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

9-1-1925 Volume 43, Number 09 (September 1925) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 43, Number 09 (September 1925)." , (1925). https://digitalcommons.gardner-webb.edu/etude/727

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Price 25 Cervts^ SEPTEMBER 1925 _ Jf$2-aYear

KATHARINE GOODSON’S LESSON ON RUBINSTEIN’S "KAMENNOI OSTROW” FRANK LA FORGE ON "ACCOMPANYING” * * * RIMSKY-KORSAKOW’S "SCHEHERAZADE” SEPTEMBER 1925 Page 599 ft * THE ETUDE

To the Music Lover in search of interesting material, color¬ UNUSUAL STUDY-BOOKS ful harmony, a recreation in irresist¬ A Few Coming Brilliant “Etude” Features ible melody and rhythm. For the Attainment of Artistic Piano Playing . A /r^«w and the Development of Elegancies in Style _ . , , IVTisft To the Music Teacher and Your Musical Friends Cannot AtfoC to Mis, BY FRANCES TERRY r„„ in each pupil, keeping of interest in These Epoch-Making Articles for 1925-192 study, who is looking for material, Characteristic Studies for the Young Pianist they will want to practice and play. Grades 2—3 Price, 75 cents q-HE world's foremost bridge^enginejr^Ral|^^o^eskh^l3ractKes^i)ia^o 'HE world’s foremost Driage cug>H«‘’ ""‘rhnnin concertos, Beethoven HAROLD one of the greatest liv- £ ASK YOUR MUSIC DEALER TO SHOW YOU THE Recital Etudes Grades 3-4 Price, 75 cents BAUER * two hours daily, plays S^^Sle engaged upeto ingcom poser sand | the poet of the pianists, will tell in a PAULL-P10NEER PUBLICATIONS VERY HIGHLY ENDORSED piano, finds time the Mrre Riv"ge> forthcoming Hungar¬ in his very busy whkh w.ll be opened fn 1926 lor the Sesqui-Centenmal. ian issue of The Art Colors Five Color Lithograph Titles BEACH, MRS. H. H. A. life as a virtuoso Etude many intensely “Fresh and unhackneved .... most worthy. to give The Etude interesting facts about A Few Suggestions in Sheet Form his practical views BE SURE TO READ THIS ARTICLE playing Hungarian CADMAN, CHARLES WAKEFIELD works. “A most valuable contribution.” on, “The Flaying “The Practical Value of a Ben Hur Chariot Race {March) Narcissa {Characteristic) ft of Chopin.” Burning of Rome {March) Silver Sleigh Bells {March) CHASE, LOUIS T. Star of Dawn {Reverie) Musical Education” Cathedral Chimes {Chime Reverie) “They have a great value. ’ Connecticut March {March) Storm King {March) HON. HENRY Midnight Fire Alarm {March) The Four Horsemen {March, new) CHITTENDEN, KATE S. r Wedding of the Winds {Concert Waltz) VAN DYKE who since the death Napoleon's Last Charge {March) “Valuable additions to the teaching repertoire of our staff. poet, diplomat, edu- of Busoni, has DENTON, OLIVER cator, clergyman, been considered Folios for Your Music Library one of the greatest the greatest piairst “Musically they are far above the average. men in American of Italy, gives some FAELTEN, CARL history, tells Etude wonderful ideas “Shows excellent musicianship. readers in his in- to Etude read¬ imitable way ers upon “Italian HAMILTON, CLARENCE G. ft “What Music Thoughts on Fiano Playing.” Means to Me.” Your dealer knows their merit. “Eminently practical.” IpUASMGpiANOpIKK1 His counter folio or a descrip¬ tive pamphlet will help your HUGHES, EDWIN selection. “Melodious and pianistic.” MARK CHARLES M. HAMBOURG SCHWAB JOHNS, CLAYTON If Your Dealer Cannot Supply eminent virtuoso, “Young students will receive much benefit by their study. one of the giant in¬ Write to MATHEWS, BLANCHE DINGLEY tellects of piano- sen years - dom, will contrib¬ professional musi¬ PAULL-PIONEER i l <1® “Very attractive teaching studies.” ute regularly, in¬ cian, states to_ Etude readers his vigorous PUBLICATIONS , i r*i*i* MORRIS, HAROLD cluding lessons “Have decided teaching value.” II * upon the widely- ideas upon the daily 119 5th Ave. New York played Liszt "Lie- need of music for PAALZ, LEO bestraum." everybody. “Musical problems manipulated in a masterly, interesting Etude sub¬ scribers the and helpful manner.” MME. - - - secrets that JERITZA fcTUDE a lesson on Rubinstein’s, MME. YOLANDO RYBNER, DR. CORNELIUS have led to her great triumphs. ever popular romantic compo- the wonderfully MERO “Great value to teachers.” MME. THEODOR Practically all of the great sing¬ sition, “Kamennoi O straw. THE GEMS OF CZERNY ARRANGED AS LESCHETIZKY ers of the last twenty-five years beautiful and sen¬ Thousands enjoy these master one of the most bril¬ sationally success¬ liant of the famous SMITH, WILSON G. have given Etude readers help¬ lessons which are given from “They have technical and rhythmic value. wife of the greatest ful advice upon the study of ful operatic prima piano virtuose, gives A GRADED COURSE OF STUDIES donna of Europe time to time in The Etude. It Etude readers a piano teacher of his singing and “tell how” articles would cost many times the price STOJOWSKI, SIGISMUND day, reveals to The and interviews with to-day’s and America, tells of an Etude subscription to se¬ charming article upon “Written with grace and skill while they successfully tackle Etude readers manv great singers and teachers al¬ Etude readers how “How the Pianc - cure such instruction personally technical problems.” of the real secrets of ways are being sought. from these great pianists. the master. “The New Art of Selected “Czerny” Studies Singing.” VOGT, DR. A. S. M. ISIDOR “Remarkable value .... admirable opportunity for PHILIPP Revised, Edited and Fingered, with Copious developing elegancies in style.” for many years Annotations, by EMIL LIEBLING the foremost pro¬ WESTON, MILDRED fessor of piano¬ “So miraculously free from the mediocre.” virtuoso ’cellist, IN THREE BOOKS PRICE $1.00 EACH one of the most forte playing at the Paris Conserva¬ JUST OFF THE PRESS demanded artists VALUABLE and noteworthy addition to the technical litera¬ of the present, toire, has written A writes for Etude a remarkable ar- ture of the pianoforte. This work represents a diligent sift¬ FINGERS TEN AT WORK AND PLAY tide tor Thei he ing and careful selection of material from the entire works of Etude on “Modern Pianoforte I ccti- Melodic Miniatures for the Beginner at the Piano Czerny, including all the popular opus num¬ By Frances Terry, Op. 39. Price, 60 cents Play the ’Cello.” LEO ORNSTEIN bers together with ■ manY less knHwn- OWEN WISTER equally meritorious studies. Mr. Liebling’s Unites under one cover a group of 20 little numbers. They have—in a more IGOR STRAWINSKY Russian piano virtuoso and composer, whose original- modem and • present-day” form—that feeling for melody which made Heller s famous novelist and publicist (author of ity has startled the world of music, states m l he editorial- work has been Jy Wk of the most exact and easy pieces classics in their time, and while the little student feels happy to think world-famous composer and pianist the: greatest of “The Virginian”), also an exceptionally hne musical iconoclasts, tells Etude readers n a surpns Etude some remarkably practical views on Piai^o, painstaking character mL from both the technical he or she has a “playing piece" the teacher smiles, for she knows it is a study musician, gives Etude readers his ideas upon piece” as well, one which will bring out and develop some technical point she ing article what is meant by ‘The New Musical the “Advance of Music in America. and interpretative l§Ff JP sides; the annotations Art.” are of real practical MJ value and musical in¬ wishes stressed. terest. The three T§I^ volumes, which are IDYLS OF AN INLAND SEA carefuly and closely graded, the studies be¬ Suite for Piano by Frances Terry. Price, $1.00 net ing arranged in pro- gressive order, range In a class by itself is this lovely Suite of seven pieces—“Idyls of an Inland in difficulty from the .Mmm' early second to the sev¬ Sea”—by Miss Terry. The pieces are of no more than average difficulty but enth grade. Czerny’s VP / mr mastery of technical de¬ have that same quality of charm which marks those suites by MacDowell and Nevin in which the moods and voices of Nature are crystallized in enduring tail and his mastery‘of musical expression are ‘ETUDE” MUSIC FOR 1925-1926 WILL beauty of tone. Let Your Friends Enjoy this Foretaste of a Wonderful Year truly remarkable; he czerny was a most voluminous Order from your Dealer. If unable to procure, u)e will gladly ESTABLISH NEW STANDARDS writer. The object of this present compila¬ The success of the “Etude” has been largely due to the contagious enthusiasm send you copies for examination immediately upon request. OF EXCELLENCE tion is to present his very best studies of all grades in attractive and convenient form for general use. The success of this work has been i Friml, Poldini, Mrs. H. H. A. Beach, Rogers, The House Devoted to the Progress of American Music Drdla, Schiutt, Lieurance, Drigo and Caarnan of the most flattering character. It is the best work of the kind Thousands of teacher, simply add an ETUDE subscription charge ($2.00).tothe first tuition are a few of the well-known composers whose ever offered. It is printed from beautifully engraved special plates latest works will appear in coming “Etudes. Ml to be scut out each season. They find that it repays them manyfold in keeping up musical and substantially and thoroughly bound in heavy paper. THE JOHN CHURCH COMPANY enthusiasm and in supplementing all of their regular work. CINCINNATI NEW YORK - 109-111 W. 4th Street 318-320 W. 46th Street 1712-1714 CHESTNUT STREET THEODORE PRESSER CO., Philadelphia, Pa. THE ETUDE MUSIC MAGAZINE ESTA«Ii5HED THEO. PRESSER CO. PHILADELPHIA, PA. SEPTEMBER 1925 Page 001 THE ETl \

SEPTEMBER 1925 The Evolution of Service FOR YOU WHO OUR FORTIETH ANNIVERSARY 1885-1925

music^H. surrounded himself with the most SffiW

TAKE PRIDE Thof w» remo^lMS W“! Street', where it became famous as The Boston

MUSUnder the leadership of Mr. Schirmer’s son Gustave, the business has outgrown IN YOUR PUPILS ssissiiSiiSl Music Co.’s stock will fill the most exacting requirements. Happy Books and Happy Pieces Take Drudgery Out of Study and Keep Pupils Interested!'. Distinctive Specialties to Develop Young America Musically

Designed to sim¬ BILBRO FIRST MELODY plify every problem LESSONS of the beginner. First Melody Lessons has attained an :l Each subject taken altogether phenomenal success, and its j MELODY BOOK up step by step from adoption by teachers is rapidly in¬ creasing. j A FIRST BOOK ••middleC” one note It is the fruit of broad experience, plus a unique insight and compositional talent. Enlisting and retaining the ! DOROTHY GAYNOR BLAKE down, two notes up. young pupil's interest, it brings g two down; one item ine accomplishment h- El to a page. Contains straight to the point. | THE WILLIS MUSIC COMPANY. full keyboard chart. Price, 80 cents Price, 75 cents

Designed to come after the pupil has MUSICAL A-B-C’s learned the notes on the two staves and FOR BEGINNERS A simplification of those names of the Staves, as well as a general has played some simple compositions using A practical book simpli¬ idea from middle C out, a tone at a time m both hands together. Progresses so grad¬ fying the reading of two or A compilation of graded Little Beginners’ Problems, presented gradually so younj both directions simultaneously, so as to more notes played at the material, selected and edited dis- assure an equal knowledge of both bass ually and systematically that this book same time. Contains pieces is particularly suitable to follow Melody suilable for laying a founda¬ by Charles Vincent. explained with illustrations couraged by too great a: and treble clefs. tion in musical intelligence. Book 1. Book I is made up largely and in language they can of notes. Price, 75 cents Price, 75 cents from “The Clavecin Note- Price, 80 cents -Price, 75 cents Book of Anna Magdalena understand. A progressive Bach.” note-speller, containing EASY FOUR-HAND COLLECTIONS Book 2 contains other Friml. Musical Adventures for Four Little Hands pieces by Bach, including scales, triads, stories and McIntyre. Sunshine and I-aughter. many from “The Little “ Wondrous Tales. games. Keyes. Nine Little Play til Clavier Book.” Published in two books. Price, 50 cents Young People. . Price, each, 75 cents

FANCIFUL SKETCHES WONDER-PIECES s Nature Pictures By Cora W. Jenkins FOR YOUNG PIANISTS Grade 1 By Torvald Frederiksen Tuneful little pieces with A collection of five charming, easy big notes, illustrated with Six charming pieces, bright and drawings for the pupil to recreations for piano solo by a com¬ tuneful, suitable for teaching copy. Treble and bass clefs. interpretation, legato, phrasing, Excellent for sight-reading poser whose ability as an educator and rhythm. Each piece well within the com¬ of children is phenomenal. Price, 60 cents pass of small hands. Price, 60 cents Price, 75 cents NEW TEACHING PIECES EVERY TEACHER CERTAINLY WANTS TO KNOW Books of Tested and Proven Worth Teaching Pieces Every Pupil Will Enjoy PIANO SOLOS—GRADE I The Farmyard.By Mana-Zucca.Gr. I PIANO FOUR-HANDS National Graded Course. 7 Vols. and Special Supplemen- The Naughty Mouse.... By E. Ketterer.:r- tarv Primary Grade.....c‘icl1 Friml. The Wishing Moon.. Norris, Fundamental Piano Method.. . .. Starlight! Starbrighti. .By C. W. Jenkins.Gr. I VERY Chatterbox. Bilbro, Twenty Melodies for Adult Beginners. Indian Rondo.By T. I- redenksen.Gr. 1 SoofFoeon A The Blue Fairy. “ Beginners Lessons in Music-Land. The Airship Fairy.By Rhea Sdberta.C,r. II tyre. Good Morning. “ Second Melody Lessons. Twelve O’clock.By Rhea Sdberta.Gr. II A PloMinp Qlisa&ndo ng piece Shipping Together . Skating.By C. W. Krogmaun.Gr. II Rocrtaalion Merry Little Dancers Schytte, Twenty-five Modem Etudes. Water Nymph.By Ethelbert Nevin.Gr. Ill My First Opera.... Woodrow, Six Graceful Melody Pictures. Valsette.By W. Janssen.• • • -Gr. HI MILDRED &DAIR ability of any Burnham, Children’s Hour.. Daisy Chain.By C. E. Wheeler.Gr. Ill Mana-Zucca, Stories from the Garden. Gavotte Gradeuse.By R. Manal.Gr. Ill second grade Friml, Po Ling and Ming Toy. Western Romance.By R. Davies.Gr. Ill PIANO SIX-HANDS GRADE I-II Mattingly. Da__ Fairies.. " Jack Frost.. This material will be sent “On Approval” by any up-to-date music dealer The Merryms

Send For These Books—FREE-They This Beautifully Contain Valuable and Helpful Hints. Illustrated New For Sale by ALL MUSIC STORES. If not available, Booklet FREE. any or all of this material will be sent “On Approval’ ’ §Ss The Boston Music Co. Contains valuable information. Be 26-28 West Street Boston, Mass. THE WILLIS MUSIC CO. sure to write for it!! THE ETUDE page 602 ' SEPTEMBER 1925 PRESSER’S MUSICAL MAGAZINE

The Mistake *•»

■ SW& °‘ "" “ ** arrangement, and SSIS ‘rade Commission, -“iSi* unquestionably taking a success of their under- sjss’Kft.f ilsisgiPiijnizing the rights of the teacher followTwhat^hethe result of stsuch readjustment signed for class work. MELODY WRITING .40 in be it is impossible to tell now, but it is certain.all that al publishers will, fair and equitable ot make another adding insult to The World of Music CLAYTON F. SUMMY CO. Fifty Rehearsal* are required by the We append a list of widely used and practical teaching material.

THE basis of progress in-music knowledge is its foundation. Material for this foundation, which has been tried and proved is the best evident* of its worth. The works listed here have been used by teachers noted for then cun-ess in child training. They embrace all the best pedagogic standards, pre¬ senting them with distinct musical attractiveness, and their aim is the development GRADED STUDIES.^ By of sound musical knowledge coupled with artistic piano playing.

THE CHILD AT THE PIANO. By Meda Zarbell Steele . . . . •.• $0-75 Four essential lines of fundamental elementary musical development have been followed in this book: (1) Ear-training and Theory; (2) Study of the Staff and Keyboard; (3) Rhythm, and (4) Technic.

