anthem several weeks attempt will soon correct themselves'with¬ Trusting that I have not discouraged ment and, at the conclusion, walked up to playing hymns and voluntaries and ac¬ Examine stop action and wonderful reedless before it is actually needed, though these out any particular attention, whereas if Modern VOICE TEACHERS AND SIGHT-READING. Oboe, Saxophone, Clarinet, etc. the committee and sardonically remarked, PIPE ORGANS companying a quartet. When you find a you from your laudable purpose by mag¬ earlier rehearsals need not be so thorough we attend to errors in detail first of all ESTEY ORGAN CO., Brattleboro, Vermont, U. S. A. “Gentlemen, the candidate I have last DISTINGUISHED for ARTISTIC VOICING It is much to be .regretted, however, man whose personality and powers of nifying the difficulties, I wish you every as the final one—indeed, may be more in the correction of them will be laborious in heard is the least offensive of the three. DIGNIFIED AND CHURCHLY. that those who make a profession of leadership are such as to command the success/ and remain, the nature of sight-reading. Their object the extreme, and the final outcome by no I’ll take my fee, please!” Of the com¬ vocal teaching, exclusively, do not make constant interest and regular attendance Yours sincerely, is threefold: first, to roughly familiarize means better. mittee’s opinion upon that method of ad¬ it part of their business to teach sight¬ of a large volunteer chorus you have a the singers with the new music; second, MUSIC MATERIAL judication there does not appear to be singing. In cases where a pupil complains really big man—almost too big for any For Kindergarten Teachers to discover just what and where the chief any record. And if there were I very Si Bennett Organ Co. of deficiency in this line, they commonly salary that a church would be likely to Unfortunately credit for the authorship The Color Bird Scale; Color Note Scale; Small difficulties lie, in order to give them much doubt whether it would be quite instruction possible can the ven ORGAN BUILDERS recommend them to study the piano. pay. This leads us to the crowning diffi¬ Color Scale; Music Staff Peg Board; Music Staff results be obtained. More than th of the article, “Volunteer Versus Paid Folding Board, etc. Send for catalog. special practice at a subsequent rehearsal; suitable for publication in this column. ROCK ISLAND - - ILLINOIS That is one solution of the problem, but culty of the whole matter. It is reason¬ third, to ascertain if the piece in question hest mstruction makes the- easiest t a partial and very unsatisfactory one. ably easy to get a chorus together for Choirs,” in the June Etude was not given DANIEL BATCHELLOR & SONS Dr. Orlando A Mansfield. A. B. Marx. What would be thought of a violin some special occasion—Christmas, Easter to the writer, Mr. Herbert S. Samtnond. Germantown, Philadelphia, Penna. THE ETUDE 537 536 THE ETUDE 1 being transgressed by the little per¬ HOW CHOPIN TAUGHT former, or how much of a joke the play¬ ing is. They naturally think that the VIOLINS SUMMER FOR ALL PLAYERS faults in the child’s playing will be eradi¬ UNUSUAL Students Outfits $10 up BY ERNST EBERHARD. MAGAZINE cated with subsequent instruction. Some Catalog No. 1 E of them will, no doubt, but if the teacher Real Old Violins, $40 up PREMIUMS spends most of his time preparing the Perhaps of all of Chopin’s artistic work he insisted strongly on this even¬ READING ‘GEMUNDER ART” VIOLINS young beginner for recital work, the activities his capabilities as a teacher ness, making his pupils play extremely Q FLOW are given the most popular $150 UP Catalog No. 2 E D magazine clubs—making it possible to chances of all the fundamentals being Repairing, Exchanging and Easy Payt’s. _,_it the are the least important. But although slow until they had mastered his re¬ FREE, Our Booklet. Best methods of full price of 31.50 each. Subscriptions renew your subscription to The correctly acquired are very slim, indeed. his prominent pupils were few, yet his quirements. In the furtherance of his Etude in combination with other maga¬ must be other than your own. Canadian compositions exercised and still exer¬ ideas on tone he even recommended his subscriptions, 21.75. Send subscriptions zines at much less than the regular sub¬ GOOD TEACHERS SCARCE. cise an influence upon the class room pupils to study singing, or at least to scription price. All subscriptions are for HUGU5T GEMUNDER 8? 50N5 you obtain them; premiums can be Good teachers of the violin are very SEND THIS ADV. 141 West 42d ST- NEW YORK claimed—-A a-*• any time. Order by number. which no teacher alone has don.e. The hear good singers frequently. one year, can be new or renewal, and can GIVING CHILDREN A GOOD FORMING A YOUNG PUPIL. go to different addresses. scarce, and it is no wonder that pupils new vistas of technic and tone that he According to Von Lenz (a Chopin TECHNICAL FOUNDATION. I know of few more difficult human Canadian and foreign postage additional: •cross continents and oceans to secure PEARL NECKLACE revealed seem ever on the increase, pupil), Chopin’s l.essons lasted for tasks than that of teaching a young child, No. 1316—3 Subscriptions. Pearls are ve Canadian postage on THE ETUDE.25 cents; A subscriber of The Etude, who is a them. A combination of rare qualities since the popularity of his compositions three-quarters of an hour. A dainty on other magazines about 50 cents. Prices to play the violin, with correct bowing, of Violin selected11 aVvery attract!tc"1 set* of'"^idium six expire October 1, 1914. skillful amateur ’cellist, writes to inquire is necessary for the violin teacher com¬ is certainly not on the wane. timepiece was always kept on the piano proper position of the instrument, cor¬ d as the HIGHEST SCHOOL of violin strung on gold wire, insuring durability. how children.should be instructed in vio¬ petent to turn out first-rate pupils. He Chopin was the teacher par excellence so that this time limit should not be rect holding of the bow, proper position playing in the U. S. SILVER VANITY CASES of the aristocracy. A contemporary overstepped. Mikuli tells us, “single les¬ lin playing, so that they may become fin¬ must not only have the knowledge, but SUMMER TERM The Etude of the fingers on the fingerboard, etc. the patience and will-power to force the No. 1314—5 Subscriptions. Vanity cases a writes: “His distinguished manners, sons' often lasted for several hours in ished performers in later years. He has Instru now extensively in use. Made of German silve Woman’s . 1*22 The difficulty in teaching children is that pupil to do everything correctly. In the with heavjf chsjn; goldjined interior. Has mirre his studied and somewhat affected re¬ succession.” Probably Von Lenz is the a son seven years of age, who has been tion given I Home Comp. they help the teacher so little, as a rule. case of children his work is extremely finement in all things, make Chopin the rule, for he generally went long before 1 $0*60 under instruction on the violin for six They do not appreciate the importance tedious and laborious. b.y this model professor of the fashionable no¬ time for his lesson so as to listen, and months, and thinks the boy is being of learning to play correctly, as in the In the beginning the position of the World Re¬ SILVER MESH BAGS bility.” It is often urged against him Mikuli the exception. Never was a forced too much, without proper attention The Etude' ) $^40 case of older pupils, and in many in¬ body, the holding of the instrument, the no w n e d as a teacher that no pupil of his .ever pupil accepted for more than twice a to the fundamentals of violin playing. Woman’s ' stances are taking lessons against their position of the left arm far under the Virtuoso reached a virtuoso height. But Chopin’s week—“this is the most I ever give.” He writes as follows : “The boy is half body of the violin, the correct action of Home Comp, j will, because their parents have forced in the AU¬ very position in life made professional The price for a lesson was, according way through a book of violin studies in the fingers on the fingerboard and the THENTIC * SOLID GOLD SHIRTWAIST Pictorial Rev. J1 $0*60 them into it. In their private practice SETS pupils scarce. The ladies of the fash¬ to another writer, twenty francs. Never what appears to me to be a very slip¬ correct movement of the bow arm are style, tempos, fingering and bowing ionable world hastened to take up all at home they pay no attention to what 475 — 3 Sub- more than five hours a day were spent shod manner. He has had a hook of the prime essentials. If these things are of the Classical repertory, ancient the spare time of “le chcr FredSric.” Of in teaching. Quoting Von Lenz: The Etude] $160 the teacher has so carefully taught them done incorrectly in the beginning, the The Elude little pieces, a reverie, part of a trio, and modern. Musin’s SPECIAL his few professional pupils the most ( in the lesson hour, and undo between faults become confirmed habits, almost “When Chopin was especially pleased Today’s > ^ 1*1® and several pieces rather advanced for a SYSTEM greatly lessens the time *8 Subscriptions. ' 8°ld 1 promising, Carl Filtsch and Paul Guns- with a pupil, he, with a small, well- Designer 1 Save lessons all his painstaking labor. I have impossible to eradicate later on. The lit¬ (Women) J $0.40 boy of his age. All of this in six months, ordinarily required for technic and berg, died at an early age. A. Gut- sharpened pencil, made a cross under seen lively boys of eight or' nine so rest¬ tle pupil should first be taught how to o. 476—3 Subscriptions, liar pin, 2H i with two half-hour lessons per week, and bow control. Special SUMMER mann, Tellefson and Mathias were per¬ the composition.” “More than three less, careless and inattentive that they stand, and how to hold the violin, in¬ iSths'afetySc«chdeSiSn “ N°' 47S' Solid The Etude] $190 The Etude] half an hour a day practice. Yesterday COURSE for Teachers and Profes¬ haps the most prominent who came un¬ crosses I never give.” He never spared had to be held in the proper position by clined at the proper angle, and held Ladies’ > * Pictorial *2- he appeared in a recital, playing a solo sionals. Piano, Harmony, with emi¬ SOLID GOLD LA VALLIERES der His direction. But nevertheless he himself the trouble of marking out a t main strength, and the teacher was neither too far to the right nor left. The World ] Save Review J Save piece to which most of his time for a teacher must use his judgment as to nent teachers. Singing with Mme. had many pupils who were good pian¬ good fingering for his students, mak¬ $0.25 obliged to guide every movement of the month had been devoted. He played it whether a pad or cushion to build up Ovide Musin, Coloratura Soprano. ists, as the following extract from' an ing many innovations in this manner. The Etude] bew by taking hold of the arm of the the left shoulder is necessary in order undated letter of his would seem to The Etude)$2- very well and, of course, the little shaver Write for outline of Course of CORRE¬ He considered style and phrasing ex¬ pupil and guiding wrist and arm to force to assist in holding the violin in a cor¬ SPONDENCE, and THEMATIC CATA¬ No. 486—3 Subscriptions. Dia- Christian / brought down the house. Both my wife, indicate: “Pupils of the Conservatoire, ceedingly important, often playing a American I Save them into the proper movements. Some LOGUE of compositions and editions by k inond shape, with amethyst and 4 Herald J Save who is an accomplished pianist, and my¬ rect, horizontal position, and how large nay, even private pupils of Moscheles, passage and even whole pieces over J $0.60 $0.60 of these wriggling youngsters require this cushion should be. Bowing on the OVIDE MUSIN. H.erz and Kalkbrenner (consequently and over again to insure a thorough self feel that equal care should have not one teacher, but two or three; one Dormitories for limited number of students $240 open strings should next be taken up, in School. Practice Unrestricted. CHAPERONAGE clever artists) still take lessons from comprehension on the part of the The Etude! $2~ The Etude] been exercised on his other work, and to guide the bow arm, another to hold SOLID GOLD NECK and the pupil taught the correct move¬ Address REGISTRAR, 51 W. 76th St., New York me, and regard me as the equal of student. Needless to say he was equally that the fundamentals have been neg¬ the violin in position, another to see that CHAIN McClure’s ( Save Delineator I Save ments of arm and wrist, in order to Field.” insistent in making his pupils take up J $0.60 $0.60 lected in order to make him a show pupil, the fingers of the left hand fall in the secure a straight, flexible bowing. In Subscriptions. Solid As a teacher Chopin’s first care was theoretical studies. Considering that and consequently a good advertisement correct position on the fingerboard. A the first lessons the teacher should take fine links. Length 16 to do away with all muscular contrac¬ Chopin Was so individual an artist it is The Etude]$010 for his teacher. The question is, Are good spanking now and then in the case hold of the pupil’s arm and guide and ROOT VIOLINS tion, to cultivate a beautiful tone and perhaps astonishing to learn that he Modern > “ we right or wrong? Should not young of these inattentive youngsters would mold it into the correct movements. SILVER PICTURE FRAMES perfect .evenness. In scale and' trill recommended ensemble work strongly. Priscilla J Save pupils be thoroughly grounded? I simplify matters for the violin teacher, This is what is most frequently ne¬ but, unfortunately, American parents do No. 1311—1 Subscription. Of Sterling s frankly confess that a thorough founda¬ glected by teachers. Some will even try me is circular with embossed flower pal not take kindly to this sort of thing, and to start the pupil on left hand finger¬ ■, 2 M inches. Plush easel back. tion appeals to me more than a grand¬ The Etude) $n 35 the teacher who practiced it would likely ing and scales the first or second les¬ stand finish. Faults never contracted WILLOW ROCKING CHAIR AN ASPECT OF WIDOR Woman’s ( J— find himself minus his class in short son. Camilla Urso, a famous woman o. 1500—7 Subscriptions. Willow furniture Home Com- / never have to be eradicated. It was on order. Violin teaching in Germany and violinist, in describing her first lessons