PRELIMINARY STUDIES FOR THE PIANO. By Mrs. Crosby Adams. .30 Harmony for Beginners and Advanced Students Systematic training in elementary preparation for piano playing. De¬ ELEMENTS OF HARMONY. By Emil Barth.$0’4° signed to precede. PRELIMINARY STUDIES IN KEYBOARD HARMONY AND TRANS- THE VERY FIRST LESSONS AT THE PIANO. By Mrs. Crosby Adams .90 POSITION. ™ A book that has served a great need and will continue to do so as long KEYBOARD HARMONY AND TRANSPOSITION.^ VoU. 1 & 2. Each .40 as there are teachers who wish to awaken the interest of the pupil in his music work from the beginning. Standard with thousands of suc¬ HARMONY AND ANALYSIS. By Kenneth M. Bradley.. 2.00 cessful teachers. HARMONIC MATERIAL AND ITS USES. By Adolf We.chg.^ ^ postage

FIRST HOME STUDIES FOR TEN FINGERS. By Calvin B. Cady. Note: We have made no change in prices nor in discounts allowed to teachers. Book ... Books 2 and 3. Each.. ... • • Shows the relation of melodic thinking to expressive playing._ Work . CLAYTON F. SUMMY CO., Publishers in phrasing, realization of rhythmic feeling and perfection in tonal 429 South Wabash Ave. Chicago, Ill. articulation. A veritable inspiration to creative teaching.

Beginner s Book By Theodore Presser

Used More Extensively Than Any Other Elementary Instruction Book A Substantial Success Because It Supplies a Real Need

The "First Reader" in Piano Study Step by Step Grading SSgagsa-atfsa'B

Writing Exercises

Pieces, Duets, Test Questions

mouth College at its recent one-hundred-rind- Four Pupils’ Recitals. . . .. £’. Brigham 618 Laughing Bree- Teachers' Round Table.. .’. O. Hamilton 019 Polish Peasant Dance.•... HirBwinii 641 ie First Carillon in South Africa If You Have Never Used This Work Musical Scrap Book. .A. S. Garbett 620 The Flying Horses..4. Carlisle o.v is being installed in Cape Town and will con¬ PRICE $1.00 “Scheherazade” . .V. Biart 621 Valse Lente (Violin and Piano). sist of forty bells. Order a Copy NOW for Examination | “Kameunol Ostrow” .. .K. Goodson 623 II. Tolhuret 647 Eisteddfod. at loungstown. umo. wem I Heard the Voice of Jesus Say (Vocal). i 'levelacd. The Orpheus Male Choir won the Sparks from Musical Anv Sir Henry Wood made a special journey Preparing for Recital ./. C. Marks 64S $1,000 prize; the Mixed Chorus of one hun¬ Thinkin’ of You (Vocal).K. Kountz 65o from London In order to conduct four con¬ dred and seventy-one voices received the $o00 Singer’s Etude. certs at the Hollywood Bowl on July 14-lb. , THEODORE PRESSER CO. it street * PHILADELPHIA, PA. Music Memory Contest. The Robin's Call (Vocal).C. O. Ellis 6o0 prize, while the'Glenville High School Chorus Emmaus (Organ) .J. F. Frytlnger 6o3 (.Continued on page 676) carried off the $100 prize. Organist Goes Visiting.. SEPTEMBER 1921 Rage 605 THE ETUDE

A Teachers Diploma -- , , Practical Hints on Material That or A Guide for Teachers EARN ABaehelor’s Degree IN MUSIC In "Your Spare Time at Home | Start the Child Beginner With pSce.m.00 __.»T»trn)0 DAAV nf fhp Pll S1A „ U^THFWS „ , „A Msnv about the keyboard BEGINNER’S BOOK-School of the Pianoforte ^VoM -By —W. S.- B. MATHEWS more freely and easily ano“* The 8tU(lif By THEODORE PRESSERr > ^ ^ ^ „ without d bt th exteoalvel Lt this stage of study md accordingly-_ j* are given “th< eyrikna"butb^ as «ss. p*“lir: work progresses.

ward the chile jr progress. The teacher holding a Certificate today is the one at the top of his profession. Are you getting STANDARD GRADED COMPOSITIONS ahead in the music field ? If not, what is the trouble ? There are demands for teachers in schools and [First Study Can Be Pleasingly Varied With] 7BCtnu

FIRST GRADE STUDIES for the PIANOFORTE adto^ther^he^coUectlon furnishes valualde^second^^ade^te^ colleges, and you have a chance to qualify for the best position. By L. A. BUGBEE merits attained success. All the readily used in conjunction with tne a PRICE, 75 Cent. YOUNG PLAYERS ALB special large plates and there Seventy numbers for the pianoforte^^eT TUs^one o° thereat obtainable compilation GENERAL STUDY BOOK ofr easy'piano°Pieces for teaching or diversion. SOUVENIRS of the MASTERS PRICE, $i.00 Get An Accredited Course By GEO. L. SPAU^1N^ duce(J in a simplified form. Altogether there are

MUSTICviLHEURE BOOK PRICE. 75Ce»U jgHSsSlyiscats*=■•«*-11 Diplomas, Degrees and Teachers’ Certificates granted by the authority of the State of Illinois. lar^^iotes ^Ul^e'^fo'und^’e^^dpful^'They'are'short, tuneful* mul^avcTaccompanying^text! VERY FIRST DUET BOOK I Pieces in Sheet Form for the Second Grade | Many of our graduates hold good positions, as a result of our Extension Courses. Read of the V hC mbe0t i^^ge^and^any^eachers^have1 proclaimed this a long-needed volume. .Engel $0.30 C7235°' Rose Petals.l.^.'Tn *°30 progress of these graduates. (Name and address furnished on request.) 16294 At the 16653tSS Eit5eLittli nfndimi'6hiVf.slg?tond 38 h° Anthony .30 7687 Walt, of the Flower Fairies^ ^ 16112 A Dan 7687 Walt | Works for Continued Progress in First Grade] “a.FonnIn 1412314124 NarcissiNarcissus .—r STANDARD GRADED COURSE of STUDIES—Grade 1 12916 The Si .30 16054 At the Fair.Ward " W S B. MATHEWS PRiICE, *1.00 Study in Your Own Home with the Best One graduate writes: elementary^ instructor 1 The Third Grade of Study and the “My diplomas from your Conservatory Teachers in the Country STANDARD GRADED COURSE of STUDIES—Grade 3 have been recognized by the State Uni¬ By W. S. B. MATHEWS , PR1CE’ versity and a life certificate issued me. I No Inn per is it necessary for the’ambitious- musical, student to incur the expense of leaving home STUDENT’S BOOK rte—Vol. 2 In the third grade the ^pupil _is_ ready for __something a little These studies arr PRICE, $1.00 • JL.<_ i.. It,, irra.tg 0f lI

P^m SEPTEMBER Built on Master Piano Teaching Material THE ETUDE STANDARD GRADED COURSE SEPTEMBER, 1925 Single Copies 25 Cents VOL. XLII1, —

of Indian music and composer whose delightful compositions OF STUDIES FOR THE PIANOFORTE Honorary Distinctions are sung around the world, received the degree from the Cin¬ There is a misty legend, undoubtedly apocryphal, but cinnati College of Music, where he had previously studied wit IN TEN GRADES _VPFRXS none the less pointed, that a famous master (was it Handel or Frank van Der Stricken and others. His work m original re¬ Haydn?) went to a great English University (was it Cam¬ search alone would entitle him to high academic recognition. UNCEASINGLY RE-EDITED, REVISED AND KEPT UP-TO-DATE BY RENOWNED TEA bridge or Oxford?) and there, after having received a degree LeRoy Campbell, educator, who has been at the head ot a of Doctor of Music, twisted his sheepskin into a fool’s cap and, flourishing conservatory for years, has made innumerable edu¬ Distinguished Pedagogs Likewise Have placing it upon the head of one of the college servants, an¬ cational pilgrimages abroad and has been a contributor to The Progams of the Pre-eminent Concert Artists Substitutes lor the Indispensable Materials nounced, “There, I make you a Doctor of Music.” The Etude for many years, received the degree from Gioie However spurious and clumsy this wit, the story is no Show that They Find Few Substantial Modern Selected by Famous Educators as the Backbone of City College. Willem Van de Wall, one of the most remark¬ Offerings to Replace the Works of the Celebrated without justice. Great universities often stoop from then- able musical workers of the present time, who lias for years the Standard Graded Course. academic dignity and confer honorary degrees upon men and devoted himself to the problem of curing insanity through Masters— women who have educated themselves to higher achievements musical means and has accomplished wonderful results, received than thousands of the graduates of the institutions conferring the degree from MuhlenSurg College. Van de V\ all is a psy¬ “STANDARD GRADED COURSE” IS AN UNEQUALED C0^'L^,™^p,g^GREATEST the degrees. This has happened innumerable times. It is a chologist of high ability and a musician who has played with AND ETUDES CULLED FROM THE WORKS OF ALL OF TH£ WORLD very pleasant bit of scholastic complacency this recognition many of the great orchestras ’of the world. Harry Alexander COMPOSERS AND TEACHERS BROUGHT TOGETHER IN LOGICAL AND PRO of the Alumni of the University of Hard Knocks. . , Matthews, Englisli-bom organist and composer of many nota¬ On the other hand, academic degrees, given indiscrimi¬ ble cantatas, received the degree from the University ot 1 enn- GRESSIVE ORDER CONSTANTLY RE-EDITED AND ANNOTAT nately (even purchased in the past), can become a very delu¬ sylvania, where he is conductor of the Glee Club. sive and dangerous source of abuse. They should be guarded Standard Graded Course is in ten grades, each grade with the greatest propriety. Society has a right to demand In addition to the imperishable studies and pieces of the Small Town Stuff being a separate volume. The aim of the work that these distinctions should be conferred only upon those There is always a tendency for the city nit-wit to laugh past the entire field of modern thought and inspiration cultivate a high development of technic, taste and sight who have done work that is admittedly of very great signifi¬ at the small town. Forty-second Street and Broadway is sup¬ is carefully scrutinized for gems that will add greater reading as the pupil progresses from the most elementary cance to mankind. The peddling out of degrees upon local posed to be so much more sophisticated than Mam street value to this foremost of all teaching works for the stages of grade one to the highest degree of virtuosity celebrities whose names can never reach the permanent halls and Willow Lane that these localities are represented as pre¬ pianoforte. The immense popularity of this course in grade ten. Teachers are invited to examine any of fame is merely a pathetic pandering to human vanity. senting, comparative degrees of mentality. necessitates frequent printings of the different grades, The achievements of one receiving an honorary degree should or all of the volumes of this course. _ , What are the facts? We have just been over a list ot allowing opportunity to keep this course “The Last Word Price, $1.00 Each Grade be apodictic, otherwise the whole system of degrees becomes a representative American educators who have been considerable in Musical Education.” farce. factors in the making of musical America. Loss than twenty In America, the degree of Doctor of Music has been con¬ per cent, of the men were born in large cities. Eighty per Dr. Wm. Mason, the Master Mind Among All American Teaching Experts was, lbom **1****™'!'*' '}' ferred upon many musicians of high standing, almost invari¬ cent, were born in small towns. Hurrah for the small town! Constant Collaboration with W.S.B. Mathews in Co-ordinating His Famous Touch and Technic With the ably as hon. causa. A few men have worked for the degree Standard Graded Course. Complete Directions are given in Each Grade for the Application of and earned it in their course. Therefore the American distinc¬ Too Much Technic? tion is hardly comparable with that of the great English Uni¬ The technic of both the construction of music and the versities where the degree is rarely conferred except for work interpretation of music is singularly complex—possibly more done along prescribed University lines and followed by a very complex than that of any other art. TOUCH AND TECHNIC “stiff” examination. On the other hand, there are thousands In its mechanical aspect the technic of music is not unlike of English university graduates who possess degrees in music By DR. WILLIAM MASON mathematics, to which the ancients invariably espoused the whose apodictic accomplishments could hardly compare in any tone art. The composer who essays to write fugues is work¬ THE MOST STRONGLY ENDORSED OF ALL TECHNICAL SYSTEMS way with those of such Americans as Edward MacDowell, ing out problems in aural calculus and trigonometry which “In your method I find exercises strongly William Mason, Horatio Parker (Mus. Doc. hon. causa Cam¬ “Your Touch and Technic is the best piano might give some concern to the mathematician. method which I know, and I congratulate to be recommended, especially the inter¬ bridge University, England) or George W. Chadwick. When locking passages and all of the accentual ° It is because of this technical equipment that composers you on being the author of so masterly a Sir Edward Elgar -received the degree of Doctor of Music passages.” and interpreters must acquire that they often neglect the art I. J. PADEREWSKI FRANZ LISZT from Cambridge University, the distinction was about equally- side, that is, the aesthetic principles which, after all, govern divided between the institution and the composer. The self- Comprises an original system for the development of a complete technic, from the beginner to the the character of the work and determine whether it is a mere finished artist. Its distinguishing characteristics are: An active use of the pupil’s mind in technical taught Elgar is at once the most masterly English composer work, with the resultant rapid and thorough development: the application of accents, thus developing contraption or an immortal masterpiece. since Purcell and at the same time the most unacademic. a true rhythm; a discriminating touch that leads to every variety of tone color and dynamic quantity, Mussorgsky, the Russian iconoclast, felt this very deeply and an effective system of velocity practice that secures the necessary facility and speed of execution, We are, of course, wholly out of sympathy with any ten¬ and expressed himself thus as long ago as 1872: all of which is applied to the artistic and expressive rendition of musical compositions. The books are dency to grant music degrees, particularly honorary degrees, all self-explanatory. Any teacher may take them up and use them at once without special training. “Tell me why, when I listen to young artists, painters unless there are some conspicuous evidences of accomplishment The value of the Principle of Accentuation applied to exercises is now s6 generally recognized by and sculptors talking, I can follow, their thoughts or under¬ all teachers and virtuosi that every book of technics contains more or less of it. Nevertheless, as of permanent value to the times. When President Coohdge stand their opinions, their aims; and I rarely hear these people Dr. Mason was the original discoverer of the principle, no application of it has been so ingenious and was invited last Spring to attend some twenty college com¬ thorough as his. talking technically save when it is absolutely necessary? When mencements and receive honorary degrees, it was quite obvious on the other hand I am with musicians I seldom hear them IN FOUR BOOKS—Price $1.00 Each that the distinction of his presence was greater than any honor “ Touch and Technic Part I—The Two-Finger Ex¬ Part III—Arpeggios Rhythmi¬ “After the most express a single living thought. One would think that they is, in my opinion, ercises (School of Touch) cally Treated (Passage thorough examina¬ the college could bestow. are all on school benches. They only understand “technic” one of the most im¬ School) In music, the Doctor of Music receives upon the occasion Part II—The Scales Rhyth¬ tion / consider and technical terms. Is musical art so young, then, that it is portant works of its Part IV—School of Octave mically Treated (School of Touch and Technic a hood lined with pink, an insipid color to be sure, unless we kind. / have read it Brilliant Passages) and Bravura Playing necessary to study it in this childish manner? a master work which desire to look upon it as the pink of perfection. Most of those carefully and have On the other hand, Mussorgsky would have been a greater found fea t ures holds an unap¬ who have received the degree have been so very busy m their THEODORE PRESSER CO. composer if he had had more technic. It might not then which I have not en¬ proachable position countered i n any Music Publishers and Dealers after-lives that they have had little time to think of it. among the most have been necessary for the self-abnegating Rimsky-Korsakoff other work on piano 1710-1712-1714 CHESTNUT STREET TiFe Etude is pleased to congratulate at this time four playing.” important works.” to rewrite much of Mussorgsky’s technically weak work. PHILADELPHIA, PA. of its friends who have recently received the honorary degree Technic we must have and have in abundance. 0. GABR1L0WITSCH RAFAEL J0SEFFY of Doctor of Music. Thurlow Lieurance, noted investigator

Your Postal Request Will Bring You Complimentary Our 24-Page “Guide to New Teachers” Telling Just How to Use the Above Mentioned Works SEPTEMBER 1925 Page 609 THE ETUDE

rpRANK LA FORGE 'T'HE art of accompany- Thc Stude"fs Eyesight m^rUntm>tler * Was born at Rockford, f ing is one of the most It is the fault of young musicians to think that they can Illinois, October twenty- difficult to master. The The mum *‘od“‘s “mtirmdly under » greater .train fly without machinery. They are like the simple folk that the second, 1879. He studied old idea that anyone who In reading music the eye rapidity with which music writer recently saw in a hospital for mental diseases. These with Harrison M. Wild in was a somewhat indifferent unfortunate people were trying to fly by waving their arms Chicago and with Lcsche- soloist might eke out a in-the air like the wings of a bird. Seated in a bi-plane with an tisky. Labor and Navrdtil livelihood at accompanying which the eye must take m at one t™e< asked to read at engine and a spread of wings, they might have flown from i ,„wr,nsp for instance that one «<*»-> in Vienna. Far six years has long since been aban¬ Let us suppose io n lines of text: coast to coast. he was the exclusive ac¬ doned in higher musical Our advice is to get as fine a technical machine as you companist of Mine. Mar¬ circles. The accompanist possibly can. After you have done this learn how to run the T ,C present state of nm.ne.pal real estate cella Sembrich on her tours must be a master musician machine so that you fly and at the same time forget the ma¬ The negroid art of another remote period of Germany, France, Rus¬ with quick wit, splendid chinery, the technic. That, after all, is the trick of being- a sia and the United States. judgment, extensive ex¬ The fauna n fM* thehisk that confronts Beethoven, a Wagner, a Paganini or a Paderewski. He has composed many ex¬ perience and a really very t This is only more difficult m d g u ted piece of poly- ceedingly beautiful songs. great digital technic. More ^2,"m^ts.Wrtl,e.tn.. “Walk-Outs” Verboten As an accompanist he is than this he must have a Thk directors of the Philadelphia Forum have issued an unexcelled. He is the chamelconlike mind to fit edict against “walk-outs.” The Philadelphia Forum is another *h”CSgEtSSL™«on Council circulates an article teacher of the sensation¬ his mood instantly to that expression of the inexhaustible initiative of Mr. Edward W . bv M LucSfDirector of the Lighting Research Laboratory ally successful Metropoli¬ of others who employ his Bok. Like the venerable Brooklyn Institute (now over one hun¬ of “cia Park, Oeveland, from which the following quoted: tan Opera Company star services. dred years old), it embodies, expands and regularizes the idea of modern livinrroom i. a place of many recreational of last season, Lawrence the old Star Lyceum Course on a much more lofty artistic and activities While the average home to-day has one oi P° Tibbett. educational plane. That is, men and women of national and able lamps, the living-room is the place when? several may be international repute in Arts, Letters, Science, Statecraft, and so used, e.g., one on the library table, a floor lamp for the piano, on, appear before the Forum. Because of philanthropic assist¬ a floor lamp near an easy chair, and at the davenport. In 1 ance here and there, and because of wholesale arrangements for chasing a portable lamp one should examine tim hgbt.ng eff- t How to Play an Artistic Accompaniment appearances, the Forum members receive a great deal of in¬ by sitting down by it and noting the spread of light and the By the Noted American Pianist-Composer—Accompanist and Teacher formation and edification for very little outlay. shading If the light-sources. One of the primary faults of Now the Forum directors are up in arms over the fact portable lamps is that usually not enough light escapes upward. FRANK LA FORGE that some of the members have “walked out” before the Open-topped portables arc very much to be desned. One of car memory is cultivated from the beginning of -study, “meetin’ ” was over. It goes so far as to announce that those In studying a song, all my pupils, both of singing and the great advantages of the portable lamp is that it supplies OT MORE than a decade ago musicians were in¬ almost anyone can develop a reliable memory. To he N of accompaniment, go through the same procedure. An who are guilty of this offense will not be permitted to take out light where desired and that it may be decorative as well as clined to regard accompanying as an activity of able to divorce himself from notes is a great advantage to outline of that procedure might help the pianist to get minor importance. It was considered a useful the accompanist. He is then able to watch the smger new annual memberships. useful The use of portable lamps does not mean that ceiling some practical hints for playing an accompaniment Possibly there is no pest so irritating as the auditor who accomplishment to have; but for a serious artist closely and anticipate his every nuance. fixtures should not be installed so that they may be used when artistically. . . To proceed then with the final step, working out the makes a practice of putting his own convenience and comfort to devote his major effort to this phase of the art was What then is the first thing to do in learning to play desired, or that wall-brackets should not be supplied. However, details of the accompaniment. There are two details scarcely to be thought of. Even Lesehetizky, with whom an accompaniment? The usual reply to this query is that above those of other auditors and rudely leaves a hall, disturb¬ the wall-brackets in living rooms should be considered largely I studied for four years, regretted my ultimate decision here to be noted that make the difference between the the player should take up the piano part and study it. ing the speaker or performer and breaking up the spirit of the to become an accompanist—for I had studied as a soloist mediocre and the finished, artistic performance. I have from a decorative standpoint and should contain small lamps As a matter of fact, this is the last thing to do. As heretofore alluded to the singer because vocal accom¬ occasion. The Forum contends that the members take the with him—and he strongly advised me against it. He previously stated, the intelligent accompanist should which are jvell shaded.” panying is more frequently encountered. However, there place of host and hostess to the visiting speaker or performer. shared the prevalent view of that time that accompanying make a greater study of the song than the singer. The should be a minor and not a major pursuit. Some years are violinists and others to be considered. The procedure In other words, the sacred right to “strike” is taken away former should begin his task just where the composer as previously outlined, with the exception of learning later, however, he changed his viewpoint, when I appeared began—with the words or poem. The composer got his from the audience. “Walk-outs” are verboten. As there are the words, applies to all forms of accompaniment play¬ The Unmusical as accompanist to Mme. Sembrich at concerts in Vienna, inspiration from' the poem and then set his thought to two sides to every question we cannot help feeling that audi¬ ing. In accompanying violinists and other stringed in¬ and told me that he could see in accompanying a great art, music. Accordingly, begin every song in this way, Susceptibility to music is comparative. strument players, the physical limitations of the soloist ences deserve some protection against a tiresome or uninterest- an art worthy of the best efforts of any serious pianist. going over the words, getting the feel of them, finding At the top of the gamut stand such supremely musical per¬ impose fewer obstacles. The singer, however, must ing performance, even though that performance is only two The advancement in the art of accompanying has been out the sentiment expressed, locating the high lights, the breathe, a fact to be borne in mind by the accompanist. sonages as Bach, Mozart, Wagner, Schubert and Chopin. With notable in the last ten years. It is now regarded more shadows, the climaxes, and finally committing the words hours in length. We have, in other cities, often been “bored to Notable concessions must be made for breathing and the them may be ranked their finest interpreters. seriously than formerly, by professional musicians and to memory. Some composers, notably Schubert, gave death” by a dull program and have bravely stayed to the end public alike. There are many more singers and other accompanist should know when and where. If the singer, At the bottom we find people of all kinds. Thc lack of musi¬ very few indications of how a song should be played for instance, sings a long phrase, the breath supply is merely to avoid giving' discomfort to others. Indeed, we have soloists at the present time and a correspondingly greater or sung. A melody sprang into Schubert’s conscious¬ cal appreciation is by no means an indication of a lack of gen¬ gradually depleted. Consequently the singer must not often wished that we might have the excuse that parishioner need for accompanists. When formerly a mediocre per¬ ness almost as,a full-blown flower. He was one of our eral intelligence. Wendell Phillips, General Grant, and many only recover from the exhaustion of that phrase but gave to the clergyman who severely censored him for “repeat¬ formance on the part of the accompanist was acceptable, most spontaneous composers, committing his thoughts to take breath again for the next. Invariably unless the others, contradict that. Hearing is one of the senses. There the standards of the profession are now much higher paper hastily, and quite frequently forgetting about them edly walking out in the middle of the sermon week after week.” and the field broader. Pianists and students are find¬ accompanist senses these situations, he will rush ahead afterwards. Beethoven, on the other hand, worked with The poor man replied, “You will have to forgive me, doctor. are people who have lost their sense of taste and there arc peo¬ of the singer before the latter has sufficiently recovered ing it to their advantage to cultivate the art either as meticulous care, refining, polishing, bringing to his task You see I am a somnambulist, and I can’t help walking in my ple bom with a very feeble sense of smell. Thousands struggle to resume. The following illustration from Schumann’s an adjunct to their solo playing or as a specialty. And the spirit of the craftsman. He gave more indications Er, dcr Herrlichste von Allen (He, the Best of All) sleep.” •_ through life with color-blindness. accompaniment-playing will prove beneficial to the solo¬ as to interpretation. His notebook, showing the de¬ from “Woman’s Life and Love,” is a case in point. The unmusical person is to be pitied but not patronized any ist, because it will acquaint him with some principles of veloping process of his themes, is to-day the most valu¬ Bandsmen or Privates ensemble playing which every well rounded pianist needs able treasure that exists for students of composition. __^ Pause more than would be the color-blind person. Where there is Ex. 1 The man who enlists in the United States Army has two to know. Composers may be spontaneous in evolving their crea¬ what can only be called an atrophied musical sense, it seems kinds of pay: (1) The Glory of wearing Uncle Sam’s Uniform To my mind, the accompanist who has a thorough tions or they may work slowly, depending on their par¬ almost hopeless to try to redevelop it. ticular type of temperament. The point remains, how¬ 1 be, jAnd a and living as his guest; (2) A very slight money reward at the command of the resources of his art compares very W by the choice should fa vord Sir Oliver Lodge recently said: “Take a dog to a concert. favorably with the orchestra conductor. Toscanini, for ever, that an understanding of the inner meaning of the end of each month. Add to this, travel, educational facilities, Does he hear Beethoven? No; he hears a noise. Some people are instance, has a more comprehensive knowledge of the words gives the best clue to the song’s interpretation, training and comradeship; and we find that the enlisted men aside from indications. ' I in the same predicament.” opera he is conducting than the individual members com¬ really get more than it might otherwise seem. prising his company. The latter are as blocks in a The next step of the composer is to fit his melody to p The trouble is that some of the “some people” have the In the past, however, the Army Bandsmen felt that they mosaic, disassociated parts. It remains for Toscanini to the words. Accordingly, after committing the words to had the small end of the stick. They longed to be rated as manners of a dog and persist in baying at the music which they weld these blocks into a finished and beautiful whole. memory, learn the melody, playing it as a unison with musicians and not as mere “privatesthey felt that their leadei are incapable of appreciating. An old axiom in geometry comes to mind—a whole is both hands and beating the time with your foot. In this In this instance, unless the accompanist knows that should have the same rank and emoluments that belonged to greater than any of its parts. Accordingly Toscanini way the rhythm and melody soon become ingrained in breath should be taken, necessitating a pause immedi¬ must have a more extensive equipment than the indi¬ your sub-conscious mind. Lawrence Tibbett, who studies the Chaplain. They felt that if the average pay of the Navy ately following C, he will continue in tempo ahead of A Notable Season vidual members of his company. The same can be said with me, works out his entire repertoire in this manner. Bandsman is $67.00 a month that the Army Bandsman at $41.07 the singer, thus causing confusion. Such instances This issue of “The Etude” opens the 1925-1926 season of with respect to the accompanist. He should know, for After achieving the first and second steps, the player was rather badly off. (where the composition allows no natural breathing instance, more about the song than the singer who sings has laid a solid foundation for building the accompani¬ Ten Dollars a w-eek for providing inspiration to our fighting The Etude Music Magazine,” a season which mil be character¬ places—rests or pauses) require a constant rubato on it. The latter centers attention upon the melody while the ment, which is the third and final step. He can now men is ridiculous. Ask any soldier what music means in the morale ized by more practical, entertaining, inspiring music and musi¬ the part of the accompanist. Free from notes, the lat¬ former must not only know the melody and words but work out the details of the accompaniment logically and cal educational features than any previous year. Our con¬ ter is able to watch the lips of the singer, to sense of the Army. It is remarkable that the bands of the past have also supply the harmonic investiture as well. While he intelligently. such situations, and to feel the nuance. Otherwise he been as good as they have, with such very low pay. If we are to tributors have sent us the most stimulating, authoritative, does not conduct the performance in the sense that Tos¬ In addition to the words, I commit all my accompani¬ should mark all important breathing places, particu¬ have Army Bands at all, let us make it worth the while for the fresh, youthful and helpful material we have ever seen. Pro¬ canini does, yet he must have a knowledge of the whole; ments to memory and my present repertoire consists of larly where the singer must recover from a long phrase. men that make the music. gress to higher musical triumphs with “The Etude.” while the average singer usually has knowledge only of over three thousand songs. Memorization is a decided The second consideration in working out the accom¬ his part. Thus it is apparent how extensive the art be¬ asset, but I advise it only for those whose memory is paniment puts the final stamp of distinction on a perfor- comes to anyone who would study it seriously. dependable and facile. Personally I believe that if the SEPTEMBER 1925 Page 611 THE ETUDE THE ETUDE . v.iote- in accompanying songs, first find 'Page 610 SEPTEMBER 1925 To recapitulate, words convey, then acquire the Technic fundamental bass, intermediate parts that move and mter^ Long-Neglected Piano mancc. Let me illustrate this point in Schumann’s The out the meaning t ^ finally study out the accom- Rebuilding a King, from “Woman’s Life and Love.” mediate parts that remain stationary. J**|”?ntermediate melody and rny , ^ twQ in,portant considerations have the first four elements, and since the a paniment, remem laces and to bring out when By JEAN CORRODI MOOS Ex. 2 parts move, we select some of them for s re . vote, that illuminate the hat. general rule, a moving part (one that m°vesoppor- sary vigor and resiliency, of a playing apparatus tem¬ possible, the U wfll have mastered the song HE GERMANS have a proverb: “One learns to in a melodic way) other than the melody, offers opp T porarily rendered ineffective by disuse. Any player, mony. yj be abie to give the singer the utmost skate in the summer and to swim in winter. tunity for counterpoint. Frequently the ** thoroughly, yo can scarcely fail to attain however, and at any time, may profitably avail himself This proverb, while it may contain some truth, given prominence, as in Schubert s Who is Sy ■ of these exercises. For a fearful waste of time and etc yet, like most sweeping assertions, does not Another princip’e for the accompanist to remember effort is implied in the current way of ploughing through convey all of the truth. Certainly not if applied to the that good taste abhors monotony. Ex. S is a voluminous technical compendiums, no matter how ex¬ L.H. Self-Test Questions Upon Mr. La Forge’s Article technic of piano playing, as anyone returning from a cellent in themselves, mastering one technical problem, long summer vacation, or compelled for less pleasant l HoW have the standards of accompanying advanced? only to leave it behind for another indefinitely. For reasons to abstain from the regular practice of the jealous nothing in piano pedagogies is more securely established 2. What is the first thing to do m learning to play instrument, soon discovers to his sorrow. For Rubin¬ than that continued, and long continued repetition alone stein well knew whereof he spoke when he said that spells real technical progress. Far better to limit oneself The octave exercise, No. 4, is likewise transposed and “"iHowam** 9et a melody gained in the sub, one day’s neglect of practice on his part was noticed How. would you play the rolled chord; B-natural, G, to comparatively few typical technical figures thoroughly played with pure and somewhat exaggerated wrist by himself, two days by his friends, but three days by D on the fourth beat? I can hear you playing it as it mastered than to try filling a leaky vessel by contmu- motion. is done invariably by my pupils at first, emphasizing C°TuZ,Tffaccompanying a violinist differ from ac any fool whatsoever. . ously pouring into it more and more water. And yet it would scarcely be wise, even if it were the melody note, D. True, in solo playing we emphasize One word of caution, however, may be needed to the melody note. But in accompanying, when the melody, practicable, to become so enslaved to an instrument, no prevent misapplication of these exercises. Whenever the note occurs both in the accompaniment and song, why matter how versatile and soul-satisfying, to the point of attempt is made to overcome the stiffness, clumsiness should it be emphasized twice? The singer brings out foregoing other forms of recreation or evading the many and flabbiness of the playing apparatus the tendency the melody and thereby gives us opportunity of giving How Health Affects the Memory duties of everyday life which the modem musician, as is almost irresistible to aim at strength rather than at prominence to another note or voice, thus making a every other human being today, must meet if he is to Lh. suppleness. This tendency, if followed, invariably de¬ little duo. Now play the chord bringing out the B natu¬ keep abreast of his opportunities. For the time is long By Raymond Adams feats its own purpose, just as it does in the beginning ral and see what a difference it makes. past when the executive musician was a being set apart The trill in 3ds is repeated slowly with alternate stage of technical training. It leads to contracted mus¬ 1 Let us consider the opening measures of The Ring as from the rest of human-kind, pampered and largely ex¬ hands up to the fatigue point, and then similarly in the cles, and convulsive, ineffective muscular movements. a further exemplification of this principle. prelude to Schubert’s The Favorite Color from “The Stuck' How often does the player reach a point in a empt from the average man’s economic, social, even fast form, with doubled speed. Wholly relaxed playing conditions alone will secure Maid of the Mill.” The right hand begins with re¬ piece where the mind seems to stop like an arrow but¬ moral, obligations. The standardizing spirit of to-day pliancy and fluency; and the requisite strength will soon peated thirds. Now repeated notes lose interest unless ting against modern armor-plate. wrenches him away from his instrument, whether he working up to a climax or down to a vanishing point. “Bad memory!” you ejaculate. likes it or not. For in practically every instance he is follow as a natural consequence. If they are doing neither, they should be greatly sub¬ Perhaps it is nothing of the sort. Perhaps you are perforce also a teacher, a business man, perhaps also a dued. Accordingly this prelude is to be played, each tired. Perhaps you are ill in just a few little brain cells family head, at any rate, a cog in a vast economic ma¬ The Slow Trill note with the same subdued regularity until the motion that have to do with storing up and recalling y>ur music chine, and as such subjected to all the wear and tear THE FI&ST exercise is the simple slow trill with occurs (F sharp to B), which is then treated melodically memory pictures. Perhaps there may not be proper implied by the furious pace at which this machine is Exercise No. 6 repeats each measure four times slowly, fettered fingers, than which there is no more pro¬ then four times fast, left hand first, right hand following, until it becomes stationary on A-sharp. The same pro¬ coordination between your brain and the vehicles of running. ductive technical exercise, whether for the merest tyro with the upper fingering. Then it is repeated with the cess repeats itself as indicated by thq larger notes. The transmission of the thought to the keyboard. To be successful, by far the largest part of his day or the advanced pianist. The fettered fingers are de¬ first notes of the phrase, showing a movement of voices, lower fingering. Complete suppleness of the wrist must Don’t worry. Rest awhile. The mind seems to “pick must be spent in teaching; some time must be given pressed silently and—what is of the utmost importance- are emphasized and the top melody note brought out. be observed. up” under the influence of rest, just as an electric storage to reading, professional and non-professional; he cannot held down lightly, without the least active pressure. It Thus throughout, the example is phrased as shown. battery seems to pick up power. escape certain social duties unless he wishes to see his- is to avoid the cramped condition of the hand that only A song’s prelude is its introduction. Preludes and Wait until you feel “real good.” Then try memorizing pecuniary sources drying up; in summer the lawn mower, the adjoining, and not all the inactive fingers as custom¬ postludes, as well as interludes, are bits of solo playing. all over again. Bartholomew cites the famous case of in winter the furnace; or if of the opposite sex, the arily required, are to be held down. Each hand plays They should be played accordingly with solo tone, em¬ Cardinal Mezzofanti, in the early nineteenth century. A broom, the kitchen stove, the dishpan, perhaps even the the exercise first very