panion. Mod-1 Save that principle I went myself, but perhaps other European countries is easier, for se. In addition to being attractive, it is light in Mr. S. Wesley Sears, a leading Phila¬ in violin playing said.: ..eight, easy to move and particularly adaptable ern Priscilla J $o.65 the parents take music more seriously delphia organist and former pupil of I am expecting too much of the teacher f prices and color illustrations, trated ^artr?ent* ^he r00my rocking chair illus- lish school admits that you have a hee SIX WEEKS ON OPEN STRINGS. Widor, the renowned French organ mas¬ of a young pupil. What do you think there than here, and back up the teacher ken in trade. We also publish willow. Upholstery and cushfonNOT “in- and that you may have occasion to use it in vigorous measures to secure proper easy music lor young orchestras. Cata- ter, has sent The Etude the following The Etude^2 — The Etude on a question of this kind? Is thorough¬ “In the beginning I was taught with but the French school, as illustrated b; attention and effort on the part of the E. T. ROOT & SONS 01-6 Subscriptior letter: Collier’s 1*3- ness essential? Is not a proper knowledge the greatest care. I was kept on open Widor, Guilmant and Dubois, compels yoi Everybody’s j Save pupil. string bowing for six weeks, before I 1530 E. 55th STREET CHICAGO, ILL. . The article on Charles Marie Widor in Weekly of time values absolutely necessary even the May issue of The Etude, while most to use it both to play with and as ; ) $1*00 did a bit of left hand work. I was made from the start? Should not the proper A LESSON DAILY. interesting, contains inaccuracies. First, pivot.” As a matter of fact, Stainer’ to practice, standing with my right foot position of the instrument and of the MARCY’S the writer speaks of Widor as a “tall Organ Primer, which first appeared abou The Etude] $900 The Etude Even with an attentive child, who tries in a fragile porcelain saucer, so that I left hand and fingers be insisted on? to do what he is told, it is hard enough man,” while he is not over medium height. thirty years ago, and which is probabl; World’s 1*3- would stand perfectly still, and not sway CHART of INTONATION Should not the bowing also be carefully for the teacher to get results, in many Later, he says that Cavaille-Coll is occa¬ used for early organ work more tha: Reviews j Work ( Save around. By the time my teacher com¬ FOR THE VIOLIN J $1.40 attended to? A column in The Etude cases, on account of the fact that he sionally among the visitors to the organ any other instruction book, emphasize menced with the left hand fingering, I on the teaching of children would cer¬ only sees the pupil once or twice a week, loft in St. Sulpice. M Cavaille-Coll has particularly the importance of using botl was able to draw a good straight bow The Etude] $025 The Etude tainly be appreciated by many others who and the child does a great part of his and command a fairly good tone.” been dead for some years. Another error toe and heel for pedalling, with the ankl i a home study for amat is that Widor plays but once a Sunday, Youth’s / |$3- probably are just as much perplexed as practicing wrong between lessons. For Happy the little pupil who has his acting as a pivot. And the most recen this reason the great violinist Spohr, in usually giving the afternoon service to Companion ) ;Save Opinion 1 Save I am myself.” first lessons from such a teacher as book on organ playing, by Walter G. A1 $0.75 the introduction to his violin school, says an assistant. The fact is that Widor J 'Whether the young pupil of whom our Mme. Urso describes. No exact rule can cock, organist of St. James’s Chapt that the beginner on the violin should be laid down as to the length of time plays Vespers in St. Sulpice nearly every correspondent writes plays with the fun¬ Sunday at 3.30 P. M., and I have many Royal, and assistant-organist of Wesl have a lesson every day. which should be spent on open strings The Etude] $J- damental correct principles of violin times in different years sat on the organ minster Abbey, again insists most pos: Few violin teachers have much success exclusively, since some children acquire playing or not, as far as they could be bench with him at that service as his McCall’s ( Save in teaching children, and the more noted the bow movements much sooner than tively that both heel and toe be used fo acquired in the brief period of six only visitor in the loft. It would be J *0.25 teachers will not accept beginners at all. others. This open string work is of good results in pedalling. And any on nionths, or whether he has been well quite unfortunate for American musicians (Free Pattern) The greatest mistake of all is not de¬ course monotonous and uninteresting to who is acquainted with W. T. Best taught or not, I would not like to pass going abroad to get the idea that M. Wi¬ voting enough attention to the funda¬ the child, and it will require great editions of the organ compositions of Jc The Etude CREX GRASS RUGS dor does not play in the afternoon, for judgment without a personal hearing. mentals. Too many teachers are in too patience on the part of the teacher and 1 Modem One thing I do know, and that is that :x rugs can be used in the studio the year they would thereby lose the opportunity hann Sebastian Bach can see the impor T2- much of a hurry to make a showing, and parents to keep the child at it. For round, and for summer use are the only correct 1 Priscilla our correspondent has placed his finger NEUNER VIOLINS floor coverings for porches and cottages. Standard of hearing some of his most superb im¬ ance attached by that great English 01 to force their little charges too soon into this reason it is a good plan to have the d have been for 'eral y sizes, plain design. Sent by express, collect. 1 McCall’s \ Save on the one great and principal cause for by le 'o and on' ra play provisations. His brief prelude-at 3.30 gamst to the use of the heel as well e 1 (Fr« Pattern) public performance, well knowing that practice done ten or fifteen minutes at ihroughou / $0.65 most of the bad violin playing in the Price $25.00 No. 603— 4 Subscriptions, 3x6, plain (almost invariably upon the same tiny the toe for smooth pedal work. the average audience gets a vast amount a time. In his communication, our cor¬ No. 604— 8 Subscriptions, 6x9, plain world—faulty and deficient early train¬ We don’t consider a violin sold until the cn: No. 605-10 Subscriptions, 8 x 10 plain theme of two notes taken from the sound¬ When the writer also says that “Wide The Etude Magazine Guide of amusement and pleasure in watching respondent speaks of his son giving only No. 606—13 Subscriptions, 9 x 12, plain ing. The violin is a difficult instrument. ing of the half-hour by the small bells a young child trying to play a solo. To half .an hour to his violin daily. The otfine Violins Ld 0X3*01^“!“' CaUlc speaks German fluently, but his Englis; of 32 pages contains hundreds of ad- Its technic at first glance would seem Ask for a copy of Complete of the church clock) and his wonderful the women in an audience a little boy practice time should be no't less than one musicians’ Supply co. Vest une autre chose,”’ he helps mal ditiona1 carefully selected magazine to be very simple, and so it is in theory, Premium Catalog of 32 pages interludes between the Vesper Psalms and combinations. Ask for a copy or girl playing the violin on the stage hour, even in childhood. Later the prac¬ the story more entertaining; but, reall but not in practice, and all the funda¬ between the verses of the Magnificat are looks “too cute for anything,” and every¬ tice time should be extended to at least THE ETUDE, Philadelphia, Pa. Widor cannot speak three words of Em mental principles must be rigidly adhered in themselves almost enough to repay one Remit by Check or Monet Order to » body applauds, no matter how many of two hours, if a thorough mastery of the to in order to achieve proper results. the laws of correct violin playing are for the trip to Paris. of French German With a instrument is the aim. Please mention THE ETUDE when addressing The ETUDE, Philadelphia, Pa. Please mention tud ^ our advertisers. THE ETUDE 539 538 THE ETUDE REHAIRING THE BOW. LEFT HAND WORK. LEFT-HANDED VIOLINISTS. Every violin player has noticed how Having acquired the movements of the A lady writes to The Etude: “I have finely a how of good quality, fresh from ELEMENTS Expert Advice on Violin Subjects bow reasonably well, simple left hand taken six violin lessons, and find it very the maker, grips the string, and draws NEW! work may be taken up. Here great care hard to use my left hand to finger the Mr. Robert Brain, Editor of This Department, and out the tone. This is because the hair teacher of many successful pupils, including Francis must be taken that the fingers fall on strings. I am naturally left-handed and OF MUSIC is put in the bow by expert workmen MacMillan, answers questions free for ETUDE Analysis of Mozart’s the tips perpendicularly, and that the it seems more natural and convenient for who know exactly how it should be done. readers. Do not send questions in which all readers hand be held high enough above the me to hold my violin with my right hand. might not be interested, such as “ How valuable is Pianoforte Sonatas fingerboard to insure this result. The The same bow if rehaired by a bungler, It seems easier to reach the notes. My A PRIMER OF FACTS ABOUT MUSIC my old violin?” “Is my violin genuine?” etc., etc. (With a description of some of the carious forms) left elbow must be held far under the who does not understand his trade, would teacher says I must not hold the violin Questions and Answers on the Elements by middle of the violin, which will be found seem like a different bow. Many violin¬ of Music in my right hand. If you will give me very difficult to get the little pupil to do. By M. G. EVANS JANET SALSBURY your advice in this matter I will be ists do not understand the importance Miss N. W. W.—You can learn the vibrato Bach Sonatas and a portion or all of the It will be found that when left hand of having the hair put in by an expert. This little work Is more than a primer; or tremolo by practicing it on the tones of Paganini studies, besides a great amount of work and exercises are taken up, the greatly obliged.” It Is a compact little musical encyclopaedia, the scale. The difaculty is to acquire the purely technical work. To judge from y— A work of great interest and value to the Solo concert violinists send their hows the subject matter being presented not alpha¬ teacher and student. pupil forgets all about the proper move¬ betically but progressively, beginning with swinging motion of the hand necessary to letter you have not studied any concerl MUCH CAN BE ACCOMPLISHED IN long distance to be rehaired by work¬ produce it. What your teacher probably This being the case you might take up the ments of the bow. A pupil will often be the rudiments of music and ending with a. A systematic and concise analysis is given CHILDHOOD. tabulated summary of Musical History, each means by saying that “you have to learn study of the following in the order named; of each of the 22 Sonatas. found to bow excellently on the open, men who know exactly how to do it. subject being elucidated and explained it yourself,” is, that if you have the artis¬ Birst Concerto by Accolay, 23d Concerto by Talking with the eminent violinist, the through the medium of a series of practical tic desire strongly enough for the vibrato, Viotti, First and Seventh Concertos by De- Wont end Corns Price 50 cents strings, but as soon as notes are at¬ The correspondent failed to state her questions and answers covering the Elements you will instinctively produce it. However Beriot, Seventh Concerto by Rode. You will tacked, the bowing becomes atrociously age, which is of great importance in this late Edouard Remenyi, one day, he told of Music. Notation, Time, Scales, Intervals, your teacher should show you exactly how find the Mozart Sonatas and the easier Bee¬ Chords, etc., Phrasing, Accent, Ornaments. That liquid, that plas¬ bad. For this reason, a great deal of matter. In the days of childhood, say me that he had just sent two bows to it is produced, and take hold of your left thoven Sonatas for violin and piano a great Form, Instruments, Voice, Orchestra, Foreign hand and guide your hand through the neces¬ help for your advancement. CLAYTON F. SUMMY CO. practice must still be done on the open under ten or twelve years of age, chil¬ Paris to be rehaired. He said that the sary swinging motion tor show you how to ter—based on old ideas— Publishers strings, for bowing, after the left hand dren can usually be taught to use either only man'he knew of in the world, who intended for t of Teachers and S produce it. The probability is that you grip n. C.—In organizing your pupils orchestra work has commenced with exercises and your violin too tightly with your left band to play dance music, two could play the first won’t terminate a corn. 64 E, Van Buren St., Chicago hand equally well, and in Germany many could do a perfect job of rehairing bows so that it cannot swing. pieces, will become automatic. For the Sent for Examination Price, 50 cents violin part and two the second. If the pupils Dealers in music of the Better Class children are now being educated so that lived in the French capital, and that he The vibrato should be practiced at first in playing the second violin part have difficulty Don’t try it. Your druggist first year the left hand work for a they will be ambidextrous, that is, able to considered it of enough importance, to the third position, as in that position It is in playing the chords in tune, you might has a new way—the scientific beginner should be of the easiest possible GIBBON’S CATECHISM OF MUSIC much easier than in the first. There have have one play the upper and one the lower have his bows in perfect condition,-to send character, since the more difficult the use both right and left hands and arms By GIBBON CHAMBERS KILLOUGH been several elaborate explanations of bow note at first, and in time they could learn Blue-jay. It is so efficient, so to study the vibrato in the violin department to play the chords. If one of the violin music being played, the more will the equally well. In the case of a child who them across the ocean to be rehaired. Presents the fundamental principles of easy, so painless that it now Gordon’s Graded Piano music in a simple and concise manner, calcu¬ of The Etude during the past two years, as players could loarn to play the viola it would bowing become disarranged. The start is left-handed, he can be easily taught He had several famous bows, and while lated to implant a desire for a wide and you will find by looking over your files of be a great assistance, and you could gradu¬ removes a million corns a month. Nine Grade, CoiirSe SO Cen^Each to hold the violin with the left hand, part of his collection were on their thorough acquaintance with the theory of the magazine. There is a good explanation ally add the double bass, violoncello and wind should be in the key of G, and for the music. The work Is arranged in the form in the little work. The Violin and Bow to Instruments. Music teachers and students should be first year very easy scales and scale pas¬ and use the bow with the right. Later journey to be rehaired he used one of of questions and answers concerning Ele¬ Master It, and there is an extended work, The way is this: Apply Blue- acquainted with and use this, great work. sages, little exercises and pieces will on, when-a child has entered his teens, mentary Notation, Time Values, Intervals, Violin Vibrato, Its Mastery and Artistic the others. Scales, Keys, Chords, Abbreviations and Em¬ Uses, by Siegfried Eberhardt, - -—- H. H.