slowly, but with rather decided phasizing the melody and with the prominence of solos. man with a marvelous memory, who could speak thirty- washtub, will be waiting after a day of already too “snappy”—though not exaggerated—finger motion, re¬ A prelude announces the song and frequently estab¬ two languages fluently, was seized with a fever which many hours in the teaching room. And what scant peating each measure eight or more times. Then the lishes its mood. It is of importance to study preludes, wiped out these astonishing accomplishments over moments of practice he snatches from a day of such postludes and interludes with care to exhaust their pos¬ same exercise is played at moderate speed, and finally night. The work of a lifetime was gone. Gradually, as arduous labor are devoted to hurried, listless work on once more as fast as possible without blurring. Through¬ sibilities. he recovered, the languages came back. a few pieces, and we know but too well that work of out, the slightest evidence of fatigue is the signal for Finally, the accompanist should strive to reflect the this fashion almost invariably leads to the disappear¬ the discontinuance of the respective hand. Throughout, Exercise No. 7 extends to five-finger exercise to the atmosphere of the song. All the more reason why he ance of our technic in the quicksand of neglect, despite likewise, as the speed increases the tone volume should range of an octave. It should be transposed and the should get the inner meaning of the words. Does the our frantic efforts. song suggest the delicacy of snowflakes, the surge of the Musical Maxims decrease. All the exercises, moreover, should be prac¬ hands should follow the fingers with gentle rotary ticed with separate hands only. The combination of Here the accompaniment doubles the melody. Play sea, the buoyancy of a brooklet, the heartache of despair, motion. Periods of Rest both hands, of course, economizes time; but it also it over, first emphasizing the melody. Then play it al¬ or is it descriptive, as in Schubert’s Gretchen am Spinn- By Harold Mynning HEN there must be periods of rest, for neither deprives the hands of alternate periods of rest and results lowing the singer to stress the melody and bring out the radf Whatever its spirit, mirror it in the accompani- T flesh nor spirit can indefinitely endure such gruelling in premature fatigue. Likewise it makes against equality larger notes. You will now begin to perceive into what Slow practice will not cause your playing in slowly For purposes of illustration, consider “The Maid of strain. And that drives another nail into the coffin of our of tone strength—the very touchstone of all technical a fascinating interplay of voices such a study will lead deteriorate. you. I would like to cite one other example from The the Mill,” the song cycle by Schubert. First read the technic; for, be it the oar, the golf club, the automobile work. Ring (Ex. 4), because everyone who hears this played text of the entire cycle in order to get a panoramic view You may save your voice a little by not counting out steering wheel, each seals the death-warrant of that one way and then the other exclaims upon the difference. of the entire situation. Then the “close up.” The first loud, but in the long run it is doubtful if it would be thing for which we have paid such a fearful price—our song, “Wandering,” discloses the miller, to be a man energy worth saving. playing technic. And yet most of us must play. And fond of wandering and ever active as is his mill wheel. Regular practice makes for steady progress. all want to play, desperately. For there lies in a large This restless activity is admirably suggested in an ac¬ You can reach the goal only if you have a goal set measure our recompense for dreary hours of wincing companiment of sixteenth notes. Since rhythm is the out to reach. under our pupils’ mistakes, our escape from drab real¬ The octave exercise No. 8 is transposed up one octave. chief characteristic of this accompaniment, much should Rhythm should be like the wind that blows through ity, from the workshop of art into the temple of art. It requires extreme lateral freedom of the wrist, as well be made of it, with clear accents. The next song, the summer trees. Always interesting. How may it be done ? as a free swinging up-and-down stroke. Not—that much is sure—by attempting pieces when Whithert also portrays in its setting some of the rest¬ Before you follow your own interpretative roads, be our technic is in a state of disrepair, which means sim¬ less whirring of the mill-wheel, whose motion is sug¬ sure you follow the many signs the composer has laid ply substituting our own for pupils’ botching. What¬ gested by swift, light-moving sixteenth notes in the right out for your guidance. The exercise following aims not only at finger inde¬ hand. Thus each song portrays a different mood. In ever the reason for the technical degeneracy, it is a Don’t forget to breathe, especially before a long ardu¬ pendence vertically, but also at the lateral finger action the one After Work, the young miller is deeply stirred waste of time; and, what is worse, a waste of aspira¬ ous passage. tion to work with dull tools. Somehow they must be so essential to accurate “spacing.” It is played in the and filled with longing to do mighty deeds to prove his Do not depend too much on the soft pedal. sharpened. And since time in this instance is of the same manner as Ex. No. 1: I love for the miller maid. When the accompanist senses L.H. In this example, also, the melody is duplicated in the If you do not hear every note you are playing, how essence of things, they must be sharpened quickly as this feeling himself he can depict in the opening chords accompaniment. Play it over, first stressing the melody can you be sure that you are playing every note cor¬ well as effectively. Exercises Nos. 9 and 13 are extension exercises, both the impatient abandon of the song. The vital thing is and then play it over bringing to the fore the larger- rectly. This sharpening process may proceed in different requiring extreme freedom of the wrist and rather to get the spirit of the song, to feel the emotions of ways. Some few particularly useful etudes may be sized notes. To one unaccustomed to differentiation of Play with abandon, but remember that abandon only exaggerated rotary hand motion. note dynamics, bringing out a note in the middle of a its characters, and then to disclose these emotions in worked up to a fair degree of finish; or the customary gushes forth from the deep well-spring of complete the accompaniment. That is why it is so essential to scale and arpeggio work may be resorted to for this Ex. 9 chord is not so easy. The study is an intensely profit¬ mastery. able one, however, for any pianist to make, as it opens study the song as a whole, and not- simply to learn to purpose. But, useful as both these are, they are neither Learn to follow the singer, for his music is or should up a whole new world of note and color values. As an play the piano part. the quickest nor the most effective means to secure the be the most perfect music to follow. purpose. Far more productive is it to devise a set of accompanist, in bringing out the inner voices, you be¬ One other consideration is to be borne in mind. The It is not so important how you hold your hand as it key gymnastics which avoid the sameness of the tech¬ come more than a mere accessory to the singer. You resonance of sopranos and tenors particularly is much is that you hold it without tension. nical pattern inherent in both, etude and scale and arpeg¬ become, in reality, a part of an ensemble, interweaving greater in the upper than in the lower registers. Ac¬ The five-finger exercise, No. 3, is to be played each Nos. 10 and 12 introduce the scale and the arpeggio gio work, exercises which bring into play all, not only with ascending 7th and descending 6th, both in zig-zag little skeins of melody here and there and achieving cordingly, when low notes are sung'they are usually measure first twice slowly and four times fast—with a few, of the muscular adjustments that enter into piano motion, far more useful than the straight up-and-down a beautiful and variegated pattern. This phase of the not heard as distinctly as higher ones, and the accom¬ doubled speed—by each hand and transposed upward There must be work, work, work, seemingly motion. For it is at the turn of direction invariably panist should subdue the piano part to the degree that playing, and that with the utmost vigor and under the chromatically until fatigue sets in. Then it is played in subject itself is too vast to admit of detailed treatment forever, and to it must be bent every sinew of that lack of clearness is in evidence, and the fourth finger here. Suffice it to offer a few more suggestions for will give the finger prominence. Even when printed most favorable conditions. the same manner with finger staccato, and for the third body and every energy.of mind. All that is neces¬ Such a set of key gymnastics is offered in what will bear especially close watching. Other scales, aside your guidance. indications seem to give directions to the contrary, your time with the “elastic” touch, that is, the fingers, by sary for virtuosity, but for art there must be even follows, not as a new contribution to the already vast means of an inward snap of the first two finger joints, from that in C, may be practiced. But if the C scale Whenever the accompaniment doubles the melody of own good taste and judgment should decide when to can be played smoothly and fluently the other scales, more. Music must be grown right into the soul- literature of piano technics, but merely as a condensed brush the notes off the keys. The sidewise rotary hand the song, search out the hidden voices and give them submerge your part so that the singer can be heard. from the purely technical standpoint, will present no it must become a new function of the body and resume for securing this particular end: the restoration, roll, especially ill the fast form, is conducive to increased prominence. Accompaniments have the following ele¬ For the accompanist, as well as for anyone else, common difficulty. the personality of the student, and then he vnh with the utmost speed and effectiveness, of the neces- speed. ments in greater or less proportion: melody, rhythm, sense has a current market value. be an artist.’ —Cesar Thompson. THE ETUDE SEPTEMBER 1925 Page 613 THE ETUDE Page 612 SEPTEMBER 1925 How Music is Saving Thousands From Permanent Mental Breakdown ———- —jssr-in "p,,a s /D MlSICALPRUtToMmlTION An Interview with the Noted Musical Mental Expert WILLEM VAN DE WALL Prizes Aggregating $9500.00 of the Department of Welfare of the Commonwealth of Pennsylvania Biographical particularly beca^guklnnee "nd with*The ‘•Banjo Quartet,” in order i [Dr. Willem Van fle \ ■all ii England. For seven yeai s cooperation of the l^“jj iu^the^fifld'*of“ general' mentai Sesqui-Centennial Celebration study politan Opera House Orchei figures In present-day nni with the definite aim of del year he was with the New 1 ued'the Marines Philadelphia, 1926 ■ ing Its psychologic;' Walter Damrosch. During and was stationed in Mash e became a part of the U. S. Marine Baud, - I x- nf flip White EMINENT MUSICAL AUTHORITIES WILL ACT AS JUDGES reatment of actirttSfouXs ,'r , fos'i' 'he"* to. Sinh the ^SisnyVh^ His work L i," in tlons At present Dr. Van de Wall is repre- orchestra in Leipsdg. ^ This^was foltowed by^uy rtamlins6 senting the State of Pennsylvania in a London Conference.! The Sesqui-Centennial ^ irSthePUnitedhStatesm0For a time he joined a vaudeville to take part in the musical exercises. Here we achieve one of the most important gains; that is, that the patient HjN MAKING any statement in connection with *ional5S???^l1™?r™SittonSOpen to Composers of .11 Nations. who has turned himself away from the world, turns I the utilization of music in connection with I mental disorders it is necessary to employ the round about and joins again with his fellows on a greatest scientific precautions. The whole sub¬ plane of harmonious group expression. no. i OPERA PRIZE ject is so vast that as yet only the thin frontiers have been “One patient in this group had wrapped herself in a blanket of old newspapers, passing her days by dozing The Association Offers a Prize of Three Thousand Dollars ($3000.00 I) explored. Physicians and penologists, besides institu¬ tional and governmental administrators, have made im¬ on the floor. She had done this for years. She went to Fortheb^tC^erasubimtt^mcom^titiom foil ^r^tratTon and nho by portant steps at all times, and it has been my wonderful the piano, expressed her delight in the music and, when not later than March ist, 1926. W must be ac^n^ annQ^nccd May 1st. 192b. No con- wood fortune to have the benefit of the advice and cooper¬ invited, played and sang, with some hesitation, the beau¬ ation of the finest minds in their field. Otherwise I would tiful Celtic song, “Flow Gently, Sweet Afton. This 5SSTS taStt'SES* fe the ember o( am. The work be ol . was the simple beginning of a change in her life, bhe have great temerity in expressing any opinion at all. musical character. “Some harm has been done to the right understanding is now of her own inclination leading the bed-time group singing in the ward. This is a most valuable work, of the value of music in mental treatment by self¬ creating a spirit of beauty and peace which continues no. n SYMPHONY PRIZE advertising charlatans. The public is therefore warned even after the music has finished, causing a momentary against any exploitation of the thought that music is The Association Offers a Prize of Two Thousand Dollars ($2000.00 happiness which ever gives to the life of those who have a panacea healing the highly complex disorders known to spend the rest of their days in an institution, a rosy as mental diseases in a cure-vyhile-you-wait service by the glimmer and a satisfaction like that enjoyed by some¬ conjuring strains of the fiddler’s bow. one who receives affectionate caresses. This woman, The result will be announced May 15th, 1926. “So astonishing are the few facts and experiences that No. 14 is a difficult exercise in finger spacing and is although not the type of a case in which a cure cou d have been obtained thus far, that it is not necessary to be continued on the three chords indicated. The em¬ be effected at her stage of advancement, developed, so no. in to exaggerate the importance of this subject to gam ployment of the fourth finger must receive particular CHORAL PRIZE interest and attention from the general public. The sub¬ many new interests, also assisted by other of attention and is indicated above for the right, below for The Association Offers a Prize of Two Thousand Dollars ($2000.00) therapy by which she could thereafter be reached, that ject is so new, however, as an adjunct therapy m hos¬ the left hand. The exercise may profitably be trans¬ she discarded the paper-blanket stage of her existence, For the best Choral Work for chorus, solo and orchestra submitted in the competition. The Choral pitals and prison management that unless the local officials and became a patient of greater usefulness and even ot posed into Db. Work must be received not later than April ist, 1926. The result will be announced May 15th. 192b. have actually observed some of the results achieved, or The work must require not less than 45 and not more than 75 minutes for performance. else happen to be musical enthusiasts, there may he great “bliss” in her environment. The text must be in English. The work must be scored for the normal symphony orchestra “Of these prolonged cases, sixty patients, only a tew difficulty at the start in gaining any recognition whatever. The choral writing should be mainly four part, with occasional doubling. This may be illustrated by my first experience in this left the hospital, about tweuty-five showed an active re¬ field. During my extensive travels over a great part sponse, which manifested itself, preponderantly musical, No. IV BALLET, PAGEANT OR MASQUE PRIZE of Europe and America in connection with my musi¬ by singing or playing, or, more physically, by dancing, cal work, I met thousands and thousands of people and other similar manifestations. Approximately twenty- The Association Offers a Prize of Two Thousand Dollars ($2000.00) five others were usually interested but did not partake. and had made studies of different types. I also had For a Ballet, Pageant or Masque with full orchestral accompaniment (not excluding choral literally read great numbers of books upon the individual A very small minority, only, did not show any apparent episodes) submitted in competition. The Ballet, Pageant or Masque must be received not later and group, and, when an opportunity offered, had dis¬ than April ist, 1926. The result will be announced by May 15th, 1926. If a text is used it must cussed the subjects with the best informed men and rC“However, the very encouraging results of this first be in English. women. This was all necessary because the field was experiment were such that at the Central Islip Hospital the work was continued and expanded, until at present, virgin There were no colleges or universities where 1 DR. WILLEM VAN DE WALL no v a CAPELLA CHORAL SUITE might" study the subject from the angle that interested when some 1700 patients weekly, in regular sessions, THERE ARE, of course, other exercises that might according to a schedule, are undergoing a more highly The Association Offers a Prize of Five Hundred Dollars ($500.00) me. It was necessary to map my own course and blaze be added to, or even substituted, for those here “My first patients were possibly the most difficult ca.e. developed form of musical exercise. This includes choral, offered. But the work suggested here is about as much For a Capella Choral Suite of three or four numbers for mixed voices (six or eight parts) The to handle. They consisted of some sixty elderly women, “My^first actual experience was at the Central Islip choir, solo and community singing; band and orchestra as suffices for one sitting of from thirty to forty-five time required for performance to be not less than twenty minutes. The text to be in English or in patients of the chronic or prolonged type. Some had been State Hospital, New York, an institution caring lor six playing; solo, aesthetic, social and stage dancing; musical minutes, and, if well done, will fairly tax the endurance Latin. The manuscript must be received not later than April ist, 1926. The result will be in the hospital for decades. Many were considered thousand patients. The Superintendent, Dr. G. A. Smith, calesthenics and musical dramatics. , of most players, especially in the pre-supposed state announced May ijth, 1926. unmanageable. The worker with mental diseases, how¬ is a music lover, and he organized in the early nineties “Now what is there strictly original and new about of suspended training. As much, at any rate, depends ever must never consider a case hopeless. I know ot this? In a certain respect, nothing at all. History offers one of the first hospital bands in the United States. This on the how as on the what of such work. For, rightly General Conditions one case of a man who was given up for twelve years. band was of unquestionable value to the institution. It many instances of cures resulting from the knowledge pursued, it requires just as close attention, just as keenly must be written legibly in ink. He more or less suddenly regained full control of _ his must be submitted under a nom-de-plume. A sea was not a difficult task to gain Dr. Smith's sincere of the people of the therapeutic power of music. In focused concentration as is involved in the early stages wUrSTn" ne of the work and the nom-de-plume and contai mental powers so that he was able to go back to society. interest in my vision, which was to utilize music first the Bible, Samuel I, Chapter 17, we find that wonder¬ of the study of a composition. And, if so pursued, such “In my first experiments I reached the individual by I—No work will be eligible that has been published or of all as a means of self-expression for patients m ful verse: ‘And it came to pass when the evil spirit work is far from being as spirit-killing as commonly sup¬ I—The winning composer is to retain all rights of perforr way of the group. The first step was to introduce a addition to any entertainment value it may have 1 he from God was upon Saul, that David took an harp and posed. If done listlessly, it is true, it is unqualifiedly premiere performance and such extra rZy Lub type of music which might possibly mean something to patients were induced to make the music themselves in played with his hand; so Saul was refreshed and was deadening. But if the mind is closely riveted on the >—The Association reserves the right to the fin the audience. I sat at the piano and threw out several -1-1-Smittedie '* whatsoever form they pleased rather than to sit still well, and the evil spirit -departed from him.’ Jumping finer details of the playing conditions, the accuracy of ! worthy of at forms of bait. Thev were the folk-songs and the popular 6— In the event of the performance or any work,_oxiucmii : all^of the cji and listen to musical offerings, although that type of to the eighteenth century we have the wonderful case movement, tone quality, and so on, it furnishes quite of the copying of parts, providing copies for participants re songs of the day and of some years ago, possibly repre¬ diversion was by no means neglected. In such an enor¬ sufficient mental food to be interesting at least, if not 7— The Association reserves the right to withhold any prize award senting the favorites of the youthful days of the patients. of the singer, Farinelli, who, in the year 1735. went To tive competition do not find a work which in their opinion mous institution, however, it was also necessary for m positively fascinating. No player, at any rate, will pene¬ &—The A n cannot assume responsibility for loss or destrui Immediately several patients came forward, joining m Madrid to sing for the melancholy Kmg Phillip -A - to gain the confidence and cooperation of the heads ot trate far into the higher realms of his art unless he imitted. The Association will provide all reasonsasonable safeguards for the pro- the singing, asking in turn for many others, starting to So resultful was his singing that the King recovered his various departments in order to obtain the necessary co¬ provides adequate means of transportation into those 9—Full postage for ret tell me about their life experiences and woes, lhis m mental health and rewarded Farinelli by an enormous 10—All manuscripts and operation. The most prominent of these was the clinical delectable regions. ' the Executive Secretary. Henry itself is one of the most valuable products of music treat¬ S. Fry, care c director, George Mills, now Medical Inspector for the annual salary of fifty thousand francs. Chestnut Stre< Independence Hall. Fifth and ment; that is, it establishes a bond of confidence, and New York State Hospital Commission. Here was a “Does it not seem a little astonishing that more has causes a patient to overcome his inhibitions and express serious scientist, averse from any faddism, musical or not been done to employ music more systematically with Self-Test Questions on Mr. Moos’ Article himself about many things long harbored in his mind. Committee on Musical Prize Competition otherwise, who had to be convinced by pure results and scientific intent to aid in the treatment and prevention JAMES FRANCIS COOKE, Chairman Another type of reaction is the impulse of the patient 1. What did Rubinstein say about one day’s neglect N. LINDSAY NORDEN who became in time a genuine supporter. PHILIP H. GOEPP of practice? THADDEUS RICH NICOLA MONTANI 2. What should be the main characteristics of key ALEXANDER SMALLENS - H. ALEXANDER MATTHEWS gymnastics? HENRY S. FRY, Executive Secretary 3. How can contracted playing be avoided? sd by Friends o ne Sesqui-Centenr al Exposition) 4. Which should be aimed at most, suppleness or Dr. Van de Wall’s achievements. The field suggests enormous opportunities._____ strength? SEPTEMBER 1925 Page 615