—For a description of the various jay at night—it takes only a moment. Read what an eminent teacher says of it: suffice. Many teachers and parents are or in the case of adults, it is a more bowings, staccato, spiccato, martellato, etc., From that time on the com will bellishments. While Intended for class work, you might get Frank Thistleton's new w 1 I have looked over “Gordon’s Graded Piano possessed of the absurd notion that only difficult matter, since the habit of using REPAIRING YOUR OWN BOW. it Is also adapted to the needs of one study¬ Violin Technic. cease to pain. Course” and am pleased to say that the material it ing without a teacher. dry technical exercises and no melodies the left hand for all operations 'requir¬ Some violin players try to rehair their Sent for Examination Price, 50 centa G. A. S.—The following for two violins, Forget the corn for two days, then should be used with a beginner. This is viola and piano, are effective and of medium ing special skill has become second own bows, but they make a great mistake difficulty: Wedding March, by Mendelssohn ; simply lift it out. a great mistake. Simple melodies, con¬ nature. Many left-handed people seem in so doing, since it requires great WRITING BOOKS FOR MUSIC PUPILS Coronation March, Meyerbeer; The Beautiful stamped his violins with his name on the Blue-jay loosens the corn. In taining few technical difficulties, and Miller Maiden, Declaration of Love, Miller’s back under the shoulder nut. Christian hopelessly unable to bow with the right mechanical skill and knack, and long ex¬ A Complete Course of Writing Exercises for Sweetheart, The Mill, bv Raff; Cuius Animam, 48 hours you can remove it without wisely chosen by the teacher, are of the Acquiring a Knowledge of Musical Notation Donac Hopf worked at Klingenthal in Sax¬ perience to do the work well. The hair from the Stabat Mater, by Rossini; March ony. There were many more violin makers any pain or soreness. Folks have H. S. GORDON greatest value in the beginning, as they By CHARLES W. LANDON Militaire. by Schubert; Chant du Berger, by proved that, up to date, on sixty is made wet before it is fitted in the Schulhoff; The Swing, by Sudds; Invitation named “Hopf,” but the above named are 141 West 36th St. NEW YORK assist the pupil in getting good intona¬ CHANGING THE VIOLIN. A practical and intelligible presentation of the best known. They occasionally made million corns. tion and give him ideas of playing the frog, and must be combed out until the everything writable In musical notation. The violins of fair quality, which, however, do Where the teacher finds that the left- subject is treated In a manner calculated to not command a high price in the trade. Stop paring corns. Stop the old- instrument much sooner than he could hairs lie in perfectly straight lines. If interest and instruct even the dullest pupil; time treatments. End your corns handed pupil cannot learn to bow with anyone who faithfully works out the exer¬ D. K. M.—There v Besides these, there are thousands of vio¬ otherwise attain them. Scales are really some of the hairs are tangled or twisted cises In these books will become a correct makers named White in England at lins branded “Hopf,” made in the Miten- forever in this simple, easy way. melodies, and much attention should be the right arm, the strings on the violin and are crossed, instead of lying 5n per¬ and rapid reader of music, vocal or instru¬ tne time you name. None of them was wald, some of them of very cheap quality, can be changed, the strings being placed mental. Blank pages with lines for writing famous.. It would be very difficult to learn in fact the name “Hopf” is used by many Try it on one com. STAGE’S SYSTEM devoted to the easier scales, from the fectly straight lines, it is evident that music included In each hook. just who was the maker of your violin. How¬ makers as a trade name. Some of these on the violin from left to right, very beginning of left hand work. they will not pull at a perfect right angle Sent for Examination. Price, Complete, 50 cents ever, ydu might write for information to violins are practically worthless. Your vio¬ E A D G instead of G D A E. The W. E. Hill & Sons, 140 New Bond St„ Lon¬ lin may be a good instrument if made by A certain amount of time should be against the string, and make as smooth Books I and II, each, 30 cents don, England. either of the makers mentioned above. Your devoted to time values of notes and to violin must he opened in this case, and and even a tone as they would if they only course would be to submit the instru- elementary theory, but the greater por¬ the sound post be placed to the left under RUDIMENTS OF MUSIC B. K. H.—The guitar has no place in _ expert judge in regard to its Blue = jay lay in perfectly straight, parallel lines. string orchestra such as you describe. The tion of the lesson hour, especially where the E string and the bass bar to the By WM. H. CUMMINGS guitar is only used in mandolin orchestras. the pupil has a short lesson only once right under the G string, which now In this work particular stress is laid upon The addition of a cornet to a combination G. M.—Any of the large n For Corns PERFECT TENSION NECESSARY. the teaching that the pitch of sound is rep¬ consisting of five violins and piano would __ or twice a week, should be spent in giv¬ occupies the place of the E. Some left- resented by lines and spaces and time bv certainly not make an artistic effect, although ing viol n get stain of any c< 15 and 25 cents—at Druggists ing the pupil a correct bowing, a good handed violin players change the relative It is also of great importance that the notes. The book is Intended for piano and there are thousands of amateur “orchestras" - hairs be of equal tension. If some of vocal students and is a valuable aid in in which such combinations are used. If Bauer & Black, Chicago and New York tone, and in seeing that everything is positions of the strings without changing teaching classes in musical theory. There raid get flute, clarinet and trombone in position. the places of the bass bar and sound the hairs are looser than others, a slack Is a useful list of examination questions at in addition to the cornet the effect would be G. J.—Most of the works containing first Makers of Physicians’ Supplies the end of the work. exercises for the violin have little explana¬ In choosing a teacher for a child, one post, and wonder why their violins sound will be created in some portions of the much better. If you wish to do really ar- tion accompanying them, for it is presumed hair surface, which will interfere with Sent on Examination Price, 50 cents tistic work with the material you have, you that they will be studied with a teacher. As of great experience, and with many good so badly. This is because the E string, in your case you find it impossible to pro¬ pupils to his credit, should be selected. which is tuned at a very high tension, a perfectly steady tone. Another im¬ WRITING BOOK cure a teacher, you might make a start with requires the firm support of the sound- portant matter is to have the hair between Dancla’s Conservatory Method for the Violin. Many parents choose a first teacher with By EUGENE F. MARKS For little pieces you might try the Harvest the absurd notion that any teacher will post. the nut and tip of exactly the right correct. There is an immense amount of For Musical Exercises and Rules in Dicta¬ music for string orchestra which is available of Flowers Book I, for violin and piano by do for a beginner. This is a great mis¬ length, so that when the screw is tion, Harmony and Theory, with practical Weiss. For general explanations you might hints in Music Writing. Handy In form; for such a combination. procure The Violin and How to Master it, take. No teacher can be too good for a ALTERING THE PEGS. loosened, the hair will be perfectly lobse. pages ruled alternately for notation and by Honeyman. Your Music Is Torn! beginner. Cheap lessons are not really If the hair is left too short, the bow handwriting, thus making it possible to M. G.—For a beginner you might use Her¬ The pegs of the violin should also be write special memoranda, rules, suggestions, mann’s Violin School, Book I, the Hohman It will Take One Minute to cheap, since the pupil acquires so many cannot be unscrewed so that the stick Mrs. L. C.—The sign U or the word “tirez” altered so that they will have the same etc., opposite the musical matter written In Violin School, of Dancla’s Conservatory means down bow, and the sign V or the Repair it by Using _ faulty habits under a teacher who does will relax into the deeply curved posi¬ the staves. It also contains directions as Method. You would find it a good idea to relative positions as in the case of a to the proper manner of writing the char¬ get all three, and see which is best adapted jaMjjjfgjj-s up bow. These signs not know how to' teach, that when a tion which it should assume when not etion of the stro’" - 1 MuItum-in-Parvo Binding right-handed violin. To make these acters and signs used in musical notation. to the needs of your pupils. In using a :-,-„ ~ ..Ith the part of t Tape really good teacher is engaged later on being used, and if too long, the bow Price, 25 cents work like the Hermann School, you will find changes is not expensive. The change that only a pupil of exceptional talent can in which the stroke is commenced. An np roLUif paper, 85 cents each, postpaid. most of the work has to be done all cannot be screwed up so that the hair or down bow can be commenced at any divi¬ of the sound post and bass bar costs study through the book from cover to cover, sion of the bow, and just where the stroke over again and many of the faults can is at the proper distance from the stick. WRITING PRIMER FOR MUSIC without the use of other material. With the Transparent Adhesive MendingTissue about $3, and the bushing and re-horing of pupil of ordinary talent it will be found should commence depends on the length of 10 cents per package only be eradicated, if at all, with the This little detail is more difficult than it STUDENTS the note to be played, and the character of the peg holes for the change in the posi¬ best to use only the easier exercises, say the passage which follows. The proper divi¬ II your music dealer does not carry it, send to greatest djfficulty. Give a child the cor¬ tion of the pegs about $2. With these would seem and even good bow repairers A Series of Practical Exercises for Acquiring a from half to two-thirds of the work, and sion of the bow is of great importance. Knowledge of the Rudiments of Music then use the Kayser Studies, Op. 20, Book Theo. Presser Co., Philadelphia, Pa. rect start, especially as regards bowing, changes made, the left-handed violin sometimes miss it. I. After these have been carefully studied By M. S. MORRIS C. E. K—You might get in touch with the and fundamentally correct positions of player will have an instrument which Louis Spohr, the great violinist, in his the remainder of the Hermann School or Multum-in-Parvo Binder Co. This does not take the place of a writing other method could be studied. This will Chicago office of the Redpath Lyceum Bureau, body, arms and fingers, and his success seems in all respects the same to him as violin school, says: “All fine and split book, but gives the pupil the necessary ma¬ give the pupil a good foundation In the first might apply to the Chicago College 624 Arch Street Philadelphia, Pa. will be assured. hairs must be thrown out. The ordinary terial for practice in music writing: the very position, and position work can then be or Music, or any of the large music schools. the right-handed violin to the right- act of copying the notes, signs, and exercises taken up. For the beginner the first three These schools are always able to furnish handed player. quantity in a good bow is from 100 serves to fix their values and meanings upon hooks of the Harvest of Flowers, an easy violinists and singers for concert work. The imagination should never be fully I have known of a considerable number to 120 hairs, fastened in straight lines, the pupil’s mind. It may be used advanta¬ collection of melodies by Weiss, for violin geously as an Introduction to Clarke’s and piano, which are entirely in the first , H- N. S. H.—The Kummer School for satisfied. That is, it should be allowed of left-handed people who met with con¬ and in a width of nearly half an inch. Theory Explained to Plano Students.” position, will be found helpful, also Dancia’s cello is a standard work, and you will find play-room. Reason defines; but not so siderable success in violin playing. One All new hair at first gives a rough Sent for Examination Price, 20 cents Twelve Easy Fantasias. much good material in it. Also get Schroeder J nCoOBis’' Folio of Classics In teaching beginners you will find that Cello Studies. Book I, and later on the For Orchestra and Mandolin Orchestra the imagination. Much should he left to concert violinist, a pupil of mine, a lady, thrdling tone. The bow must therefore you will have to adapt the material to the Fitzenbagen studies. For first pieces of an 15 High Class Favorites—A Separate Book for the imagination of the player. Hence it commenced when seven years of age, be used for quite a while before it is KEYBOARD CHART pupil, just as a physician prescribes fer a easy character you might get the collection 26 Different Instruments— An Invaluable adjunct to any music studio patient. of German Folk Songs, for ’cello and piano, Violin, Comet, Flute, Mandolin, Etc. is, that one and the same picture, one but used the bow with her right hand! fit for good playing.” where beginners are taught. It gives a pict¬ published in the Peters edition. Send 10 cents for Sample Violin or Mandolin Book and the same piece of music will make In the case of a new bow. or after ure of the keyboard on the staff in both She acquired a phenomenal left-handed bass and treble clefs, as well as on the keys : F. H. A.—You speak of “studying violin Walter Jacobs,8 lXrth Boston, Mass. different impressions on different persons, technic, and as she commenced at such a bow has been rehaired or washed, the shows the position of every note ; illustrates concertos as an introduction to the more S. J. T.—Giovancr Baptiste (John the Bap¬ though they are standing by the side of advanced pieces for the violin.” You evi¬ tist) Zanoli, Verona, 1740-70, was the most an early age she acquired an excellent hair should be carefully treated with the relative value of notes; explains the dently have a wrong conception of what a prominent violin maker at Verona In Italy. each other. The works which come from bowing also, so it was the same powdered rosin before being rubbed on violin concerto really is. A concerto (an He made many excellent violins with tone the pure intellect and the senses merely the cake. Italian word) literally means “concert piece.” of fine quality, excellent wood and brilliant as if she had two right hands. Others It is a work to show the capabilities of the varnish. Good specimens of hls work are are not pure works of art, yet that class who commence at a later age seem to violin, and many of the leading concertos valuable. The copy of the label In your of works generally pleases best and is contain some Of the most difficult technical violin, which you send me, if the label Is Lash’s Lip Relief do better by using the how in the left Any or all of our publications will I work which the violinist encounters in the genuine, indicates that your violin is a Ger¬ an ointment for Sore Lips, Tender Lips, Cracks, easiest popularized. It is the profound¬ hand. on inspection. Our professional dis< entire literature of the violin. You will not man copy Of a Zanoli, for as you will notice and Chafing. Especially fine for horn players ness, the height of the flight of the genius Of all the liberal arts, music has the are very liberal. Complete descriptivi be ready to study even the easier concertos the Italian label has been translated into and violinista Bore necks. The best skin remedy. If our correspondent is an adult, she until you have mastered Kreutzer pretty German. The value of your violin depends of a Beethoven that causes the masses to will no doubt meet with better success greatest influence over the passions, and thoroughly, and as a preliminary for the on how well the maker has been able ter stand afar off, unable to comprehend him. is that to which the legislator ought to most difficult concertos you ought to study copy the work of Zanoli. Your violin may by having her violin changed and bowing carefully in addition to the Kreutzer Etudes ‘ — «* may be a —Merz. with the left arm. give the greatest encouragement—Na¬ THEO. PRESSER CO., Philadelphia, Pa. the Fiorillo Studies, the Rode Caprices, the Please mention THE ETUDE when addressing poleon /. Pleas i mention THE ETUDE when addressing our advertisers. our advertisers. 540 THE ETUDE THE ETUDE 541 SUGGESTION FOR THE FOURTH. New Music for the Samuel Adams, the father of our noisy Theo. Presser Co. Summer Months Fourth, died in 1803—how could he know Send for This Interesting Publications The monthly packages of new music what tragedies have resulted from his that we have been sending to teachers speech to Congress long years ago? As I during the regular season are not neces¬ Department for Children the leader of the famous Boston Tea Issued July, 1914 sarily discontinued in the summer, but Party, he appears to us a spectacular and Publisher’s Notes during the months from June to Septem¬ Edited by Miss Jo-Shipley Watson ber we send such packages only to those strenuous person. He asked Congress to A Department of Information Regarding New who request us to do so; and we have celebrate Independence Day by the firing been much pleased to record an increas¬ of cannon and rockets and by the making Educational Musical Works ing number of patrons who keep up their M. Gre interest in our new music through the of great tumult. Each succeeding year 1783 Tie Cuckoo. .M. Gre our Fourths have become more violent 1784 Baby Bye, Here’s a summer season. The usual variety is to I be had—piano music, vocal, violin and and deadly. As music students the world Greenwald 1 piano, organ, octavo, etc. tinction as a composer began to be recog¬ over stand for all that is inspiring and i The Bobin Song, mm Many teachers have music pupils in the A LESSON FROM THE LIFE OF M. ur iwald 1 nized, he was given a pension and the uplifting the following suggestion may 1789 Swing, Cradle ^Song, NEW WORKS. appearance of things to indicate a de¬ summer only, and, while a general pack¬ RAMEAU. Advance of Publication Offers— age of our “ON SALE” music is of great title of “composer of chamber music to serve as a hint to those of us who wish 1818 The Little Optimist, crease in the amount of business trans¬ Each generation brings forth its strik¬ July, 1914. sP« acted; the average size of the orders is service in the work, it is just as well to the king.” When he died, Paris gave him to make our Fourth sane and glorious. G. L. Spaulding 1 Regular ( ing musical genius. This generation a magnificent funeral and many towns Price I smaller, but they are almost as numerous add to it by subscribing for the NEW Perhaps all the boys would like to ' BlrG6 £ ‘spaufdfng 1 MUSIC ON SALE. These small lots of knows Richard Strauss; the last genera¬ held services in his honor. as in the winter. There are many teachers dress as “ragged Continentals” and the whose principal work in music is done in NOVELTIES include only well selected tion saw the fruits of Richard Wagner’s Sometimes when we are faint-hearted 11795 ™6’.. T“reenLwaW 1%. girls, too, might have dresses of the same 11791 Cheeks of Rose, Greenwald 1% Juvenile Musical Poems—Carl Senour the summer and many others who teach numbers likely to be of immediate use to genius. Critics have differed and the and discouraged it might be well for us a teacher and whatever is unused is sub¬ period. all the year round; add to these the short public has been divided in its commenda¬ to think of Jean Philippe Rameau, this 1624 Echo from the Shore; ^Op^ ^ term summer schools and we have the ject to return. A postal card request will Tableau (with incidental music) : In¬ tion and condemnation of these artists, gaunt man of heroic mettle who battled 11655 Joyous Springtime,^Op. 385, ^ foundation of a substantial summer busi¬ start the packages. Piano music will be against enemies and great opposition, who dependence Day. (All the boys and girls Easy Parlor Album for the Plano- ness. Music may be obtained “ON sent unless th# order specifies the kind and in this respect conditions have not This edition Is limited, so *nec|u®^tr®e“yeyauc^fyd began his career at fifty—the age when with flags singing “America”). 11657 March of the Ballet SALE” in summer, returns and settlement of music particularly desired. varied much since music began. SUpostSewUl bring it.) Please address our Detroit many composers have written themselves Tableau: The Spirit of ’p6. (After Dancers, Op. 38®'tNQ-jf* 2 to be made at the close of the (summer) Some three hundred years ago there Summer History office lor this booklet. out—who finally became the leading the painting of that name). With music, 11658 Three Cheers, Op. 385, New Reed Organ Collection. teaching season, or, by special arrange¬ lived in the French capital a man by the Rose Maiden—Cowen . Yankee Doodle (fife and drum). No. 4.Ant. Gilis 2 ment, may be carried over and become a Classes MOTHERSILL REMEDY CO. master of dramatic style and expression 11673 Carnival Parade,^ a Wagner-Liszt Album . 482 Henry Smith Bldg., Detroit, Mich. name of Jean Philippe Rameau. His Tableau: First American Flag (Betsy Education of the Music Teacher— part of the fall supply. We are prepared The continuous success of the Summei among the French composers of the Thos. Tapper . Also at 18 St. Bride Street, London, England. music sounds thin and tinkling to our Ross); Music, The Star Spangled Banner. 11674 Sweet Hope.S. R. Reinhart 2 to make arrangements adapted to the con¬ History Class plan is most marked. The eighteenth century. His music is one of New Anthem Collection . venience of individual teachers and we modern ears, but in his time Rameau was 11675 Song of Youth,r # Four Fancies after Mother Goose— Standard History of Music is so delight¬ the beautiful treasures that has descended Tableau : Colonial Dames (with dance solicit the correspondence and the orders fully planned and so simply arranged accused of using “strange harmonies” and 11676 Shepherd’s Song, Jas. H. Rogers.. to' us to study and to enjoy. Virginia Reel). Practical Finger Exerases, Op. 802 of all who wish to take advantage of our that hundreds of teachers now use it in he was reproached for his “prodigious A new edition of Rameau’s works,, with Tableau : My Old Kentucky Home —C. Czerny . liberal terms and the resources of our Recollections of Youth. Four-Hand their Summer Class Work. Many of technic.” His opera Dardanus was at¬ a preface by the French composer, Saint- (Sing the song to banjo accompaniment). Pieces for Teacher and Pupil—A. catalog and stock of music. these teachers never dreamed of such an —before you tacked by the critics, just as the operas of Saens, was published in Paris in 1905. Tableau: Boy Scouts of America _. ... Reinhart 2 Sartorio, Op. 1064. interesting addition to their work prior The Holy City—A. B. Gaul. Order Now for Strauss have been in our day. The music As a composer of opera Rameau (Drill to march music). .1699 Wagner. .. .G. L. Spaulding 2 to the publication of this book. One or purchase any piano 11787 The Flower Girl, School of Octave Playing, Op. 24— Fall Classes was declared unnecessarily difficult, ab¬ exerted a pronounced influence on French Tableau: Campfire Girls. (Favorite M. Greenwald 2 C. H. Doring. two hours a week may be turned into music. Lacking the graceful, melodic fer¬ airs Annie Laurie, Home Sweet Home, 11788 As a Little Girl, Twenty-four Miniatures, Op. 89—H. Most music teachers know now almost real profit for both teacher and pupil by struse and “cabalistic"—all of which goes M. Greenwald 2 to a certainty how many pupils they will Mocking Bird, etc.). commencing a class any week in July or to prove that Rameau was an unusual tility of Lully, the Italian who came to 11790 My Heart’s Home, have at the beginning of the teaching August and making each day a club meet¬ France as a dishwasher to Mile, de Mont- M. Greenwald 2 writer, an innovator, and ahead of his .1792 Lullahye.M. Greenwald 2 season in September; and they also know ing. The Standard History of Music, by pensier and rose to be regarded as the 11793 German Cradle Song, Yearly Settlement of that they will then need a variety of James Francis Cooke, provides all the ma¬ Rameau was born in the little town of founder of French opera, he nevertheless M. Greenwald 2 Teachers’ Accounts teaching material, such as instruction terial needed. The work is abundantly il¬ 1794 Fox and Goose, books, studies, pieces, songs, etc.; for sev¬ Dijon and was the son of the organist was much more skilful in the invention of M. Greenwald 2 lustrated, self-pronouncing and self-ex¬ One of the most liberal features of our eral years and each year in increasing new and beautiful effects. To Rameau (The letters composing the names of .1796 Babies’ Night.M. Greenwald 2 business department is the plan under planatory so that no teacher need be of Dijon Cathedral. It was decided 11797 Sleep, Baby, Sleep! numbers we have been entering advance belongs the honor of having been the which it is easily possible for a music afraid to attempt to start a class with¬ that he should b.ecome a magistrate, the hidden musicians come successively orders in June, July and August for de¬ first to write a system of harmony which Gold” teacher to obtain a year’s supply of re¬ out previous experience. The price of together—the name may begin and end livery to the teacher on or before the but the boy’s talent for music and has since proved to be the foundation of M. Greenwald 2 turnable teaching material subject to set- the book is $1.25 if bought singly. A his obstinacy soon changed his father s in different words. Others may readily be' 816 Gounod .M. Greenwald 2 date set for the resumption of fall work considerable reduction is made for quan¬ all modern works on the subject. This, invented.) 1820 Foot Ball. .G. L. Spaulding 2 •4lement in full not until the close of the at a greatly REDUCED EXPENSE plans for him. At seven he could read .821 Basket Ball.G. L. Spaulding 2 regular teaching season in June or July, tity purchases. Let us send you a cir¬ even more than his compositions, has What is the matter with your hand, FOR TRANSPORTATION;’ this plan cular. any piece of music at sight. He played 11822 Christmas Day, at which time, as a matter of business caused musicians to honor Rameau as the Elizabeth? (Handel.) G. L. Spaulding 2 has been a source of great satisfaction to the harpsichord well, and on going to Richard Strauss, or rather the Debussy, 11823 New Year’s Day, regularity, we require all patrons to make hundreds of teachers, not only for the Take away my chop, I never eat it G. L. Spaulding 2 returns of unused music and to pay for all New Edition of Landon’s school at the Jesuit College he neglected convenience, but because orders filled be¬ of his day. rare. (Chopin.) 