THE ETUDE THE ETUDE

Page 6U SEPTEMBER 1925 The Small Talent The Music of the Spheres prison will easily confirm this. A progressive penologis , How the Musician May Develop His Soul Through the Study of the Stars just like the progressive psychologist, welcomes^ By Florence Belle Soule legitimate aid which will improve the physica , By the eminent critic and author and moral condition of those confined in his care, So many people belittle their talents. They complain does to a prison inmate what long talks and en or u-. w hecause they cannot play like Paderewski or HENRY T. FINCK . ^ W fmann or sing like Galli-Curci. They do not realize discipline often fails to bring about; that is, t e ass0 ' Se hean-aches, struggles and disappointments that great lion of the prisoner with his fellow prisoners ot ms If you are the unfortunate victim of worry, petty annoyances, jealous long way ZTfa^big’’ musician you own free will in harmonious teamwork for a socializea goal of beauty. . , , . raii Uc more insistently than the Muse of many musicians ana music stuaems, mt. * “Music often produces instant improvements m De- However our music is always needed, no matter traveling as a whole, toward the bright star Vega, in havior. On one of my regular visits to the Woman anybody and everybody can learn lessons. Bu* the star the constellation of Lyra, yet would be thousands upon tow Jl our talent may be; and we shall never find DO not mean the opera stars. From them musi¬ Work House, on Blackwell’s Island, the jail for New I test—that shows whether or no you have a thousands of years reaching its destination, faijly rest until we make the proper use of it. York City, I happened to come in just after a serious cians can no doubt learn much about what they There are many sick people, shut away from Concerts, And make no m,stake! There was a ***-**£?? outbreak among the hardened type of women prisoner, should, or should not, do. I do mean the stars of coloratura warblers-when one could, if Ph^menal y ^ The^reason I am referring here to Mark Twain is_that incarcerated there. I was advised for safety s sa e n that twinkle in the sky: endowed in that, way, make a success even with soulless he had a passion for making things intelligible, it is to go near them. The bitter fate of the guards who not enough to know or read that a certain star is a quad¬ They are reaching out for music and we give so spar¬ “Twinkle, twinkle, little star, ^ singing. But those days are gone. Dramatic singers had tried to reduce the wrath of these furious ladies rillion miles away. What is a quadrillion? Multiply How I wonder what you are. and one cannot be dramatic without being emotional caused this warning. Eager to give music the acid test, ingly. so grudgingly. a thousand by a thousand and you have a million Mul¬ In the little country towns there are many people who have driven out the coloratura warblers. _ Opera-goers I regarded this an an opportunity and faced the group. We all recited that in school, I guess. But did you tiply that million by a thousand and you get a billion. are music hungry. They are really starving for music David Playing for the Demented King Saul The cells were opened and an excited, screaming, bawling really wonder what stars are and try to find out by now want Calve’s, and Farrar’s and Jeritza’s. A thousand billions make a trillion, and so on to quad¬ mob surged into the room. Meeting them on the boiling Sitting down at the piano, in a little Pennsylvania Hotel Calve to be sure, was also a coloratura singer; but she of mental disorders? Whatever value or import my rillions, quintillions and up to decillions—a unit with emotional plane to which their seething anger had pitched where I spend my Summer vacations, the room is filled differed’ from the older kind in breathing an «noUomd own activity may have, it seeks to give the practice of TS W « the b. »»w thirty-three ciphers—a figure before which even a hard¬ them, I jumped upon the piano and ordered a colored in a moment and the audience is quiet until the last note warmth even into vocal embroideries, like those m music a new value -and a more intense significance by mountains primeval of Oregon, I was so ortun^J ened astronomer must stand aghast. But the Creator prisoner to play for me. I started off as quickly as has died away. This is true appreciation. Ophelia’s mad scene in Thomas’ Hamlets thrilling dis¬ making it just like.any other other form of therapy a to have a teacher who initiated me into the ro needed it in constructing the universe. Let us write it possible the strangest concert I ever led by shouting with How long it takes us to learn the simple lesson of part subject of the general medical arts and adminis¬ play of soulfulness. out: 1,000,000,000,000,000,000,000,000,000,000,000. all my strength, ‘The Battle Hymn of the Republic. giving? It is only as we give out that we can grow and mysteries of star life. He would even come up the hi tration of the hospitals. The Test for Singers Doesn’t it make you shiver to look at that mathema¬ The mob gripped the suggestion and falling, in blind to our house and wake me up at two or three ocloc “Another important point to be mentioned, by which become great. • , , , , tical boa constrictor? You will now understand why passion, in with any type of violent action, ^shouted and Why not share our music with the sick, the sorrowful, in the morning to show me certain constellatmnsor Unfortunately,'this star test for singers isi one winch this type of musical application is characterized, is that astronomers use a light year—a distance of six trillion raved with me, taking over my tempo. This first num¬ the weary and the uneducated, thereby winning larger star groups which could not be seen at any other time. is difficult to make in a city, where the smoke and haze it is used as a means to have the patient unburden him¬ juiles_as a mere yardstick to measure the real distances ber was followed by a gradual succession of calmer songs, and better things for ourselves later on? He^gave me an atlas depicting the constellations which and the street lamps spoil the spectacles of self ; to lift him from passivity to activity; to revive the I studied outdoors. I remember one evening, But most musicians have the means and sense enough energies and sublime aspirations of his youth; finally, if intoned without an intermission of a second. The ex- ^Mark Twain spent a good deal of time when lying plosive rhythmical selections were systematically replaced sisters had a number of their friends making a crazy possible, and desirable, in several cases, to develop his A Musical Spelling Bee awake at night, trying to find a way of making himself by far more melodic and sedative tunes which I thought mbit They saw me light a lantern and go out. power of aesthetic self-expression. This means that 33 .WSJS ? and others comprehend such stupendous figures, tie of as I went along. We wound up finally with such q “Where are you going?” the girls shouted in chorus. the technical perfection of music practice has also its By A. Lane Allan a song as ‘Hush-a-Bye, My Baby’ (The Missouri Waltz). “To study the stars,” I replied. . finally devised this ingenious plan: place in hospital music work. Right playing, right sing¬ “I remember that Neptune is two billion eight hundred By this time the mob had entirely exhausted its emotional “Not with a lantern?” they exclaimed, and burst into wonders of the stellar universe. ing, correct interpretation, all of these things are there¬ “Now, let’s have a spelling Ice. No, we haven't strayed miles away. That of course, is incomprehensible, but energy and was consequently tired and satisfied. The Of course the pupils should know about these wonders fore observed as closely as possible. Mental patients into the wrong place. This is the beginners' circle in a merry laughter. T then there is the nearest fixed star with its twenty-five mood from the furious had changed into one of pleased Then I showed them my atlas, to prove that 1 wasnt beforehand^ else the millions of visible luminous spots are keen of ten unsparing critics.- downtown studio. Start with C, D, E, I\ G, A, B, C. trillion miles—twenty-five trillion—or nearly a thousand contentment. When the command came for them to go such a fool as I looked. “I need the lantern for the till be nothing to them but “twinkling httlesters Even “For years mental patients have been played to, often That is our musical alphabet. times as far, and then I took this book and counted the back to their cells they obeyed in orderly fashion with¬ to the ignorant, to be sure, the spectacle « ^ime by people who have an idea that anything, including their “Who will be the first to give a word made up of atlas,” I said. “See?” , . lines on a page, and I found that there was an average out murmuring. They thanked me for the entertain¬ The old Greeks and Romans, you remember, had im¬ The books which tell about the stars are of tw own musical antics, were good enough for the mental letters from the scale?” of thirty-two lines to the. page and two hundred and ment they had enjoyed, forgetting that they had enter¬ aginative and romantic tales about these constellations, mathematical and descriptive. . , { patient. When there was good music, it had some enter¬ “Wanda, what is yours?” forty pages, and I figured out that, counting the dis¬ tained themselves and that this is as a rule the most and their own heroes and heroines; but not half as ro¬ The mathematical kind is not the kind best suited[tor tainment value, but the music made by the patients them¬ “Cab!” tance to Neptune as one line, there were still not enough satisfactory entertainment anyone may experience. mantic were these stories as are the wondrous revelations most music students who want to cuUivate then emo- selves is of far higher therapeutic value. “That’s good, but we’ve had that one before. Think made by the astronomers of the last two or three cen¬ tinnnl side Figures are not likely to stir the imagma lines in the book by nearly two thousand to reach the “Participants in the musical activities do so often of a new one.” Son! not, at any rate, until you reach the higher branches nearest fixed star, and somehow that gave me a sort figure among the numbers who are discharged from the turies, and especially those of our own day. “Yes, Albert, ‘beg’ is a good one. Try again.” of mathematics which wrestle with the problems| of of dim idea of the vastness of the distance and kind hospital that the turnover of members of the patient band “ ‘Fade,’ Geraldine, “tine work. That was a hard one. Stellar Thrills universe and which, for most of us, are frightfully hard of a journey into space.” of Allentown State Hospital has eighty-five per cent, in Musical spelling bees are great fun, aren't they? What one year. The presentation of hospital musical dramatic a large number of words we can make with those few In the most sublime music there are no thrills more Our Journeys Into Space soul-stirring than those we get on a dark night when the t0 Thos^who have mastered astronomical mathematics production has often to be repeated in a very short time, letters! A young piano manufacturer once invited me to ac¬ stars are out in full force and appear so near that it to be sure find in them a source of deep emotional if at all, because of the discharge from the hospital of company him ip his car from New York to Baltimore so many actors participating. seems as if we might reach them with an airship in a thrills. Listen, for inst|nce, to these glowing words ot Edgar Lucien Larkin, director of the Mt. Lowe Observa¬ at sixty miles an hour. I refused, afraid of the speed; “Let me cite, for instance, a very striking case. One Teacher’s Turn few hours. ... „ . which was perhaps foolishly inconsistent, since I was A few hours! Some airships are now travelling at tory in California: . . ,, Italian boy was found by us as the inhabitant of a ward at that very time travelling at the rate of sixty-six the rate of a hundred miles or more an hour. It would “The more one knows of the grand harmonies of the of very disturbed cases, liable at any time to make, By Jessie McMaster thousand miles an hour; which is the rate at which the take them millions, nay billions, nay trillions, of years calculus, the more he becomes in tune with the Supreme assaults. This boy begged to be permitted to partake in huge automobile we call the Earth travels around the our exercise and rehearsals, promising to make good if Teachers, while planning your recitals for the next to reach some of the stars we see 1 The nearest of them Infinite Mathematical Mind. I have heard people say. he had the opportunity. He was a baritone, of a very would, as Flammarion has figured out, take an express ‘There is no happiness here on earth. But there is. few months, plan one featuring yourself. It would have been faster if the earth did not observe boisterous character. First he was sent out under guard, train at forty miles an hour, seventy-five million years The most exquisite joy and happiness that can be^experi¬ Invite your pupils, their parents, and friends, to your a certain speed limit. Some “fixed” stars travel into but behaving extremely well, was paroled to the grounds; enced by a human mind comes when a difficult differen¬ studio, some afternoon or evening; and entertain them space at the rate of three hundred miles per second, while the more he sang the calmer he became, and when our ‘“sTfar away, indeed, are the stars that astronomers tial equation is solved. And the extreme height of happi¬ yourself. the slow coach earth’s pace is only about eighteen miles production was over (six weeks after we found him in find it too troublesome to count by miles. It would take ness is reached if the solution discovers to man a law Prepare an attractive program—from the guests’ point and a half per second. the place where the most dangerous cases are kept' for of view this will be an easy matter, as little “Mary” is too much time and paper to do so—to write out all the of Nature not known to any human before. A far easier way to an understanding of the stellar In addition to taking these trips on the earth around safety) he left the hospital a free, self-controlled man, always ready to discuss mother’s “favorite” selection. ciphers, the strings of Offs-yards and yards of them- “In the work with male convicts in the big state peni¬ glories than calculus is the reading of books on descrip¬ the sun we travel with the Sun and the whole solar sys¬ and seemingly has made good. This is a typical case. Mary and Johnny will take an extra interest in a which to us, at any rate, would not really mean anything. tentiaries as well as in the juvenile reformatories, musical tive astronomy, like those of Flammarion, or our own tem into unknown space at the rate of at least 375,000,000 “We have now worked out a plan by which the medi¬ number which before has seemed uninteresting to them. Do you remember how fast light travels. It is 180,- activities have been shown to bring in an element of fascinating American writer, Garrett P. Serviss, a scien¬ miles a year! cal staff and the musical staff cooperate on a clinical Try this plan, teachers. It will be worth many times 000 miles a second. The astronomers count by means of benevolent order and culture. tific chauffeur who makes a trip to the stars as easy and If you are sufficiently emotional to have within you basis, which has lifted the musical work from an amateur the effort expended, because of the pleasant memory of “light years”; that is, the distance covered by light, to professional standing, the musician cooperating with “A great number of prisoners are very anxious to be exciting as an automobile ride. Suppose you begin with the making of a successful musician you will be as an enjoyable evening spent in the company of a friend, travelling at that dizzy rate, in one year. the other therapeutic departments of the hospital service. brought into contact with new thoughts and ideals, to That’s their “yardstick,” a yardstick nearly six trillion his “Curiosities of the Skies.” After reading that you deeply moved and awed by this rapidity of movement as every real teacher is. of the stars as you were by their tremendous distance “There is also a great field for music in prison work. feel finer emotions and to get rid of the darkness and miles long!! It was known long ago that certain stars will promptly look around for other books on this sub¬ from us. The modern penologist is inclined to look upon many filth which has so often clogged up their outlook on were so far away that they would still be visible to us lime subject. criminal traits as symptoms, physical as well as mental life and their actual careers. They welcome music as Those Excuses! I don’t want to scare you to death, but have you ever if they had been extinguished or annihilated at the time Mark Twain’s Ingenious Method defects and diseases. One stroll through the average a message from another better, more hopeful, world. of Christ, nearly two thousand years ago. Their light read Conan Doyle’s ingenious story “The Poison Belt?” Readers of Albert Bigelow Paine’s fascinating biog- It tells how the earth, with the whole solar system, “In surveying the work as accomplished thus far, there By Marion Stock would still be travelling on. raohv of our greatest humorist know that in the last traveling into the vast unknown depths of space, got have been some very significant factors which seem to Doesn’t it stir you, doesn’t it thrill you to the very years of his life he got greatly interested in the stars. into a region where human beings could not breathe and When my pupils are absent, I require an excuse, marrow, to know and dwell on such a sublime fact—to His books on astronomy “were seldom far from his live. It lasted only a short time, and some men of “1. That music can be utilized in systematic medical find them interesting, even though not pleasing, at tir get such a glimpse of the fathomless glories of the uni¬ work to relieve mental suffering and improve institu- The following are a few, picked at random, from hand.” I think I know why. science, knowing about it beforehand—but read the story note book; verse, the grandeur of the Creator? For two summers I had the privilege of living in one tional morale. Yet we know from more recent researches of prying yourself; it’s great 1 of Mark Twain’s two houses at Redding, Connecticut Such a cosmic incident is quite possible. Collisions are “2. That it is an inexpensive, practical and agreeable L My aunt arrived from Europe. (Of course Au astronomers that a star whose light requires twenty cen¬ the one he facetiously called the Lobsterpot. From the method welcomed' by progressive authorities. 1101 arrive without Mabel’s presence.) turies to reach us, though travelling 186,000 miles a possible, too. But don’t get excited! Keep your next hillside on which these two houses were situated, one week’s engagements anyway, he they lessons or recitals “3. That it is a technic which can be learned by 2. Mother took me to buy a pair of shoes. (No ol second, is, compared with other stars, as near as as a time would do.) gets the most comprehensive and glorious views of the or operatic performances. We probably will be quite house a mile away is as compared with a house m China. stellar vault. How he must have enjoyed these! 1 shall safe for another million or trillion years. “4. That tire government authorities have already 3. Mother told me not to practice, as it was E Doesn’t it make you dizzy to think of it? Do you certainly never forget how I enjoyed them. recognized and utilized it as a branch and' a department Week. (Yet Anna went to the movies several ti believe in a God? Do you feel like falling on your during the week.) Mr. Paine tells us that Mark Twain “was always This “Negligible” Universe of public service. knees and worshiping in face of such revelations? 4. My cousin came from the country and we < thrown into a sort of ecstasy by the unthinkable distances “5. That conservative Europe is now looking to the If you do, you are sufficiently emotional to become a Besides their awesome distance and inconceivable thought of my lesson at supper. Mother said it of space—the supreme drama of the universe. The fact United States for further research which may make a successful musician. If you don’t, please try something speed, the stars present two other ways of arousing our too late, then. (Rather!) that Alpha Centauri was twenty-five trillions of miles vast difference in the lives of thousands who heretofore else. It’s a splendid test of fitness—beats the usual high emotions of wonder and worship; namely, their number away—two hundred and fifty thousand times the distance were considered doomed. • My piece fell behind the piano and mother school or conservatory examinations all hollow.! They of our own remote sun, and that our solar system was and their size. “The prospect is a most encouraging and inspiring one father would have to get it, as she could not move simply show whether you have learned your lessons— for the future.” piano. Father was tired every evening, so I hac wait until Sunday. (Poor piece! Poor father!) SEPTEMBER 1925 Page 617