1824 Washington’s Birthday, that has been retained; many such returns Reed Organ Method fore the fall rush begins are handled with his studies and was sent home because he Some Rameau study pieces are The You have found an egg, lucky boy. G. L. Spaulding 2 were made early this season and in a great Most everyone knows “Landon’s Reed 11469 Jolly Partners, the highest possible degree of personal became too much absorbed in music. Hen, Pavane, The Tambourin, The Three (Gluck.) H. D. Hewitt 2 V many cases we have been able to furnish Organ Method” which perhaps has had Hands and The Roll-call of the Birds. supervision and receive special touches When he grew up he spent much time The dog makes his tail wag nervously. the customer with a final statement; in not so easily given when there are hun¬ the largest sale of any work ever pub¬ wandering about the country, but it was (Wagner.) fact, a full statement of each account on dreds of “hurry,” “at once” orders in lished for the reed organ; in fact, we our books was mailed to patrons early in natural that he should eventually find his I care not a sou, Sarah! (Sousa.) process of filling, as is always the case question whether it has not had a larger PIPE ORGAN. June and we are pleased to be able to re¬ The ivy tower looks well with a bell in September. A special order form to sale than any original American instruc¬ way to Paris, the center of art and music. THE PRACTICE HOUR. 751 Prayer and Response, port that there is no noticeable hesitation be used for “Early Orders” is being tion book for the piano. Thousands of In appearance Rameau seemed more like The practice hour is your hour; let in it. (Bellini.) G. N. Rockwell 3 on the part of patrons in the matter of this work for the reed organ are still We berate others and excuse ourselves. 11770 Kamennoi-Ostrow, Op. 10, mailed to all this season’s patrons; any a phantom than a man, he was as thin as no one steal it from you. ■ No. 22 ....A. Rubinstein 5 making the required settlements, which sold every year. It is a real reed organ a reed, with a peaked chin and ungainly When you sit down see that the stool (Weber.) not only speaks well for the character and teacher desiring one of these order forms instructor, _ thorough in its rudimental to-day, mentioning “The Etude.” SONGS reliability of the music teaching profes¬ will be supplied on request. arms. He was called unsocial and un¬ is the proper height and do not swing work and its progressing character most S0HMER & CO., Piano and Player Piano Makers 1691 In a Jinrikisha, sion, but also casts much doubt upon, if it your feet or wrap your legs around the MUSICAL GUESSING GAME. admirably arranged. The material has FIFTH AVE. AT 32ND STREET, NEW YORK communicative, he was poor and his T. Lieurance 8 does not disprove, the existence of a Keeping the Interest of the Pupil been selected with the greatest care. piano stool. Feet should cover the ped¬ Belonging to a fish. (Scales.) 1705 The Secret...I. B. Wilson 3 friends were few. With an old hat pulled 1760 Could I (H. V.), state of general business depression. Alive during the SummerMonths Heretofore it has only been published at als, or be placed flatly upon the floor. What we breathe. (Air.) To those who have not as yet made the It is essential that the teacher provide over his face he would tramp miles and F. P. Tosti 3 $1.50 in a stiff board cover. We have Just Compiled — National List of Do not beat time with the “loud pedal An unaffected person. (Natural.) 1761 Could I (Med. V.). usual returns we wish to sav that as a full some means of keeping the interest of decided to bring it out in the same gen¬ miles through the outskirts of Paris. F. P. Tosti 8 do not press it down and forget to let An abode. (Flat.) settlement of every account is required the pupil alive during the summer months. eral form as Landon’s “Foundation Ma¬ There were few who knew him in¬ go; better abstain from using the “loud Used in driving a team. (Lines.) OCTAVO SOPRANO, FIRST AND SECOND at this time, we expect the prompt reship¬ There is a tendency on the part of the terials” and Mr. Presser’s two piano in¬ 2606 Preferred Orchestras timately, and fewer who understood his pedal” rather than abuse the ears of the Seen at sea. (Swells.) TENOR SOLOS, AND MEN’S CHORUS ment of all unused "ON SALE” music, student to consider musical studies com¬ structors. “First Steps” and "Beginners’ 10425 Miserere from “II Trova- )mtd byPourrl99% Po’smg aims and ideals. He reached the top of long suffering family and neighbors. Used in climbing. (Staff.) carefully wrapped and addressed to us, pleted after the Spring Recital, especially Method,” i. c., it will be bound in stiff te delivery. Price S10.00. the ladder of fame almost entirely tore’’.G. Verdi 6 .1 WITH THE SENDER’S NAME WRIT¬ as the teacher is seldom in touch with the There is a difference between hearing A girl’s name. (Grace.) paper with cloth back The price will be through his own efforts. By his enemies TEN ON THE OUTSIDE OF THE pupil from July to September. A List of Live Prospects For You and listening. Every one hears but not Often passed at school. (Notes.) reduced to $i.oo retail; corresponding he was considered arrogant and egotisti¬ PARCEL. Packages of music weighing Teachers will find The Etude of valu¬ many listen. Do you? Used on a bundle. (Chord.) professional discount will bring the net cal, but if he was egotistical he failed to 10424 O Sparkling Little Morning, OVER four pounds may be sent at parcel able assistance in bridging over this period price down to 6oc. We want to draw the Finger tips should hUg the keys; long Part of a sentence. (Phrase.) G. Hilton Turvey I show that quality in public, for at a per¬ post rates, but in many such cases .the by having pupils take advantage of our attention of all the users of this book to and pointed nails which act as stilts on Bottom of a statute. (Bass—base.) Special Three Months’ Trial Subscription formance of one of his operas he is said new express rates are as low or even the new style of binding and the low price Ross-Gould, 411 N. Ninth St., St. Louis the fingers should be removed at once. An association of lawyers. (Bar.) lower, so it is advisable to see the local —any three issues for 25 cents. This is to have shrunk into a corner of the box, of this admirable work. The board back If you attack the piano as an enemy, A yard stick. (Measure.) express agent before forwarding by either just about half the regular subscription even lying down upon the floor to escape OCTAVO ANTHEMS FOR MEN’S edition can still be obtained. or as a wrestler to be thrown, it will fight What betrays nationality. (Accent.) VOICES. method. price. Any numbers from June to Octo¬ attention. In some cases the supply of “ON ber can be selected. For July Only—A Standard Book back—better respect your instrument. —J. S. Watson. 10418 Jehovah Save Us By Thy NORTHWESTERN OHIO SCHOOL RAMEAU’S INTERESTING PIECES. Love it and it will repay you in love. Hand .G. B. Nevin 3 .1 SALE” music on hand still includes a The receipt of The Etude each month At an Introductory Price large number of pieces and studies that awakens the dormant interest of the pupil Rameau is of interest to all piano stu¬ Don’t stagnate during the practice hour; PART SONG FOR MIXED VOICES As a result of the pains taken in the will be needed again next season, under by furnishing at least fifty pleasing and work brain downward not from fingers 10418 Go Youth Beloved, i compilation and editing of our music dents because his pieces for harpsichord We are given a good set of tools to which circumstances the teacher might instructive pieces of music suitable for PIANO TUNING are of special value in acquiring skill and upward. Fingers are merely tools of the G. B. Nevin 3 .1 hooks, their sales, while by no means uni¬ work with, a mind and a will. The prefer to keep the music for another sea¬ summer playing, in addition to a wealth form, are . in all cases large as compared •nicety of touch. These harpsichord pieces OCTAVO CHORUSES FOR WOMEN’S son and thus save transportation charges of live musical articles. Thousands of thing for us to do is to sharpen and VOICES with the sales of music hooks of the same D. O. BETZ, Director i s ; ADA, O. are genuinely in the style of program When in doubt, about playing a flat temper those tools—this is our “busi¬ in two directions; a satisfactory arrange¬ teachers take advantage of this special general character issued by most other 10409 Morning Song, offer. Some donate the subscription to music* as may be judged from their fanci¬ or sharp or double flat or sharp, don’t ness ;” remembering things is not a “gift” 1n„ , A.’ W. Marchant S .1 ment of this kind may he made by cor¬ publishers; a part of the large circulation ful titles, such as Le Rapelle des Oiscaux do it—stop and think it out. 10410 Spring Song. respondence, but, of course, this would their oupils; others order the issues sent obtained by our books is due to the effect¬ but a practical, matter-of-fact exercise A. W. Marchant S J- ' not defer payment for music already used. and add the amount of 25 cents to the (Roll-call of the Birds), Les Trots Mains Rests are also music—don’t forget to of the will. It has been well said, “The 10411 Summer Night Song, iveness of our introductory offers and the (The Three Hands). In La Poule (The practice them diligently. regular instruction charges. Those hav¬ rest to the merit of the books themselves. Piano Students will will do anything that can be done in ing accounts with the Theo. Presser Co. Hen) we actually hear the comic imita¬ You will get out of your practice just 10412 Softly Fall ^h^'shades*"of * Music Supplies Every year when we make a (Christ¬ the world and no talents, no circum¬ Evening. . A. W. Marchant 8 can have these subscriptions charged to Can earn big money for During the Summer mas) Holiday Offer we find that a great tions of the barnyard fowls. what you put into it—just that and no stances, no opportunities will make a their regular music account. tuition or vacation As Rameau grew old and feeble his dis¬ many of our older books draw orders ex¬ two-legged creature a Man without it.’ THEO. PRESSER CO., Philadelphia The Order Department of this house is That teachers may acquaint pupils with ceeding those received for newer equally operated along the regular lines in sum¬ this offer we have prepared special cou¬ MOSARD MUSIC CO. Pittsburg, Pa, mer as in winter, and there is little in the pons for distribution. Sent upon request. meritorious, but less known, volumes. Please mention THE ETUDE when addressing our advertisers. THE ETUDE 543 542 THE ETUDE ^eory ^quired^ by Jhe average private The Wagner Music Dramas are really no poor sellers in our book “The Holy City” pupil. This and other chapters tell the Completely Arranged for Piano catalog, but a great many of our newer By A. R. Gaul music teacher just what is expected of patrons are not well acquainted with some This well-known church cantata has Special Notices her in these times. This handsome new German edition of of our not exactly recent publications; achieved such remarkable popularity that RATES—Professional Want Notices five cents the complete series of Wagner Music so we propose to give our newer cus¬ per word. All other notices ten cents per Chopin’s Dramas arranged in reasonably simple we have decided to prepare an edition of nonpareil word, cash with orders. tomers an opportuinty at a small expense our own. This edition will be gotten out Polonaises form for piano performance costs only to familiarize themselves with some of in the best possible manner from new CORRESPONDENCE LESSONS in Har¬ The offer for this r $3.00. The work is published in two vol- our staple publications. We intend to plates carefully revised. The paper, print¬ mony and Counterpoint. Stanley T. Relff, make an offer of this kind every month ing and binding will be as good as it is Mus. Bac.. Lansdowne, Pa. and for the month of the announcement possible to make them, and we feel there £S£J* J1 is .he work of, only. For July, 1914, we are offering “THE will be a large demand for the edition MODERN STUDENT” (VOLUME I), after it is introduced. Practically every containing eighty pages of PIANO MU¬ church choir in the country should at MIJSIC WRITTEN to words. Manuscripts SIC (sheet music size), consisting of me¬ some time or other produce this work, or corrected. Correspondence lessons In har¬ lodious study pieces arranged in progress¬ mony. Dr. Alfred-Wooler, composer, Buffalo, If “HS srttf tt&sz US even repeat it annually. N. Y._;__ ive order, selected with special reference The special introductory price in ad¬ to technical development, thus in high de¬ GOOD CROPS MEAN GOOD TONE PRODUCTION—Systematic vocal sir:!t £ vance of publication for this work is 25 studies, "Open Throat Method.” Four les¬ gree combining the useful and the agree¬ cents, postpaid. able. For each composition there is an sons mailed on receipt of $1. A. Francke, ‘jtssl BUSINESS for EVERYBODY 512 Kimball Hall, Department “E,” Chicago. 3£Any one of these compositions could not postpaid upon receipt of $3.00. instructive explanatory note to aid the Twenty-four Miniatures, player in interpreting the composer’s WANTED TO SELL— Estnblishd Subur¬ be purchased in sheet form for the price v»rv Firct TYnot-c idea. New Edition just off the press. Op. 39. By H. Reinhold ban Piano Studio in big Pacific Coast City. of the volume and we recommend it most « “Tu ™ r * THE HORN OF PLENTY is again pouring forth its bounties upon Fine chance for competent young teacher. highly for aspiring pianists. “*r the Pianoforte Catalog price, $1.00. Special July price, our wonderful country. Not since the day of Heller have we Address F. W. H., care The Etude. cash with order, 35 cents (postage 10 had a volume that has attained the popu¬ Our price for the present month on the This new volume is now nearly ready, PIANO TEACHERS who desire a quiet cents additional if charged). The unsettled conditions which naturally accompany a change larity as this little volume of Reinhold, special offer plan is but 30 cents, post- but the special advance offer will be con- of administration are being rapidly adjusted and the joyous cry of These short pieces are a study in expres¬ paid. tinued during the current month. This Reed Organ “GOOD CROPS!” brings cheer from coast to coast. sion, rhythm and style; they are full of t-i- . compilation will be unique in the Duet character and are positive little creations. Ten Five-Note Recreations line in view of the fact that the pieces will Music Ever since the landing of the Pilgrims at Plymouth Rock our national It is one of the most interesting volumes POSITION _ _ By C. W. Krogmann he available throughout the book for pu- Music and instruction books for the prosperity has depended upon good crops. of pieces in the third grade that could be reliable, experienced instructor We take pleasure in continuing the Pds of the First and Second grades. We reed organ are in greatest demand at this General Musicianship. Particulars and refer¬ gotten together; would we had more of offer of a work in the first grade by this refer both t0 the Pnmo and Secondo” season of the year. Every possible need America is still three-fourths agricultural. ences upon application. Address, Director of the pupil and teacher can be supplied just this style of music that is so valuable Piano Dept., No. 10 Leighton Bldg., Ot¬ most popular composer, C. W. Krogmann. Parts- These duets are not the usual The introduction of labor-saving machinery upon the farm did away during the formative period of every tumwa, Iowa. The compositions are all on five notes for teacher and pupil duets in which -one part from the extensive stock of the Theodore both hands and it is surprising what a ls P}?re. difficult than the other, Presser Co. which, for variety and useful¬ with famines. The better understanding of fertilizers, seeds and destruc¬ piano pupil. Those that are unacquainted tive insects raised the profits. Science, art, literature and music are with this volume will not be disappointed variety of harmonies, rhythm and melody , A 1 of the material will be of the most ness, is the most complete in the country. can be produced in such a small compass, bright and p easing character. Partial list of sheet music suitable for giving the farmer a broader outlook upon his higher life. in procuring a sample copy while it can be had at a very low rate. ment of an Educational Institute. For fur¬ The pieces all have words, making them The sPeclal. introductory price in ad- reed organ is given on page 552. doubly desirable. The author is possibly vance of publication is 20 cents, postpaid, Among the most popular reed organ Agricultural conditions have been improving constantly and now comes Our special advance price for this vol¬ ther particulars address, Mrs. Adolphine Kall- a "bumper” crop record from all parts of the country. Isn’t it splendid? ume will be but 15 cents, postpaid. witz, Bestante I, Bauptpostamt, Vienna Aus- the most successful writer of easy music ... methods and collections issued by the tria._ Theo. Presser Co., we would mention par¬ Kansas starts the ball rolling with 135,000,000 bushels of wheat in sight. that we have and this particular set is one Wagner-LlSZt L’Agilite, Op. 20 LOUIS ARTHUR RISSSELL, author of of the best that has ever been issued by Album ticularly the “Reed Organ Method,” by Other states are dancing with glee at the wonderful prospects of enor¬ the “Russell Modern Methods of Music Charles W. Landon, and “Classic and mous harvests. All included will probably total 900.000.000 bushels. By F. LeCouppey Study,” the Russell Books, etc., etc., an¬ This volume of nine concert pieces is . Modern Gems for the Reed Organ,” a nounces his schedule of summer teaching, to most desirable for every pianist of any This means prosperity in all business and professions everywhere, in There are a number of educational include special classes in Voice Culture, collection for the advanced player; also works of piano technic that have stood Pianoforte Study, Theory Analysis, etc., in pretention. If your eyes fall on this spe- our two 50c collections, “Musical Pic¬ city and country, irrespective of politics, wars or local strikes. Newark, N. J., June 15th to July 17th, at the test of time, and among them is Op. Juvenile Musical Poems an,d you do not, .po",sess this tures” and “The Little Home Player.” the College of Music, alternating (except week TV particular volume, we would advise you Your own quota of optimism, your confidence, your industry RIGHT 20 of LeCouppey. It is as popular and as of July 5th) during same month with the Complete descriptive catalogs cheer¬ fresh to-day as it was twenty-five years Manhattan course at Russell Studios. Car¬ Dy carl benour to procure it while it is still to be had at fully furnished. Any of the above sent NOW, means participation in the harvest that is coming to all of us. negie Hall, week of July 5th, will be devoted This is a work that has been published a nominal rate. Any one of the pieces in ago and bids fair to continue that long to a special course (five full daysj in New¬ for examination by our liberal ON SALE With good crops fairly pouring out of our wonderful soil from Maine period of popularity. These studies were by the author, who is known as an author it will repay you for the small outlay, plan and at our usual .liberal discount and ark, Monday, July 20th, Mr. Russell will to California we are no more likely to meet bad times than we would be composed for an introduction to Czerny’s take personal charge of the Summer Musfc and composer of literature and music suit- It contains the choicest pieces of Liszt’s terms. Course at St. Mary’s Academy, Columbus, able for children. She has published arrangement for pianoforte; some of likely to meet an iceberg in the middle of the Sahara desert. If anyone Velocity and are in about the same grade "" "') cours- — *—> +■-— says “bad times” laugh at him. as Op. 636 of Czerny, with possibly a lit¬ “Master St. Elmo,” “The Autobiography them are quite pretentious, others are Practical Finger Exercises, tle more sprightliness, coming as they do . ening sessions...... _„ of the Celebrated Dog” and other animal simply within the grasp of the average Op. 802. By C. Czerny EVERYONE IN EVERY BRANCH OF MUSICAL WORK is en¬ from a Frenchman. They are a most de¬ garding these courses. Address Carnegie stories for children; “Flower Ballads,” pianist. This will most likely be the last Hall, Manhattan, or “St. Mary's," Columbus, published by this house, songs and plays month in which this work will remain on We are going to add another work by titled to a share in the riches pouring out of the cornucopia of prosperity sirable set of studies for almost any pu¬ with illustrations for the kindergarten, the special offer list, Czerny to our Presser Edition. This DON’T MISS YOUR SHARE. pil at the end of the second grade. Our WONDERFUL VARIETY in Victor Rec¬ and this book which we are now announc- Our advance price is but 35 cents, post¬ work is so well known that it needs no special offer will continue this month at ords. Those who have taken the trouble to send ing. It is a book of 29 songs for kinder- paid, comment at this time. It might be called our usual low price of 20 cents for the a postal to the Victor Company, Camden, New a “School of Technic;” it has the finger complete volume, postpaid. Jersey, requesting one of the exceptionally garten, home and school; it is just as in¬ interesting 32 page illustrated booklets teresting to advanced pupils and teachers New Reed marks of a complete work of technic on (which the company gives for the asking the piano. It begins with five-finger ex¬ School of Octave Playing, to all who apply).y, navehave uouriiiessdoubtless •-ueen as-— as h is ‘° children themselves. It is Organ Collection tonished at the wide range of subj^.osubjects rep- a song book for all ages. We know of T, . , „ . , ercises, but not of the conventional Op. 24. By C. H. Doring there are a few who take their defeat in resented by these“ —-t„—wonderful records. For no book 0£ children’s songs that we can . s volume is well advanced in prepa- Schmidt or Herz style, but there is more an unsportsmanlike manner. Failure is instance one may hear the United States recommend more highly; it is the result f.atlon,’ but the special offer will be con- or less rhythm in every exercise. While We will add this popular educational Although our catalog includes a number Marine Band under Lieut. W. H. Santlemann very hard for some, who do not realize of successful musical games, such as of the composers innate love for little Jmued during the current month. Cony there are five-finger exercises they are all volume to the Presser Edition. There that the way the great have succeeded is play a ripping ’ good march and then Imme¬ have been a great many works on octave * Allegrando,” “Great Composers,” “Mu¬ diately thereafter Fritz Kreisler play Dvor¬ children. tjary tc! the opinion of many the Reed varied and almost all put in the form of by traversing an avenue of failures. The ak's Indian Lament. Or a still greater con¬ The advance cash price is 35 cents. Organ is by no means falling into dis¬ an exercise and are continued through playing, but this one by Doring has quali¬ sical Authors,” “Musical Dominoes,” and trast is represented by the recently issued winning competitions are exceptionally others, there is a sufficiently persistent use. It is still found in very many homes the various keys. After that there fol¬ ties that make up one of the most desir¬ fine and we are sure that our readers will duet from Carlo Gomez' opera, 27 Ouarany, lows a section of holding down notes and able. It is not a set of studies in octaves, demand for something still newer than sung by Caruso and Destinn, and the Pader- “The Rose Maiden” and in churches where it is not possible thank us for providing the incentive for interpretation of F. Couperin’s unique By F. H. Cowen have a Pipe Organ. Our new collec- this section moves beyond the compass of but it gives positive instruction of pre¬ the production of so many useful and in¬ uwTe,r.to^warrant our producing a pack 0f little Rondo. La Bandoline. The new set of Weigh Exactly Whai five notes. In the third part come pass¬ paratory exercises with some continued teresting pieces. MUSICAL PLAYING CARDS,” so de¬ records by Taderewski are verv unusual In¬ Our new edition of this popular can- ■ churcb °r home etudes at the close of the book. It ranks signed as to retain the essential features deed. The Victor booklet gives many most fata now about readv but the cnerinl Playln®’ and it is made up of the very You Should ages of greater extension. All these exer¬ interesting historical notes worth far more cises are short, several of them on each well with some works of Czerny, Kullak Four Fancies after Mother of the regular playing cards and yet pre- I have reduced 32,000 and have j to you than your penny postal. offer will be continued during the current Jf^es'^which fe^been0’’ ,?ccasi?"s; built up as many more. . page; most of them are only a few meas¬ and Kohler. It has attained a high repu¬ Goose. By James H. Rogers Snntr e characteristic faces and suits in month. The “Rose Maiden” is one of the P r ^i ™ ', have becn specially written ures long. The fourth part is thirds in tation among all the educators for the the form of musical subjects without im¬ THE MASTERPHONE is not a talking Write today for my free booklet We take pleasure in presenting a new machine but simply a device which will make most popular of all secular cantatas meriftgL1Reed °rgan’ not double runs. In the fifth part come the piano. pairing the usefulness of the cards for the any talking machine far more efficient. which should be in the repertoire of every JAA, . . SUSANNA COCROFT scales and double thirds and various dif¬ The cultivation of the wrist in octave work by this most original American conventional card games, simple or com¬ talking machine records one often finds composer. We consider Mr. Rogers as that7 | Choral Society which is sufficiently pro- van n/rmHvJ' odu,c °7.pnce ,in. ’ ficulties. The sixth part takes up the playing is possibly one of the chief requis¬ plex. Card playing in musical circles will missing now ncicni iui uus piuuuuuuii. it umy oi rpnt<5 one of the -foremost of our present day then. The Masterphone is designed __„ ficient for this production. It is only of f°r thlS WOrk 1S study of octave playing, making almost a ites of the pianist and too much attention have an atmosphere distinctly musical intermediate difficulty,—u.. butt.... invariably:_cents, qcnts’ Ppostpaid.ostPa,d* composers m America. He always has nut every note recorded sharp and clear and complate school of piano technic. cannot be paid to works of this kind; at wherever these cards are used. Equal in rich in tone quality. This excellent device proves pleasing both to singers and audi? Easy Par,or Album Our advance price for this work will least once during the time of students’ something interesting to say. In this case quality to a regular fifty-cent pack of I? the invention of W. B. Clarisson. By BUY ENTERTAINMENTS he has taken up Mother Goose melodies the addition of one dollar to the cost of yonr be 25 cents, postpaid. years octaves should receive special atten¬ playing cards; advance cash price 25 Our special advance price is 25 cents f°r Pianoforte From “The House That Helps," a live concern which but has not used the traditional tunes, cents, postpaid. machine you may have this remarkable im- handles a choice line of Operettas, Cantatas, Action tion and at that time a work of the kind provement which will increase its usefulness per copy, postpaid. In this case we can This new volume is we Songs, Plays, Drills, Musical Recitations etc that we are presenting is most desirable. but has made settings possibly a little Another advantage is the fact Recollections of Youth—Four- t by the n only allow a single copy to each purchaser completion. ' ' pb™uth,”'the Comic Our advance price, postpaid, will be but “orial‘’st>c bl» very attractive. They Education of the Music Hll “ y fine needle it is Hand Pieces for Teacher and 20 cents. word,s- These pieces are in preserve ; 'olumes made up from especially large Teacher. By Thomas Tapper Pupil. By A. Sartorio, Op. 1064 about the second grade vice it is well u, suite me Kina or your raix- plates, and it contains the best compilation Those of our friends who expect to ing machine, Victor Exhibition, or Concert of easy pieces of popular character, suited This is a new set of duets by one of The Etude winULa?nanCe.price for.the little v°lume The New will be 20 cents, postpaid. take advantage of the special advance of Sound Box, or Columbia No. 6, or a smaller for home or recital playing ever issued. the most popular writers, now announced Prize Contest instrument. You can not fail to be pleased Anthem Collection The large size of the pages enables for the first time. In these duets the pu¬ publication offer upon Mr. Tapper’s latest after one trial. No trouble to attach. The In the front pages of The Etude our New Album for Masterphone may be used with a fibre needle This is positively the last month that '^c'ude a much greater number of pieces pil plays the “Primo Part” and the work The Education of the Mush readers will find a complete announcement Violin and Piano 1 eacher are advised that the book is now a steel needle. Price $1.00. Masterphone ’ ' ' ' ' - ” than is ordinarily the case in collections teacher has the “Secondo Part.” In the of. the results of our very interesting Corporation. 