THE ETUDE THE ETUDE

Page 616 SEPTEMBER 1925 Imagination in Playing Lights on Piano Touch and Tone never thinking of anything but themselves and the When Marlowe wrote, in her sixteenth century: By Edith Josephine Benson immediate surroundings. .. . , , that As Seen by the Psychologist, “Oh, thou art fairer than the evening air The world they live in is almost as mutedas that Some pupfls have, p fadlelechnic, but^ their ^ playing lacks^ Clad in the beauty of a thousand stars,” of a cat which never leaves its room in a tenement, they OTTO ORTMANN the '^na^e q slurs and staCcato marks. he did not know that instead of “thousand’’ he might mistake their tallow candle for a sun, a ?tar; . • listener almost ons ^ {or deveioping the ex_ Of the Psychological Laboratory of the Peabody Conservatory have said million, or even billion (in the French-American It will do them a world of good to realize that the un sense of billion, meaning a thousand millions; the Eng¬ verse does not revolve around such grams of sand as t j The ingation. They may be used not earlier tened to the frame and case of the Though 5t or copper wire. The tension of all the strings on a no vibrations are intended to be conveyed. Consequently, lish meaning of billions is a million times million, or represent. They should learn, in the words xAEm ^ HE FOLLOWING material is taken from The £?£•!? di tuIil wh” T grand piano when tuned is over twenty-five tons, absolute rigidity, which insures the maintenance of the to distinguish between the blaze of a burning what we call trillion). Physical Basis of Piano Touch and lone by number of strings used for each pitch varies with the I remember how amazed and awed I was, not so many and the final conflagration of all things. ... „g string-tension, is a desideratum. faTh?SSiThe material ris^ y^>*a udl£' “"“ininEBertini ligl11 and Berens. «A Otto Ortmann, issued by E. P. Dutton & Com¬ pitch. For the very low tones one string is used. years ago, when I read that there were a ea ^ Astronomy will cure their ludicrous egotism pethness “There are two bridges in the piano the wrest plank pany. The work as a whole is a thoroughly “What we hear when a. string on the piano is struck million stars in the universe. Three millions is some and megalomania. It should be taught in compositions of L™ special form like a bridge, and the sounding-board or belly-bridge T e scientific analysis of the subject from the standpoint of is not due chiefly to the vibration of the string but to number,” I assure you; and some of these s ars p schools and private classes. former, sometimes called the pressure-bar, regulates the ■S; <>«nr,o, *- the trained scholar. Much of this is unsuited for lom- the resulting vibration of the sounding-board ih-s is ably have even more than our sun s eight planets. d ■ ° imagination The teacher should create a nalistic publication because of the complexity of physi¬ various string levels necessitated by ov,er^”ng'n.g/ '■ a resonator, a large, thin, slightly convex and carefu ly latter accommodates the various str-ng lengths at tne vi But three millions has been found in recent years to definhe program about something airy a bee, a butterfly, cal and mathematical terms with which the ordinary be almost as ludicrous an understatement of the real How Goldmark Won a Hearing constructed sheet of wood, covering practically the entire brating end. The sounding-board bridge is important be¬ a bird or a firefly. Have it rise rapidly, float, pirouette, reader is unfamiliar but which deserves serious consider¬ number of stars as Marlowe’s thousand. Three billions inner case of the instrument beneath the strings. It is cause it transmits the vibrations of the stnngs to the poise on a leaf or flower, and fly straight across the ation of the expert in understanding the author s views. is the minimum number now indicated by the revelations By A. S. L. Wynn in direct and permanent contact with the supports at the sounding-board. The exact position of the belly-bridge The author first of all feels that the student should end of the strings, and is joined to the outer case of the of the 100-inch telescope on Mount Wilson m California Carl Goldmark’s “Sakuntala” overture is well estab¬ kTo make the playing suggestive, use crescendo or di¬ varies somewhat with the various instruments. It is gen have a definite knowledge of the action of the piano and instrument, though otherwise free to vibrate. and by the recent marvels of celestial photography and lished as a universal favorite, and it is int®r®St‘“f d minuendo for straight flight, both for soaring, rubato. erally divided into two or three sections, one for each learn that for once a work of this kind was apprematea “The vibrations of the string are transferred to the group of strings, according to the manner m which they shading, and accent for the fluttering of wings or sudden Pr“TheS action^of ^ t^nd piano, although it varies in SPAnd° theTsome \ We really need a little slang here from the first. Goldmark was comparatively unknown sounding-board, which, through its size, intensifies them whirling, and exaggerate staccato and even rests and certain details in the product of different makers, is the are overspun or overstrung. . . . , . to relieve the tension of the mind. How childish and when he wrote it. In the Boston Symphony programs bv setting into motion a much greater volume of air. “The wrest-plank bridge determines the point at which long notes sometimes. A pirouette can be suggested by same in general principle for all grand styles of the in silly are all the fairy stories of nature hatched out by “The action of the sounding-board of the piano is not the vibrating length of string begins. It is used in any a little incident regarding this work is related a contrasting a long note with a delicate rubato group strument now in use. This principle is illustrated m human imagination when compared with the miraculous due to sympathetic resonance. The fundamental condi¬ of several forms: a blunt edge above or below the preceding or following it. Certain small groups are Figures la and lb. A, B is a wooden block called a key realities revealed by the science of astronomy! “In 1910, Sigismund Bachrich gave information to the tion of sympathetic resonance—equality in the natural strings, a metal nut, or a hole for each string. excellent for practice in accent and shading, it the so pivoted at C that it can move only in a vertical Don’t faint away when I tell you that these 3,000,000,- Neue Frcie Presse, of Vienna, about the first perform¬ frequencies of the two vibrating bodies-is not present “Overstringing is that process adopted in order to ac¬ highest or lowest note is in the center. u y suggest plane. Beneath each end of the key is a felt pad (D 000 stars constitute merely our universe (in which our ance of the Sakuntala Overture, and ‘Die Komgen von in the piano. The sounding-board does not vibrate be- commodate the various lengths of the strings to the size fluttering, whirling, whispering. The control learned E) which limits the descent of either end. Fastened sun with this earth and the other seven planets is a mere Saba.’ Bachrich, as a youth, used to substitute m the causes the air waves proceeding from the strings fall upon and shape of the instrument. It .permits the lower in the management of these groups can be applied to on the inner arm of the key is a lever, F, which connects speck), and that there are in addition to our universe orchestra for Goldmark, so that the latter could have longer strings to be stretched above and diagonally across phrases in accompaniment, either in solos or in accom¬ with a second lever, G. This, with the lever H (itself a countless number of other stellar systems or universes more time to compose. In return for this, he had the the higher strings. When this occurs once, the instru¬ paniment for voice or other instrument. Sequences can a bent lever known as the hopper), and the lever I, in which our beggarly family of three billion stars is privilege of being the first to get acquainted with the be given variety by contrasts in dynamics or tempo, by forms the compound escapement which wiU be explained ment is said to be single-overstrung; when done twice negligible—a mere grain of sand in the combined beaches new manuscripts. When the Sakuntala was finished, it fine shading, and by increase to a climax on the last later The upper end of H is cylindrical i in shape and it is double-overstrung. The plane of the hammer in of all the oceans. was submitted to the Philharmonic Orchestra in Vienna. sequence or decrease as if whispering a secret. these cases is always kept parallel to the string. In the words of Mr. Serviss: “What we have been It is customary with that organization on receiving a covered with leather. When the key (ivory-covered The teacher should select most of the places in the regarding as the universe is ‘only one moat gleaming in promising manuscript to play it over at rehearsal, and end) is not depressed, the upper end of H supports a The Modem Piano first study for interpretation leaving something for the the sunbeams of infinity.’” then decide by a majority vote whether it should be per¬ evlindrical knob on the arm, J, of the hammer K which ur-r\ he MODERN piano dates from the time of pupil to select. Later the pupil should create his in¬ formed. No one is ever allowed to be present at these is pivoted at L. It is important to note that the only 1 introduction of metal into its instruction This terpretation without help. Every study must be per¬ point in which the hammer (the tone producing body) Our Dwarf Sun and Earth trials, not even the composer. took place about 1820. Between 1770 and 1820 the fectly learned first; then, when imaginative playing be¬ comes into contact with the rest of the action before tone The climax of our abasement and wonder is reached “Bachrich ascertained when the Sakuntala Overture complete, all-wood grand piano was perfected. Origin¬ gins, counting will be unnecessary. Rhythm being mas¬ when we come to the question of size. _ was to be put on trial and managed to smuggle himself production is in this one point x, where the end of H ally, the metal frame was conceived to overcome diffi¬ tered, the player will have freedom in tempo. By using It is humiliating enough to think that, as compared into a dark corner of the hall. His heart beat violently culties of tuning strings of various metals which were certain devices for definite parts of the program, the St “When*A (the player’s end of the key) is depressed, to the sun, the earth is merely as a pea compared with when it began. When it was over an unusual thing hap¬ 1A. How the Plano Key “Strikes” influenced differently by the same change in tempera¬ pupil learns to make technic serve his feelings. B rises (principle of the simple lever). This causes F a pumpkin; but when the astronomers assure us that there pened ; the players themselves broke into enthusiastic ap¬ ture Whatever form the metal frame has now as¬ to push G up until the point h comes into contact with are other suns millions of times bigger than our tiny plause, and the conductor, Dessoff, exclaimed in Viennese sumed, it consists essentially of a great or small^num¬ M, a stationary (but adjustable) nut for^blocking h, sun, we begin to have a faint idea of our utter in¬ dialect: ‘I guess there’s no need of taking a vote on ber of iron bars set at various angles. The iron which is the end of the bent lever H. When F con¬ significance in creation. this.’ frames are situated at the sides of and immediately A Helpful Hint for Teachers tinues to rise, through continued key-depression, the In the words of Prof. Russell, of Princeton, the meas¬ “Bachrich had heard enough. As fast as his legs above the strings. The introduction of metal into piano lever H after h touches M, pivots at this point of con¬ urement within the past two years of the diameters of would carry him, he ran to the Kaiserhof Gafe, where By Florence Belle Soule construction has influenced tone because of the greate tact This causes the end h' to move in a driection, Betelgeuse, Antares and Arcturus by the interferometer Goldmark was waiting impatiently. When he got there elasticity of metal as compared with wood. Below the roughly speaking, at right angles to the vertical move¬ at Mount Wilson has removed the last lingering doubt he was so out of breath he could not utter a word; but Teachers having a large number of pupils often find strings and sounding-board we find the wooden frame, ment of the hammer-arm J, and when a given point is as to the existence of giant stars, and has placed beyond he nodded, ‘Yes—yes—yes,’ and the composer under¬ consisting of a series of horizontal heavy wooden bars it difficult to remember the details of each pupil’s work, reached causes h' to jump or slide or escape from be¬ question the fact that the sun belongs to an inferior stood and rejoiced.” placed at various angles. They mutually reinforce each from week to week. neath the hammer-stem. This point is known as the order of stellar bodies—that even as the earth is but a other and also reinforce the harp-shaped case. This In order to overcome this, I cut white paper in strips point of escapement and is so adjusted as to operate when dwarf planet, so the sun is but a dwarf star. ic either solid wood (mahogany, oak or black walnut) Our sun is a million times as big as the earth, but the The Talking Machine and Small (4x7 inches) and attach one to the exercise book with the surface of the hammer-head N is about A in. from or in the mere recent makes, layers, sometimes more than diameter of Betelgeuse is 260,000,000 miles, which makes a paper fastener. the string, P. The jerk (under playing conditions) Children IB. Hammer In Striking Position twenty, of maple or oak. The advantage of the layer- it a giant star equal to tzoenty-seven million suns like , throws the hammer over the intervening space against On this paper I write my criticism of the lesson, give process is supposed to be an increase in resonance effect. ours! As Professor Michelson, of Chicago University, By Jessie McMaster the string, and because of the elasticity of the com¬ points about practice and outline the new work for the The entire object in selecting a case and framing it is to has pointed out; if this giant star were placed as near pressed felt of which the hammer-head is made, as well its surface, but because it is joined to the string through Every normal child likes music, and every normal following lesson. secure a proper ratio of elasticity and rigidity, enough to us as our sun, its brilliant surface would fill out the as the elasticity of the steel strings, the hammer is imme¬ the bridge at one end and thus receives the vibrations child has a preference as to selections. By using both sides of the paper, I can see at a glance of the former to permit freedom of transmission of the whole visible heavens 1 diately thrown back. If, in the meantime, the key end, directly. If one of two tuning forks of the same fre¬ Interested parents of a small friend of the writer’s vibrations, and enough of the latter to insure stability Try to imagine that and pity our poor little sun. what progress has been made for two weeks, and the A, has been permitted to remain in its depressed posi¬ quency be sounded, the other will also vibrate without against the enormous tension of the strings. Generally have a collection of “Jane’s pieces” on the lower shelf pupil knows what work has been good and which pieces tion, the hammer is caught by the check, O, and is gradu¬ of the cabinet, marked so that she can associate the any other medium of transmission than the air. 1 hat is speaking, the use of metal tends to give the tone bril¬ What it All Means to Musicians or exercises need more study. He cannot forget what ally released as the end A of the key ascends. If, on the marks with the selection. a case of sympathetic vibration. If a tuning to™ °e liance, and the use of wood tends to give it softness And now for the application of these overwhelming the teacher gives him as the paper tells the story. This other hand, we wish to repeat the key-depression, the sounded and held in the air its tone is iscarcely audible astronomic revelations to the world of music. Careful directions and supervision for several days plan works splendidly. escapement mechanism is so adjusted that the end, n, and ‘depth.’ We should therefore expect a combination taught her to bperate the machine with as much care If placed firmly upon a table, the tone becomes distinctly of metal and wood to produce the best results. Too much The microscopic world of music 1 If it would take, as re-engages the hammer-arm, J, immediately after it re¬ audible since the vibrations are communicated to tne we are told, trillions of little globes like this earth to as an adult. bounds from the string, whence a second depression of A or all metal would produce a metallic, clangy tone; too She is now able to enjoy her choice of music at her table, which, acting in turn as a resonator reinforces make one star like Betelgeuse, where does the “world” will again drive N against the string. (This is what much wood, a dull, thick and ‘plump’ tone. own inclination, and without damage to her parent’s Those Little Feet them. This is a case of forced vibration, and it is this “What are the effects of the various forms and grada¬ of music come in? Isn’t it rather presumptuous on our is meant by the ‘repeating’ action.) type of resonance that we ’find in the piano. part to speak of a “world” of music ? talking machine. “The mechanism here described is a machine. A ma¬ tions of pianistic touch upon the movement of the piano By A. Lane Allan “There are three kinds of piano pedals in general use . And the individuals in this world of music—how im¬ chine is a contrivance by means of which force can be the dam her pedal (popularly, though inaccurately termed portant are they in creation? About as important as a applied to resistance more advantageously than when “The piano key (the part visible to the player repre¬ Finger Taps Do you happen to have, among those little people ths loud pedal), the una cor da peda (known as the soft droplet in the spray arising from Niagara Falls and sents less than cne-half of the entire key or lever) is a visit your studio, some whose legs are far too short 1 it is applied directly to the resistance. The action of the pedal), and the sostenuto (middle) pedal The first, gone in a second. By Rena Idella Carver piano is a machine which enables us to overcome a re¬ piece of wood about a foot and a half long and seven- reach the floor? Have you ever tried sitting on a se; when depressed, keeps the dampers lifted from the But let me tell you, in strict confidence, that during sistance at one point (hammer end and strings) by ap¬ eighths of an inch wide. It pivots on a point midway that is too high for a while, yourself? strings, all of which are consequently free to vibrate my long residence of four decades in the musical “world” A teacher recently said: “Does it ever occur to you plying a force at another point (the key end). It em¬ from either end which makes it a lever of the first kind, how much we have to talk about finger lifting? It Try it. You will hasten to do something that wi until their energy is spent or a release of the pedal brings that is, one in which the fulcrum is between the power I have got the impression that nearly every individual in ploys the principle of the lever and is a complex lever- the dampers down upon the strings again. the una seems sometimes as though the natural makeup of piano make those youngsters more comfortable the next tin and the resistance. The vertical pin at the fulcrum, with it looks on himself as if he were the pivot around which ' age system. Since it is obvious from the diagram (Fig. corda pedal shifts the ent;re action of the piano sidewise students fought inwardly against the necessity for finger they come to take a lesson. ,-n additional vertical pin at the outer key end, prevents the whole universe revolves! 