187 Broadway. New York. .» m of this character. The pieces have been WANTED Tins is one of our series of volumes completely set in type and only waits the “Primo Part” either hand is always within prize contest for piano compositions re¬ 1 better take notice. The selcc.ted w’th the greatest care and every MOTION PICTURE PLAYS the compass of five notes, but the hands printed from especially large plates It finishing touches for publication. The $25 to $200 paid for 1 to 3 reel ideas. We teach cently held. It gave us a very great pleas¬ price now is 60 cents. This will be raised collection of anthems to be contained in on£,ls a ge™; . work either separately or independently, ure to come in contact with many new ZetrSangreuer V^ne,ty °f materiafthan “ETUDE” this work will be selected from the very the special introductory price in ad- and do not play in octaves. The duets are ?£ a"v other Violin collection pub- at once when the book is published to the voices in the musical world. Some of of our large anthem stock and every vaPce of publication for this work is 20 all of a characteristic nature, each bear¬ MUSIC CLUB BUTTONS them came so near to winning one of the adapted p,ec?s,of a» styles and re'?V ar price for such a work. selection will have been tried and found postpaid. ing an appropriate title, and they will Many are awaiting Mr. Tapper’s advice / prizes that the judges were somewhat none of thL special occasions, but valuable. None but the very best will prove delightful either for recreation or none of them are beyond the plaver of upon this very important subject and we h °j B®ethovenTMMCartrMendeUsohn’ non-plussed. We sincerely hope that the are sure that they will find page after >op.n, Schumann or Liszt. A pin on the enter this volume. We advise everyone for practicing in elementary ensemble fact that they have not been successful intermediate advancement. It is one of . Din she come to the door when you playing. page in this book which will appeal very interested in good choir music to at leastletist serenaded her with your mandolin?” in pleasing the judges this time will not str°ngly to them. procure a sample copy for the opening of The special introductory price in ad¬ deter them from regular, industrious pro¬ Price, 30 cent, per dozen Mr. Tapper has taken the broadest pos¬ the Fall. work._ “No; but another fellow came along vance of publication for this work is 20 gressive work in musical composition. Theo. Presser Co., Philadelphia, Pa. Our special price per copy is but 13 and brought her out with an auto-horn.” cents, postpaid. On the whole, the effect of prize compe- sible aspect of his subject. In the Seventh Chapter, for instance, he gives the mod¬ ■nts, postpaid. —Louisville Courier-Journal. ern view upon the amount of musical T

THE ETUDE PROFESSIONAL DIRECTORY

ARTISTS AND TEACHERS SCHOOLS AND COLLEGES The World of Music HJAWLJNS BAKER ass CHICAGO BECKER^L'^i"!'! CHICIG03g»’atg: BOGERT CINCINNATI combs EDI TORIAL DANCY The Etude is more or less staggered by its inability to notic.« FALK r&e-jsr than a very few of the wonderful May lest,vis and Music Te,cW DETROIT SSL-s» Conventions held all over our country this year. We rejoice in this most excellent work and wish that it were possible to print the program HENRY DANA'S of every event. This would require a journal many many tones the® of The Etude and this field is excellently covered by the musical news, MOULTONHAHNSCHOOL-to,: ica. Wt _of the State Ti __ NicHOLSsafeg-gsc; HAWTHORNE "-“ggusi, vention, for instance, as that of the New York State Music Teachers’ Association at Saratoga this year, brings great numbers of progressive PETERS ILEA KNOX “3- together under the most delightful auspices, and ever)' teacher is benefited immensely. Join your State Association, and do fr~ MARKS’ °Tgssl5r,^ ‘everything you possibly can to make the profession of music teaching one of the highest attainable character—not only that, do your part m uniting MINNEAPOLIS,::gga5Z with the teacher body for a common purpose so that the general public TRACY T««HS5r;" will develop added respect and admiration for the ideals of the music MEW HAVEN =£““2; teacher. This whole movement was, in a sense, started by the founder of THEORY AND NORMAL COURSES The Etude, in the organization of the National Association, over thirty and it gives us the greatest imaginable pleasure to note the NEW YORK “'sSSSfel of unity coming into the ranks of music teachers all over BURROWES States. There should be an active association in every State. NEW YORK Nothing more practical or more promising could be desired in our musical COURTRIGHTiSaSS educational progress. NEW YORK We congratulate the Music Teachers’ Associations of Illinois, Indi¬ FLErCHER-^«sSsL ana, Louisiana, Ohio, Missouri, New York, California, and every one o( normal the splendid bodies, all working to place their professional achievements KERNSaHSSKwSSSS high a plane that the whole musical world will pay homage to the INSTRUCTION BTMAIL OREGONSSSijSSsSs: "•“>» ORTH: 3= PEABODY rggSaa... S. C. LSS^SSwsax BARTELS fin:jis aussy VIRGIL CHICAG0:£S5—VIRGIL sH-SK - to* a Chicago r^c: vonende MMmM A NEW EDITION 547 546 THE ETUDE THE ETUDE ABROAD A Bach Festival (the third) was A bequest of $75,000 has been left to held in Leipzig at which was performed? Guildhall School of Music, London, by tn master's cantata, Iferkules am BcheIdea!.1 late Samuel Heilbut. This work is Interesting because In it |8 f' the primitive form of the music which », Learn More I Profitable Vacation Courses The death has taken place of Ernst V'on afterwards developed into the marvel,;' Christmas Oratorio. | Questions and Answers I Dresden. and^one°of *-? rallcntando, . ^^Jorte^pianissimo. reorganized and has held a Bach festival in of a thousand lire (about $200) for the beat f higher tuition rates and thus earn more money. Family. Early French Music. The Story of the Organ, the Violin that city under the direction of Herr Schalk. one-act opera. The composer Is free to eta* can use them with precision in criticising L. S. and the Piano. his own subject and to make his opera grave a singer: throaty, rough, muffled, husky, * An11 these marks, and t The secret of obtaining these highly desirable results 3d Week. J. S. Bach, G. F. Handel, F. J. Haydn, W. A. Mozart. or gay, romantic or idyllic, as he pleases hard, dark, white, covered f W. F. came^irto^ music "^fterfhe Tea** Sf The production of Edgar Stillman Kelley’s Catania Is at the foot of Mount Etna ml A. “Throaty” almost explains itself. It 1G00. There was a great renascence7 of the is no longer a secret—it is simply a case of "Learn 4th Week. Gluck, Beethoven, Schubert, Weber, Mendelssohn. New England Symphony In Altenburg, t»er- is the birthplace of Bellini. Is where the throat is not held open during musical art at that time; opera was begin- 5th Week. Schumann and the Age of Musical Romance. Opera Writers of the many, resulted In a triumph for the American i.u—+ho +nn

Please mention THE ETUDE w n addressing our advertisers. 549 548 THE ETUDE THE ETUDE Directory of Summer Schools Directory of Summer Schools NEW YORK c/ NEW YORK _

LESCHETIZKY’S I°st& THE HELENE MAIGILLE Learn Harmony and Composition HOME STUDY ^Taught by MAIL. suooeiifully, prsotloajlj^rapldly. MRS. BABCOCK PUBLIC SCHOOL MUSIC EDWIN HUGHES ®ielion(£>ni)e School Offers a Summer Course for AMERICAN SCHOOL OF BEL CANTO as used in the Public Schools of Advanced Pianists and Teachers in NewYorkCity. Eight years work. MUNICH (SCIENCE OF VOCAL ART) Also Church and Concert Engagements Harmony and other subjects. Early application necessary Address: Schweigerstr. 2, Munich, Germany Tone Placing—Diction—Style—Repertoire CARNEGIE HALL, NEW YORK of Jflusic L F. MARKS, 2 Weal 121at St., NEW YORK A Summer Session pre-eminently for Teachers and Students notin New York during the regular season The Summer Session of Seven Weeks begins on Monday, June 15th, “Possessing the Faculty and Equipment, the Artistic Environment continuing to Saturday, Aug. 8th, 1914 STUDY HARMONY I and the Ideals for the Comprehensive Study of Music.” College of Fine Arts — Second Session from July 1st to August 15th and COMPOSITION I unit lEnto. Strertnr THE ETUDE by MAIL *] BLANK Syracuse University The Fall term begins Monday, September 14th HOLDS OUT BRIGHT | Unexcelled advantages for the study of music. ^Faculty Pio specialists. Regular four-year cours an art whidiVa^beenafm8^? true ft£f°/ *olc? Italia” school for the voice’^will be taught— PROSPECTS FOR reeof Mus.B. Special certificate cou MUSIC PAPER dents —” ‘**'4'*' j ^Teachers, ^students and soloists come annually to New York from every section of the United States ise, N. Y. • their homes and colleges greatly disappointed at not having acquired the broader culture they^ame seffar FINANCIAL GAIN to find. “The Helene Maigille-American School of Bel Canto” will teach the ambitious student, soloist or . TO THE teacher, a method of singing where ideals are not imaginary or ephemeral, but where the seeker after the truth in Bel Canto will be taught the highest perfection in the true art of the “old Italian school of EARNEST WORKER ingtone praductiofi6 °* ■ sy8tem8 rec°8nIzes the physiological, natural and psychological laws govern- S'-SsraJ FALL TERM Weeks Courses Theodore Lesche- duction they are placing themselves in the beginning class. Such a thought is veryfer from the truth? It UTICA ' ' in Vienna. Opens September 14th The taking of subscrip¬ For Teachers and * | - - ^ ►. * * -‘-nding of the production of the registers Of the voice, would find in the study of the fundamental principles governing tions for The Etude is Advanced Students dtfcoverthe^crS^Tw^^V U7 dignif-y thei.r ar^Y scientific study in this direction, but they would CONSERVATORY TABLETS, ETC. Dormitory for Young Ladies. 6 surprisingly profitable; WITH OR WITHOUT BOARD preserve their own voices throughout their careers, but would teach to their students the method they Clarke'. Harmony Tablet, 100 leaves 7x105 Chaperonage. Free classes in Ele¬ aches incize...... Price, 25 would have acquired, m the assurance that they could also successfully guide the young students under mentary and Advanced Theory, the very nature of the Piano, Voice, Organ, Violin, Public School their instruction, to^ the fullest realization of their ambition, from their first lesson in tone production OF MUSIC Student’. Harmony Tablet, 75 leaves 7x Musical History, Literature and phony Orchestra. work is congenial, edi¬ Music, Normal Methods, Locke’s Primary During the session tone production and diction will be the serious special features. Repertoire in UTICA, N. Y. n size. Price, 15 Recitals, Concerts, Lectures. Plan, etc. Certificates. Catalog. Teachers English, French, German and Italian will^ be. studied in relation to perfect voice placing and its applica- 100 Sheet., 7Wide Spacing....Price, 25 fying and remunera¬ educated in Europe. A complete European Conservatory in 1 all aims at style, diction America. Comprehensive corps of emi- ELSIE CONRAD

L sso THE ETUDE THE ETUDE 551

Directory of Summer Schools Directory of Summer Schools ** EASTERN AND SOUTHERN v/ CHICAGO AND WESTERN

COSMOPOLITAN SCHOOL OF JOHN ORTH Beginners Makes You a Specialist Brenau College DUNNING SYSTEM MUSIC EDUCATION Steinert Hall, Boston MUSIC AND DRAMATIC ART Practical and Artistic in Theory and Application CALVIN BRAINERD CADY CONSERVATORY MRS. W. S. BRACKEN, President |NewEngland (Lecturer in Music, Teachers’ College, GAINESVILLE, GA. Presenting a new world in music alike to beginners and advanced pupils. “Progress Columbia University, New York). Summer Session, June 30th. the 20th century slogan along every line of human endeavor and interest has 15 Claremont Ave., N. Y, SUMMER TERM never been more thoroughly and practically exemplified in educational lines than in Fall Session, September ISth the Dunning System of Music Study for Beginners. Conservatory Burdened teachers are realizing this more each year, also that there is a demand for experts along this SUMMER NORMAL June 29 to August 1 Year Opens line of teaching, endorsed by Leschetizky.Busoni, Carreno, Gadski, De Pachmann a: 1914 pronounce it the most scientific and best in use for beginners of any age. The only :reby the Blue Ridge Mountains, delightful climate Director OF MUSIC Sept. 17th, 1914 PIANO, VOICE, VIOLIN, DRAMATIC ART truly normal idea is carried out. Normal training classes for teachers Portland, Oreg. summer and winter. Many attractions. Normal Correspondence Course August 10th, New York, September 20th. Address for booklets, Mrs. Carre Louise Dune 36* °s”.i Portland, Oregon June 24—July 29 BOSTON, MASS. Special term., i: Correspondence invited k City, Los Angeles, Calif. Aug. 3—Aug, 29 Beautiful illustrated catalogue on request. In Modern Ideas of Touch, Technic, ADDRESS The Largest and Best Equipped School of Music Address the Registrar for Catalogue a. Zay Rec r Bcvitt, Pacific CoastC Repres Pedal, Metronome, Hand Culture, s at San Diego, Cal., ;r 19th, 1914. Proxim Announcements c BRENAU, Box 97, Gainesville, Ga. Located in the music center of America. It affords pupils the environment and atmosphere so Box 44, Auditorium Building - Chicago, III. n<»pi*Rsartr “-4”~~-.ion. Its complete organization, its imposing Conservatory Building, splendid and How to Teach Them :: :: e Building offer exceptional facilities for students. Courses in every branch of Music, applied and theoretical, including Opera. children in Indianapolis, Inf., is an authorized teacher of teachers of the Dunning System, will open *aining in our Normal Department, graduates are much in demand as teachers. a normal training class for teachers in Asheville, N. C., on July 28th—under the same conditions as Mrs. The free privileges of Dunning conducts the class. Address, Miss Mary C. Armstrong, The Propylaerm, Indianapolis, Ind. -— daily associations are invaluabl^advantages to the music student. PPC Centralizing nplete Orchestra offers advanced pupils in voice, piano, organ and 1 iblic appearances with orchestral accompaniment, School of latic Department. Practical training in acting, Be a Teacher arships. A limited number of scholarships in Composition (Director Music of Music ! Special One-Year Course Teach music in the public OF SHENANDOAH Progressive, Scientific and Practical pleasant. We are the oldest school in the c y offering SCHOOL OF MUSIC COLLEGIATE INSTITUTE Methods [ complete and thorough course in public school- Thomas r DAYTON, VA. RESULTS POSITIVE in one year. We_____ also teach Drawing, Domestic Scienc Domestic Art, Normal Physical Training,’raining. Manual TraininfTraining. Strong-- *-—'faculty, beautiful location, Offers a broad variety of musical courses, includ¬ SEND FOR ART BOOKLET No. 8 unsurpassedid equipment. CatalogsCatalogue sent free. For detailed information Training THE SECRETARY ing Pianoforte, Violin, and other stringed in- ^ 3029 West Grand Boulevard, Detroit, Michigan struments. Band and Orchestra,with weekly School concerts, Pipe Organ, Piano Tuning, Voice A School with ideals—and means to attain them. Culture, Elocution and Physical Culture, Atlanta Conservatory of Music Arts and Crafts. Rates: $200 to $275 per Faculty of Artist-Recitalists. All departments year. No Extras. 