1) that the distance through which the hammer end so that the surface of the hammer, instead of striking Sir George Grove no doubt exaggerated when he wrote action, and in some cases appear determined to have A footstool that usually made the taller children con the lever from moving in any plane except a vertical moves is greater than the distance through which the three or two strings, strikes two or one. The sostenuto that Schubert was the only modest musician on record. none of it.” fortable was found inconvenient for the tiniest one. one. Moreover, the felt key pads beneath each end of outer key-end (joint of application of the force) moves, pedal keeps anv damper or dampers raised which happen There have been others and there are some now. But One of the best and simplest remedies lies in an exer¬ a large dictionary was placed on the floor first and tl the key limit the vertical distance through which the key to be raised when the pedal is depressed. the vast majority of musicians need an article like this cise given me by one of my instructors who had spent footstool was put on top of that. It served the purpos it becomes clear that the purpose of this machine is to may move to approximately three-eighths of an inch at its “The pedals of the piano have two primary functions; to show them their utter insignificance. Teachers, sing¬ years in exploring modern methods. I quote it here: the little feet kicked the piano less often ar.d the atte transfer force into speed. extremity. We have, then, a mechanism capable of being ers, students, players, all need to study astronomy as “Place the hand on a table with the fingers curved tion was given to listening, not wriggling around 1 to sustain tone and to color tone. moved at its extremities through a vertical arc of three- “The plank or block which carries the tuning pms is a moral tonic as well as an emotional stimulant. and wrist resting on the table. Raise one finger, count¬ the bench because one foot was “asleep 1” Strings, Sounding Board and Pedals eighths of an inch and immovable in any other way. ing 4. At “4” tap the table with quick staccato touch; called the wrest-plank. It is made of wood in the older A moral tonic, I say—and this brings me to the most urri HE AUTHOR next calls attention to the fact “No matter how we hold our hands, how gently or each finger rebounding very high and waiting until the makes of instruments, and of metal, with holes for important raison d’etre of this article—a sermonette in I that as the pitch of the tones desired upon the harshly wc stroke or strike the key, no matter how re¬ next “4” is counted. Repeat three times and on the containing wooden plugs, in the modern makes. The tun¬ a few short paragraphs. There is only one road for genius or talent to take piano ascends, shorter and thinner strings are employed. laxed or rigid our arms are, how curved or flat our following “4” take the next finger. Practice with all ing pins, which are threaded to ensure a firmer grip, are Musicians, in many cases, attach altogether too much at the beginning of its career, but sooner or later he will Steel is used for piano wire because of its great elasticity fingers, we can do nothing else to the key than move it fingers in turn. Do not uncurve as you raise the finger. driven into these plugs. The wrest-plank is firmly fas¬ importance to petty annoyances, jealous rivalries, odious encounter a parting of the ways, and be confronted with Some of the lower strings are wrapped with thin steel comparisons and trifling disappointments. Foolish fears The up-action of the finger is quite as if not more the hard task of deciding which path to pursue.” darken their days and nights. That is due to their important than the down-action.” —Eric Bi.om. SEPTEMBER 1925 Page 619 THE ETUDE THE ETUDE have seen cover a wide range and Page 618 SEPTEMBER 1925 and duration, as dations; and in the second place, hnger-stroKe produces a certain tone, not but involve very one s variations cannot suffice for The Teachers’ Round Table three-eighths of an inch or less vertically downward stroke is correct and all other s‘rok® appropriate there is no reason why £ , reactions. The popu. This limit is absolutely fixed by the unyielding wooden the production of ^ t00 coarse or not sufficiently Conducted, by PROF. CLARENCE G. HAMILTON, M.A. action, a glance at which will dispel any doubt as to the lar conception that they q{ ^ ^ complexity possibility of other movements. “Any differences of effect of touch upon key-move¬ SUndtlegreat variety of physical piano-sound and of the This deportment Is designed to held tho teuher uponquestionsth^Mnl'cnJoifeitlons Answered ment must be differences in speed. There is no other pertnlnlng to induces variable From the fundamental law of mechanical ac tion we know that in addition to the force the distance ^lya„d rt fart- the concert artists for producing the s Various Problems through which the force acts influences the work done physical attnbue cerned. yes. So far as total on the part of the teacher, a new one may immediately A Little Prodigy Some interesting questions are raised in the following The piano key gives as a maximum distance slightly less auditory s^u ° ’ ed no Every pianistic effect exisl- be made to appear by a twist of the handle Near a or linger movement, then one arm an lhan three-eighths of an inch. Whatever force is trans¬ stimulation is con ’ th most subtle shades of emo- hand, too, should be a blue and a red pened-the first letter: all pupils would be essential. If, onthe ot er^ ing for audition, mclntothe^ ^ q{ ^ physica, a(. ter whoUis* one* of my pupils. She seems to mitted to the key must, in order to be of any musical for a mild emphasis of a mistake, and the second as a ‘■1. One of my pupils is very slow and it Is hard pends upon the force of stroke, arm tion, can fully fa;j to explain all the effects, ft" d now’she’has K to iearnBmih to hold her intesest. However, I stiU mauaS to value, be transmitted within this distance. may be varied in order to secure appropriate forceu thu lurid danger signal. tributes. b\n "ablish the presence and operation of other Preludes and Fugue*; has also complete keep her plodding ! She comiiig” a taking into consideration the not mconsidera Melody Lessons, by Bilbro. She often Mti Speaking of how to mark mistakes, too, brings up the Variations in Key-Speed this does not e , j • j stjmuli; it means, merely, piano picking out chords and melodies of subject of the teacher’s position while giving a lesson. iSrevinirisameasurerwSSiny right*hand, asking her ences in anatomical formation. mysterious, f!^is ^ ^ She i to read and play it quickly and read on at the tl/n OXCERNING variations in key-speed, a number “Again, if good tone-quality resulted directly and en of oracticiug Do "you Think "that a child as young Ordinarily this is at the pupil's right hand, where the Li of possibilities present themselves. The speed of that piano , a]so t0 oti,er senst> departments, as she is should have a regular practice period. teacher may conveniently reinforce the top notes of a only ciUtivate her memorfzh.gVs studied tirely from relaxation, then relaxation would be the i character, bu PP ^ {he kina;sthetic and the visual a nil thprp dancer of crowding her mind, l o<» key-descent may be slow or fast, constant or positively or qua non of piano playing. As a result we should find Ornish her but keep her enthused by giving her composition. But there is something to be said also in ab-2t Is 'unnecessary to teach the little cWj'lren money or a trip in the car, when she learns new negatively accelerated, or it may be a combination of these it impossible to play, musically effectively, a : ® . sensed, which, in the music appreciation of to-day are of things’. She has learned several pieces, also a favor of sitting at the pupil’s left-h position assumed “ow^ught’m'our ‘cUr'schooTs? If so, factors. We have, then, a definite indication of the effect portion of piano' literature. For all piano playing de¬ by Mr. Tobias Matthay; for from this vantage ground of touch on key-movement, namely, speed. If we can re Sd^l haveSbad Beveral pupils six or seven years of Wh’a3 What can f do "to d"velop'Vome freedom in mands some degree of rigidity, and, in many cases, a age, but none before so young 80 would like su ges^ one can stunningly reinforce the rhythm on the low bass a lady pupil? She has good technic but her playmg co, d the variations in key-speed, we can record all the dif¬ tions as to what to give next. She bus taken _ great degree of rigidity. Self-Test Questions on the Foregoing Article Upon Piano tones and, besides, can nab the pupil who commits the persists in being ‘wooden, although 1 trv to rouse ferences of the effect of touch on key-movement I for■when scales through five sharps, can play them ftl„ough her into the proper mood for her music. ga\e “In the data secured in this analysis we have the con one octave and name the sharps in each scale. common fault of sounding the foundation bass notes her a pleasant running waltz there is no difference in key-speed there is no difference crete material which, in one form or another, is at he in a hit-or-miss (especially miss) fashion. ~ Will s: *r be a if play e L what is the wain object of the mechanism of the ”“47*1 fi®T®a"growing class ^nden joy my work, but in touch so far as effect on the key is concerned. bottom of every art. And since sensation is the first link Here, too, let me make a plea for more diversity of oecause I did not study th‘f ^ fair The author then employs a whole chapter to show that in the complex chain of neural response, and depends en¬ It looks as though your little daughter were a real position. Why not secure variety by sitting alternately teachers show a ‘cold shoulder. Is this I u when I do my best and never interfere with then ? tonal effects are dependent solely upon one thing-the tirely upon the concrete objective material of the physica PTls the sound we hear when we strike a piano key launder kind; and it also speaks well for you as an at one side and then the other of the pupil, or even by speed with which the key is struck or depressed. He “One small pupil who came to me fad tixKinloi world, an analysis of this physical element is a logical due mostly to the sound of the string or of the sounding- instructor that you have been able to accomplish so occasionally standing up,' or walking about the room? unannci 41, iWfiv mill never had a niece, ncr aim and necessary beginning. Without the wooden keyboard much with so young a subject. Gluing one’s self to a given position beside the pupil has ^■•^Differences in touch, so far as they affect the boardf . , ,, and the metal strings there could be no ptamsm. either 3 When was the metal frame piano introduced!' My advice is to “make haste slowly, and not to allow two great disadvantages. It often so irritates a pupil me”("and a^piece, incidentally) and* her piaying wan vibration of the string, always involve differences artistic or inartistic. Such an analysis, moreover, gives 4 To what are differences in tonal quality due.' her to go faster than she can proceed with perfect ease. to have the teacher uttering continual remarks in his speed of key-descent. . Instead of one regular practice period, let her. have “2 Considered with reference to their effect on key us a clue to the answer of the question: How do these 5. What is the chief value of the relaxed arm in puma ear and making frantic gestures within his field of vision studio?” MBS- h- '• physical variants produce the emotional response in die several of these per day, none, however, longer than that he becomes mentally muddled and “does his durn- descent, there are but two touches, percussive and nan- playing? fifteen or twenty minutes. I also believe in a system The device which you mention may be varied by others. percussive. These represent qualitative differences in auditor? In the first place, variations in pitch, intensity, dest.” Also, if the teacher’s attention is applied solely of rewards for young children. They do a given amount Try playing the part for one hand in a given piece while key-movement. All other touch classification or nomen¬ to the printed page and the pupil’s fingers, his point of of work per dav, and why should they not be paid for the pupil plays that for the other. I know of no better clature represents merely quantitative differences in hey- Four Charming Pupils’ Recitals view is decidedly narrow. reading practice than this, since you have the reins con¬ it? I used to “hire” a small pupil to practice, at the So, whenever a pupil has a whole piece or even a long rate of one cent for each ten minutes. It was surpris¬ tinually in your own grip, and can directly control tempo SP‘‘l*Non-percussive touch permits easier and finer key- passage to perform, push your chair back, or stand and rhythm. During the process, too. the pupil should By Eleanor Brigham ing to see how his wages mounted up, especially when control than percussive touch. away from him, thus getting a perspective of his playing. there was a kite or pair of skates in prospect! count aloud. This device is similar to duet playmg which ‘4. All differences in tonal quality are due to differ¬ I remember that one of my teachers used to stroll into Keep on with the work in scales, and also take up I also strongly advise. Anyway, do not worry too ences in intensity, with the exceptions noted in later Program III the next room while I was playing, and that I imme¬ simple arpeggios in various keys. For studies, Lemome s much about her sight-reading, since accuracy and clear¬ diately felt more at ease, and consequently “did myself chapters-ch aj shaUow, harsh, forced, dry, and A Program from the Noted Composers 50 Juvenile Studies, Op. 37, are admirable for small ness should come first. Song Without Words.Mendelssohn hands, and are also musically worth while. Sonatinas, proud.” 2. I do not think that an elaborate course in either others of this nature, are merely descriptive of the in- A program of this sort has in itself a charm which One is in danger of getting so wedded to a certain set of these subjects is necessary. But in starting upon a The choice offered to the teacher ‘".ili V'tlbest such as those by Kuhlau and Clementi, will prepare needs no amplification. If the teacher is dealing with is varied, but the numbers which would fit i > ■ •' of finger motions that he regards them as of more im¬ new piece, the pupil's interest will lie much whetted if tenrLbider normal conditions rigidity tends to produce in this particular program^should^ be^Jnan for the sonatas of Haydn, Mozart and ultimately ISeeth- an audience which the title would frighten, it may be portance than their result—which, after all, arc what she is given some information about its composer and the greater key-speed (hence louder tone) than relaxation. oven These may be alternated with little modern pieces, oratbo°FolleCSong in A Mi nor- 'The realty matters. So let’s sometimes merely listen to our epoch in which it was written. With young pupils, ele¬ B “7. Under normal conditions, curved finger touches changed to simply of which there are plenty of value on the market. would be appropriate, and the selection -v1 pupils, and so realize what is the ultimate effect of their mentary theory should extend certainty as far as scale- tend to produce slightly louder tones than flat finger teacher a variety of grade. A Program of Interesting Piano Pieces structure, with explanation of the common intervals ana touches, though this difference is not always present Military March . Schubert Early Studies and Pieces performances. chords, and ear-training in recognizing these. If these "8 The dynamic range of tone-production through re Little Prelude in C Minor.Bach A lively march which is familiar and deal 1" t e Will not some other Round Table member tell us subjects are taught in your schools so much the better. laxation is less than the dynamic range of tof ;Pr°d,£- This prelude of Bach, while not containing any heart of’all teachers and even more so to pupils- their experiences in these matters? tion through rigidity. Hence, if that portion of the latter w>rv great difficulties, must be played with even Quartette from Rigolctto . .^ ERI” kchmitfs' 3. It looks as if the lady had not much music in her sixteenth notes, no pedals, and careful shading of soui. I should try giving her pieces of the Nocturne which is not contained in the former, is required for a fone The pupil who has this part of the program A duet arranged from this popular opera in a Standard"1 Course ;P'but when these are finished I do The Grace-Note With i Double Note Should lie proud to realize that she has been chosen way that makes it a splendid end ng for the pro¬ order, with an emotional melody prominent. Each phrase special effect in a composition, rigidity is necessary. to interpret the greatest of all the great masters. gram. It shoul'1 "Iv