39th year begins Sept. 16th. complete. School Orchestra and Chorus. Public AMERICAN CONSERVATORY Students from 20 states. Address Box 110. School Music. Oratory. Languages. )EFFA ELLIS Hughey Color Music SUMMER SESSION BEGINS JUNE 8th, 1914 Keyboard Harmony Chicago’s Foremost School of Music and Dramatic Art Atlanta Conservatory of Music Melody Building and FOR ALL-ROUND CHILD CULTURE Peachtree and Broad Streets, - Atlanta, Georgia Teaching System Offers courses in Piano, Voice, Violin, Public School Music, Dramatic Art, etc. Summer Class—August C0URTRIGHT SYSTEM OF MUSICAL KINDERGARTEN 75 eminent artists. Superior Normal Training School supplies teachers for col¬ FOR TEACHERS may be studied personally with The oldest, practical and most scientific method of instructing children In music ever placed Effa Ellis Perfield, the origina- leges. Desirable Dormitory Accommodations. Diplomas and Degrees. 29 An- before the musical world. Teaches PIANO from the start. SIGHT READING TRANS¬ POSING, RHYTHM and EAR TRAINING. * FADING, TRANS- the following cities between nualSession beginsSept. 10,1914. ForCatalog and general information address Southern University of Music (Inc.) Gerard-Thiers, Kurt Mueller, Directors — —id July 15—Los Angeles, San A Special Summer Session at Waynesville, N. C., opens second week in July. Diego, San Francisco, Honolulu, JOHN J. HATTSTAEDT, Pres. - 651 Kimball Hall, CHICAGO, ILL. 353 Peachtree Street, Atlanta, Georgia Portland, Tacoma, Seattle, Spokane, Best advantages in Music (all branches), Lan- Ogden, Salt Lake, Denver, St. Louis CHARLES VEON, Pianist. nteeing results. Write for particulars. iSMr1"7. Elocutlon’ Dramai Opera, „FOREST __ PARK Ga. STEREOPTICON LECTURE RECITALS and Chicago. For exact dates, write Stockhoff, Piano. Nordstrom Carter .Voice. &thyear. SUMMER SCHOOL. Dormitory. 63 affiliated THE COLUMBIA SCHOOL OF MUSIC r and Junior Colleges, Prep, and College of Music, “MOZART AND HIS MUSIC” schools. For catalog address the Secretary. mer School in Music Open* June 1st. EFFA ELLIS PERFIELD CLARE OSBORNE REED, Director aI Session, Sept. 16. Bible, Gym. Expression. ESTABLISHED 1857 Store Bldg., Omaha, Neb. Announces SUMMER SESSION—ALL DEPARTMENTS—SPECIAL ADVANTAGES k Beginning Monday, June 22nd ffSFilS: UNIVERSITY advanced^studentSj Sc’[™8c>r|cita“n.^ PFARHTW CONSERVATORY PIANO-VOICE-VIOLIN-THEORY—PUBLIC SCHOOL MUSIC 1 LlflUV/i/ 1 BALTIMORE, MD. Musical Post Cards For Catalog and Special Announcement address J. B. HALL, 509 WABASH AVE., CHICAGO Lyceum Arts Conservatory HAROLD RANDOLPH, Director Imported Platinotypes Elias Day, Dir. Frank A. Morgan, Bus. Mgr. J MRS. STACEY WILLIAMS MR. and MRS. CROSBY ADAMS Ann Superb Reproductions THE EXCEPTIONAL FACILITIES, COMPLETE ORGANIZATION AND COMPRMIENSnnE^COCUSES^MA*! Eleventh Annual Teachers’ Classes Its endowment enables it to offer exceptional advantages for musical culture in all grades and branches Offers courses in Piano, Voice, Violin, 42.44 MINNEAPOLIS SCHOOL OF MUSIC . Voice Production: Repertoire Great Masters Public School Music, Dramatic Art, etc.1 for Teachers of Piano for the Study of Teaching Material Modern Masters igbib st., s. ORATORY AND DRAMATIC ART W In Europe June 15th to Sept. 15th. June 22 to July 4. ^Montreal, JL C., (near Asheville) Opera Composers Students may enter at any time. For Russian Composers catalog address THE RECOGNIZED LEADING INSTITUTION OF THE NORTHWEST Studio Re-opens October 1st Great Violinists... SPECIAL SUMMER SESSION OF SIX WEEKS, OPENS JTJNF lfilh Write for booklet containing outline and strong letten Northern EuropeCt Celebrated Violinists - FALL TERM OPENS TUESDAY, SEPTEMBER I 1914 ..Attention will be given to all letters addressed to from Teachers who have taken the Course Valparaiso University S™°°L2LMUSIC Renowned Violinists - Mrs. Williams in Chicago. FrencivCom Permanent address: Montreat, North Carolina Opera^Singers, Sen Information furnished. Prospectus forwarded. Students may attend the Music School and also take the regular work at the University. THE EXPENSES ARE THE LOWEST Suite 405-6, Kimball Hall CHICAGO Tuition *20.00 per quarter of twelve weeks. Board with Furnished Room, 31.80 to 33.00 per week. Master Violinists A'and B, each - Catalog will be mailed free. Address Henry B. Brown, President, or Oliver P. Kinsey, Vice President rTssprr-T 42ND YEAR WILL OPEN SEPTEMBER IS, 1914. 50 cents per dozen postpaid WESTERN CONSERVATORY NEW SETS FOR 1914 E. H. Scott, Pres. Mailers Building, Chicago The Mary Wood Chase School of Musical Arts American Conductors - 6 I Modem Pianists Famous String Quartets 6 Series A and B- - 6 American Composers Celebrated Organists - 6 With elegant and spacious apartments ill the magnified! THE BUSINESS MANUAL Series A and B - 6 I Famous Cellists ... 6 the Westem^onservatory enters^upon^its thirtieth sch 50 cents per dozen postpaid leal educa branches FOR MUSIC TEACHERS HISTORICAL POST CARDS LISZT—Six Cards—The set, 15 cents. Private Lessons, Lectures, Class Exerdses, and Recitals EASTERN By G. C. BENDER Price, $1.00 WAGNER—Twelve Cards-The set, 30 cent. Special Course for Teachers Enlarged Faculty Increased Facilities CONSERVATORY of MUSIC Tells how to make the most of your talents ; how to make musical advertising BEETHOVEN—Twelve Cards—30 cents per set pay; how wide-awake teachers raise their rates and secure new pupils; how suc¬ GREAT COMPOSER POSTCARDS-Foorteen The modern ideas of leading European and American teachers are fully ob- trtwxr Special Low Rates for Beginner! ^ ^ (A Depu^tment of^Easto^CksUe^ of the Great Composers. Printed in nine colors Beethoven Conserve cessful teachers hold their old pupils by bright ideas in correspondence, recitals, with the composer's birthplace on each card. 35 red with official Seal author- One of the oldest and best Music School, i„** 'tSStST&g^'*'* etc.; how to collect old accounts, etc., etc. —-- UMte<1 M>tt» N. W. Cor. Taylor and Olir»Sl..,St.LmU,^ Not one teacher in a hundred receives more than a fraction of what his valuable OPERATIC POST CARDS ! DR. H. U. ROOP, Pres. Manassas, Va. Box R. services should bring if profitably and actively marketed. One chapter in this Reproductions of photographs of the Wagner Operas as book may raise your income enough to pay for it a hundredfold. Of MUSIC. ESTABLISHED 186 hreuser (9). The Ring (28). ' CLARA BAUR. Foundress Theodore Presser Co., 1712 Chestnut St., Philadelphia, Pa. Vanous Operas printed in colors. Aida. Boheme. Butterfly. Falstaff, Ins, Tosca, Modern Operas. For Inexperienced Teachers of the Piano Faculty of International Reputation Hugh A. Clarke.Mus. Doc. Rien/l-HollwnrW Tannhwauca..- I __■ TV* . All Departments Open Throughout the Summer LESSONS BY MAIL SPECIAL SUMMER TERM—July 6th to August 7th Elocution—M^IVVUUV»-1VI UUDI SIC—Languages V_r-Language In Harmony, Counterpoint SCHOOLS—TEACHERS—CONSERVATORIES Ten lessons. Each lesson representing one grade. How and what to teach from rudiments Also Special Summer Coarse in to advanced work. Private lessons only. Daily lessons will be given if time is limited. and Composition Announce Your Fall Sessions in the August ETUDE _- -_ PUBLIC SCHOOL MUSIC ASK FOR PARTICULARS OF SPECIAL RATE THEO. PRESSER CO. MAY E. PORTER :: 186 AVERY AVENUE :: DETROIT, MICfL Location and surroundings ideal for SummersWly 4618 CHESTER AVE., PHILADELPHIA, PA. TESTIMONIAL F. 1. WILLIAM MASON 12 Chestnut Street, Philadelphia, Pa. Please mention THE ETUDE sfaen addressing our advertisers. Flease mention THE ETUDE when addressing our advertiser with n l important feature in modern lete in all keys with the correct thirds. The fingering is given nic in all tonn-^ All needful nd chords8611"®3 being Siven- se is given for the development reparatory Arpeggio Work cales and Arpeggios in All Keys exercises. These ex :e playing in the Paris C erience both as teache sughly abreast of theti. CONTENTS FOR THE PIANOFORTE FOR THE PIANOFORTE taught. Lessons ments and voice Hall Orchestra 5 P. M. in Dana Notes inger Positior in All Key ENSEMBLE CLASSES DAILY the leading professor ibody the result of y iced in thought and me The Trill is thoroughly treated, al year. All instru- E'ORTY-SIXTH recital hall nizes the school. Fine state author¬ ated and confers through a death in forty-six healthy. Not patro¬ and country in North America Incorpor¬ every Wednesday night. Fellow, ity the degrees of Associate, Buildings for practice for pupils. faculty. Every state years. Superior and soloists with an orchestral concert Master and Doctor. water, beautiful city and (new). Pure Band 1 P. M. Chorus 10 A. M. Military Fine dormitories daily and private. is devoted to the Glissando and a final 1 lention is also given the Tremolo and re This work may be used in DAILY PRACTICE and should become an indispensable portion of the routine work. By ISIDOR PHILIPP PRICE, $1.50 By ISIDOR PHILIPP PRICE, $1.00 The volume opens with a series of ExercUe. for the Flexibility and Independence of th The “Preparatory School of Technic” is one of the best “technics” ever issued for M. PHILIPP U Complete School of Technic Preparatory School of Technic students who have about completed second grade work and continued to good advantage Similar and Contra general utility work. Such a book may be used through a number of years for daily- practice, in whole or in part, to supplement or round out any course consisting of the usual studies, pieces, etc. The “Preparatory School of Technic” may be taken up by for some time. It will serve as an admirable preparation for M. Philipp’s larger and highly successful work, “Complete School of Technic.” and these works er M. Phili, THEO. PRESSER CO., Pubs., Philadelphia, Pa. OHIO WARREN, Please mention THE ETUDE when addressing our advertisers. 7. The Trill 8. Various Difficulties 5. Double Notes 6. Octaves and Chords AT ANY TIME PUPILS MAY ENTER Monday, September 14th, 1914 Fall Term begins By ISIDOR PHILIPP of Pianoforte Technic PARNASSUM NEW GRADUS iner each subject is treated exhaustively in a separate part. The Institute Musical Dana’s A Genuine Addition to the Literature In Eight Books Price, $1.00 each Monsieur I. Philipp, leading Professor of Pianoforte in the Paris Con- In this unique work each separate department of technic is considered The entire literature of educational piano music has been ransacked in order R.A.M., President , blue book, and historical sketch to WM. H. DANA, Send for 64-page catalogue Important *2 All Pianists 22! Students in this n A student completing any one of these will have fought that particular sub¬ 1. Left Hand to select the best possible studies adapted to each of the above classifications. by itself, all the studies bearing upon any particular technical point being classified together and arranged in logical and progressive order. Proceeding main points tl 2. Right Ham 3. Hands Tog. 4. Arpeggios ject to a finish and have imbibed the ripest and best ideas on the subject. THEO. PRESSER CO., Philadelphia, Pa. .50 *1 the compilation and preparation of a work of this type. " ®ervatory, is admirably equipped by knowledge, experience and natural talent Petit Menuet! 3 so. 3. Little j Song-Abendlied. Even- Op. 101, No. 2. 1 Largo. Arr. by H. I). Op. 77, No. 2. Und Funeral Marc (R. Ferber).. _Abendgebet.2 , .j H. D. Celebrated Largo (G. F. 3ong. . C. 1 ,s, Ron, Polka-Mazurka . Thought, A, Reverie. 3right a Waltz . Choristers . March .2 Waltz bols, Mazurka.2 ing, Landon , True Heart.1 ing Prayer-Kinde Handel) shiny Morning.. Hewitt - ing Prayer ’ l'.. i i 101, No. 3. urlftt,PrCornelius. Op. PIPE AND REED ORGAN MUSIC 1 Hiller-Bolck. L- 3 Greenwald, 1 6794 Kugele, Richard. True Love. 1047 Kriutzer, Edwin. Op. 7, No. 1. 1054 Kreutzer, Edwin. Op. 7, No. 8. A Roses, 6499 Kern, C. W. Op. 156, No. 4. Red 7276 3 1664 Kirchner, Fritz. Op. 76, 9443 Kopylow, A. Op. 52, No. 5534 Kretschmer, Edmund. D - 4274 Kretschmer, Edmund. Op. 192. Gam¬ 6500 Kern, C. W. Op. 156, No. 5. Fairy Idlers, 6501 Kern, C. W. Op. 156, No. 6. Merry 1525 Jungmann, Albert. Longing for Home.2 .. 2%, 4089 Kern, C. W. Op. 216. In Old France. Own 2546 Hiller, Paul. Op. 61, No. 12. My Sunday 1110 Heller, Stephen. Op. 47, No. 4. 2914 Hewitt, 1513 Hewitt, H. 2914 Handel, 2394 Handel, G. F. 1094 “ "" — Lullaby 1831 Guilmant, Alex. On. 101 6563 GurUtt, CornelluB. 1560 Handel, ~ Idylle. 1198 GurUtt, Cornelius. 1566 Hall, King. Cantilena.. Complete list is given in HAND BOOK OF ETUDE THE it “On Sale” at our usual liberal Sheet Music Discount contain! Send for HAND BOOK OF PIPE AND REED ORGAN MUSIC r: e. r. ORGAN PIECES A SELECTED LIST OF PIPE ms ivwra—s ill ^ Send for Complete List. for the Reed Organ. Our Publications Suitable Partial List of EASY AND MEDIUM ORGAN REED THE FOR SUITABLE MUSIC

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