SULLIVAN AND THE "UNION" Page 620 SEPTEMBER 1925 The success of “H. M S. Pinafore” in America caused its authors considerable JOHANN FAUSTUS, Ph.D. financial loss, owing to unprotected copy¬ Gounod’s "Faust,” as everybody knows, right in this country; so their next opera, is based upon Goethe’s poem of “Faust;’ The Musical Scrap Book ‘•The Pirates of Penzance,’ was partially but Goethe was neither using his own in¬ composed and first performed in New vention nor drawing wholly upon medieval Anything and Everything, as Long as it is ns ru Vnrk under the direction of Giloert and legend for the original character of his Sullivan in person (December 31, 1879). drama. Faust, it appears, was a real per¬ and Interesting From the book on "Gilbert and Sullivan,” , Cellier and Bridgeman, we learn that son, and however much of a charlatan he Conducted by A. S. GARBETT may have been, was originally a college ■•Arthur Sullivan had an amusing story to graduate with a doctor’s degree. We learn tell of his experience in association with, American bandsmen. These gentlemen something about him in Krehbiel s intro¬ were all under the strict control of a musi¬ duction to the score of “Faust, Schirmer vonrpf)ND cal trade union. A scale of charges was edition: . BRAHMS AND HIS FROGPOND Herc laid down for every kind of instrumental¬ "The real incarnation of the ancient ^ „Recollections compass ^^"y'tales of enchanted ist according to the nature and degree of superstition . . • wasjonn , contain some charming inci- can realize now originated his professional engagement. For example, native of Wiirtemberg. He was a poor of bratim t0uch to this rather prmces and princesses ^ _is again, the poor a member of a grand opera company must lad, but money inherited from a rich uncle " mgter (who must at times have Listenl^There he^ tTwith his yearning, mournful C demand higher pay than one who was en¬ enabled him to attend the University of {ound the humility and self-abasement of Kings gaged for ordinary lyric work, such as Cracow, where he. seems to have devoted his own disciples rather trying).' „ stretched ourselves out in the low musical comedy. . . . Accordingly, when ■n find errerbts from “Scheherazadethe famous himself with particular assiduity to the ‘Tn the afternoon we resolved to go very warm evening- the announcement went forth that the open¬ this issue our readers wdl find: «■Rmskv-Korsakoff. This work study of magic, which art, or science, then an expedition to find his ^"“or^several Lht d dgarettes and lay listening in deep ing performance of ‘The Pirates of Penz¬ This article inaugurates a series of musical composition of the great Rus n ^ ^ hand programs in recent years. h?H a resnectable place in the curriculum, which he had spoken to me fOT Several breath 0f wind stirring for ance’ would be conducted by Mr. Sullivan, chestral masterpieces, by the brilliant Pa* , p esenting these subjects, ‘ over the air” and talking machine records of and the manager of the theater had taken Mr. Biart has a fresh and the sub- Si: STL - « — SV-w* nsurrisr--. pains to impress upon his orchestra the the work have had a very wide sale. about in Europe, practicing necromancy■ _ -i-- f and the senes will be very novel **/%*$ £ > ; f] sic section of greatness of the honor of play mg under the ject will be the Dvorak “New World Symphony. and accumulating a thoroughly bad repu- land. Often we heard the weird call of let*e«JP , d Brahms, es- baton of England’s most famous com¬ chords create just the atmosphere of suspense and mys¬ The composer originally further provided the sep¬ To the fact of his existence we bullfrogs in the distance, but he would stone yweet little creatures, poser the bandsmen showed their appre¬ tery appropriate to the romantic subject. say: ‘No, that’s not my pond yet,’ and on penally when the swe«. more> One of the most picturesque works ever penned for arate movements with the following subtitles. have the testimony of a physician, Philip ciation of such distinction by demanding we walked. At last we found it, a tiny happy to be in their element Begardi, a theologian, Johann Cast, and from the management increased salaries the orchestra is the symphonic suite Schehera^‘ Z 1 The Sea and Sindbad’s Ship. the reformer Melancthon. ‘This sorcerer pool in the midst of a wide plain grown hurriedly swam away, using their a composer whose career is in some aspects scared 2 The Tale of the Calendar-Prince. on the grand opera scale. There seemed With heather. We had not met a human legs most gracefully and according less romantic than his beautiful music. Did the audi¬ 7 The Young Prince and the Young Princess. Faust,’ said Luther’s friend, ‘an abomin¬ likelihood of ructions. Whereupon, Arthur - - beingueing tnethe wnoiewhole way, anaand tmsthis solitary spot thg rules of th? natatory art. When they ence, that on that memorable evening of December 19 4 Festival at Bagdad. The Sea^ The ship is wrecked able beast, a common sewer of Sullivan addressed the men in modest (IQVUS-lUTyiAJirtii*devils-turpissima bestia ct^- cloaca multorum seenled out of the world altogether. thought themselves quite safe, Brahms 1865 in St Petersburg, applauded the symphony of tn on a Rock Surmounted by a Bronze Warrior. Con i his terms. Disclaiming any tide to the ex¬ young composer whose appearance on fire stage in tne dlabolorumdlabotorum—boasted—boasted that he, by his magic >“■ -‘Can—* you---—> imagine,’•.t-. u_i--Brahms began, ‘any-»“'V.™ - would tenderly■ catch• one up- again « Then behold! the beautiful Sultana appears m the en¬ alted honors they would thrust upon full-dress uniform of a young naval officer aroused its From Tiffs it would seem natural to infer the purpose arts, had enabled the imperial armies to thing more sad and melancholy than this heartily laugh with pleasure chanting melody sung by the solo violin accompanied him, he protested that, on the contrary, enthusiasm, realize that it was acclaiming one destine 1 their victories in Italy.’ Melancthon music> the Undefinable sounds of which for > freedom.” of the composer to describe and depict in a senes by interpolatory chords gracefully strewn by th: harp savs. moreover, that he had himself talked ever and ever move within the pitiable giving back he should esteem it a high privilege to to become one of Russia’s greatest composers? For of pictures according to a definite program. He has conduct such a fine body of instrumen¬ This is the Scheherazade motive—a veritable flower ot with the man; Luther refers to him in his the dapper young subaltern was Nicholas Andreyev! ch however, disavowed any such intention. He ident hes Table Talk, as one lost beyond all hope. SALZBURG-THESALZ.liUKC,—inc. BIRTHPLACE OF~ MOZART t . . tb talists. At the same time, rather than be¬ Rimsky-Korsakoff, already a mcniber ofthe remarkable only two persons, the Sultana and her spouse. Which romantic melody. In a book published in Frankfort in 1587, book “Music and Manners,” the wider plam eflfby the ret it come the cause of any dispute or trouble group of men that formed the then Modern School ot of the three Calenders, which one oftnesevenvoyages by an old writer named Spiess, the legend diSCussing a Salzburg festival he mountains from the nverisfilled y among them, he was prepared to cable Russian composers-a school that was soon to attract of Sindbad is meant, all such details, as well as the of Dr. Faustus received its first printed Krehbiel thus described the mgs of a modern type. P, home to England for his own orchestra, world-wide attention. The fundamental tenet of tffis identity of the young prince and the ycmn%: Pj^8- which he had specially selected for the group, nationalism above all else, made a particular he leaves to individual interpretation. He a.so tens us forthcoming Leeds Festival. He hoped, Lir Which is °0 however, that such a course might be The art of music soon lured the young sailor from the composition, has no connection with the story ot -from -•.<* which Marlowe -f.-5Lrs.-jfs: drew his Dr. Faus¬ avoided. The Americans promptly took his naval career, and, after the appearance of his sym the Calender. In his autobiography, recently PuU«h*£ the gentle hint and agreed not to charge tus, brought forward on the stage in 1593, nestles under the cliffs of the Monchsburg riyer- { . ; fact glancing phonic poem “Sadko” and his opera The ^aid' “ the composer explains his expression^ purpose m this Every note of this melody, in the free rhythm of pen¬ and printed in 1604. New versions fol¬ extra for the honor of being conducted by Pskov” had brought him into evidence throughout Rus¬ STXch is merely t. pom.y .he sive recollection, breathes the spirit of narrative. In lowed each other rapidly, and Faust be¬ along TSprouts one might easily Mr. Arthur Sullivan.” sia he accepted a call to the Conservatory of St. Peters¬ Oriental romance and narrative as told m assigning this avowedly representative melody to a solo came a favorite subject of the playwright, hangVthe houses in one of the strand ^ burg as professor of composition ard'n"^“; Nights ” So eager was he, in fact, to avoid a program instrument—in this case the violin, the queen of song romancer and poet.” “Nothing licentious or savoring of it This was followed, two years later, in 1873, by his re. so definite as to savor of realism that in a subsequent among instruments-this skillful composer dlummates ignation from the navy. I’or some ten years e edition he suppressed the headings oLthe separate move¬ the element of personality in a light of colorfu beauty HohensllTburg! Srf^S^hSTlff^ ptsagffrom should be allowed to pollute good music. Music is democratic. It develops charac¬ also the position of inspector of naval bands, a field ments That which in addition to the national particu This introductory matter leads into the Principal Them WORK AND OVERWORK ter. It is international. ■ t noble sym¬ of activity which contributed to his familiarity with t . larlv appealed to Rimsky-Korsakoff was the fantastic. of the first movement proper which begms m E ma . various wyind instruments and proved of such practical The following is culled more or less at affordl^^esWfewS^- . approaches to the few large struc dbcTSSS.g ^ of prison.Uke gloominess, phony belongs to all the world." _ This work is purely the creation of his .magma‘.on and Allegro non troppo, 6-4. The melody of this heme random from a most interesting chapter on —Congressman Rathbone, of Illinois. value in his art of orchestration. This was further en¬ is thus designed to appeal to that of its hearers. W_ will be recognized as the Schahriar motive, now m the Genius, Work and Overwork, in Henry T. hanced by his experience as conductor of symphony come of the themes and motives undergo transformations measure of the movement. Finck’s great book, “Success in Music.” Capuzinerberg give easy foothold weeic ana u.e concerts in St. Petersburg for about the same length of tempo and rhythm which alter their P^iognomy and MODERN IMAGINATIVE “Alexander McArthur relates that a °f ,He lovgl v;uas that smile from the majority of the houses gave the city a of time though at partly different periods. Among his change their character, thereby corresponding to d.i TEACHING ir~ pupil once said to Rubinstein, regarding f0liage of gardens and forests, and cherry appearance.” are such composers as Liadov, PPoh^-lvanov ferent scenes and characteristics, this varying significance 5^1 J* Beethoven’s sonata, Opus. 53 : ‘1 don t need -;-—---— “The modern teacher has progressed be¬ and G’azounov. The master, who was born March 18, to practice it—1 know it thoroughly. It MISCHIEVOUS OFFENBACH yond the stage of imposing lus own stand¬ 1844, died June 8, 1908. . . . rThrwoa“ns with the proud, majestic: is only a waste of time to P«ctice more. Apthorp asserts that the only quick movements. The best part of Jacques ard upon the pupil,” says H. Ernest Hunt The colorful and beautiful symphonic suite, or suite motive presented in solemn grandeur by nearly the fu 1 One of his saddest expressions came 0 , . was that of Offenbach’s salary was absorbed in fines. in “Spirit and Music,” an interesting Eng¬ for orchestra, “Scheherazade,” was composed m 1888 orchestra, in unison and octaves: Cellos Rubinstein’s face, for there was never a talent Offenbach a y (His salary at that time was 83 francs a lish study of musical philosophy, more The composer has inscribed the following m the master that lived as he did in the work of balancing a lithe wire cane on e ip month—Editor.) “He played at private practical than its title suggests. ?, Ex.l Largo-e maestoso. Here the orchestra unfolds its graphical picture of his pupils. ‘Don’t your’ he said slowly. nose. Others, probably more accuracy, artjes^ at concerts here, there and every- Mr. Hunt quotes a teacher who wrote to 5tA“Tlie Sultan Schahriar, convinced of the faithlessness thf sea thus the first subject in the entertaining senes I j tTi j ii: of6 narrative of the Sultana. The music p am y sings ‘Well, you are eighteen and I am sixty. 1 say tbat as a boy he practiced the violin wwhere,jiere^ an(andj never failed to^ show his love him: “A young pupil (age 14) came for a of women, had sworn to put to death each of his wives a tale of the sea, with its weird chronicle of adventure have been half a century practicing that ^ later the ’cello considerably, and rfor .. parody_ ’ . and eccentricity. He was fond lesson playing Farjeon’s ‘Prelude and after the first night. But the Sultana Scheherazade and tragedy. This vivid portrayal of the sea is one sonata and I have still to practice it. I s^owe(j great ability, but was unable of all kinds of trickery on his instrument, Pavane.’ She had learned the Prelude an saved her life by diverting him with s‘°nes^h,|^^ congratulate you/ _ practice a great deal on account of ill upon which he performed imitations of the had had one lesson, a fortnight before, on told him during a thousa.id-and-one-niglats 'Tins Sultan of the most beautiful examples of tonal marine depiction and points to the fascination which the sea exerted upon “Thalberg declared that he never \en- health. Though loreignersforeigners were nutnot ad-au- vionn,violin, methe hurdy-gurdymuuy-guiuy «u*uand various toy in- the Pavane. We went through the technic, ^ conquered by his curiosity, put off from day to day the The setting for the scene of the appearance of Sche-^ the young officer during his three-year cruise. A tured to perform one of his pieces in pub- mitted"• to ^the Paris Conservatory at that struments, and he exploited to an extraor- and I told her a little about the Pavane-- 3 execution of his wife, and at last renounced entirely his hcrasade is provided by the long-sustained chords in mournful tone is infused by the harmony of the second lie- till he had practiced— 1 it at least fifteen... wnod. , . neruDim ~—-nevertneiessi-1—1— admitted~A dinary1 degree a certain bag-pipe effect when it was danced, the derivation of t e Jhe wood wind, joined, in the last chord by the horn - neglected period, Cherubini nevertheless admitted dinary degree measure, which recurs frequently during the movement. hundred times. Kubelik never neglected P® > bach (wbose real name, of which invariably provoked unbridled eh- name, and so on. When she played it she • '''"‘Many wonders were narrated to Schahriar by.the The quiet softness and kaleidoscopic shifting of these The arpeggio figure in the accompaniment, known as his exercises except on the day when his yomg ^ ‘ Offenbach” being the thusiasm.” played it very, very slowly, hut quite cor¬ Sultana Scheherazade. For her stories the Sultana tire wave motive and portraying with its continually al- wife presented him with twins. I work, * ^ b;rtb), Offenbach gave up a brilliant career as a rectly, and finished in detail. I asked her i borrowed the verses of poets and the words of folk irs'M.rA.s with' s’ffisssvtss work, work,’ said Caruso to an inquisitive p ^ wrjtcr -m j^lc Musical Quarterly said, ’cellist to become a composer, passing she liked it quite as slowly as that, an sonis and she fitted together tales and adventures. Van Ve’chten. friend. 4,H admitted into the orchestra of the through a long period of poverty and she replied that she thought the Cou , “Yet there is such a thing as overwork. Comique, where he and his col- drudgery before he emerged as the com- ladies with their long dresses would no . ‘I am not the slave of my violin, the violin at tbg desk> Seligman, were notori- poser of “The Grand Duchess” and other be able to dance any quicker, and that * ; is my slave,’ said Sarasate. for countless jests. One of their fancies light operas. The reason was probably that sounded grander very slowly,’ so I left 1 • “Misdirected energy is worse than mdo- ^ by turnS) every otber note of he suffered from rheumatism which in later “This, \vc may add, is an illustration o 1 lence, and there is much of it. .t is said ’and it can easily be imagined years grew so bad that his hands were a method quoted by a teacher in a dip'on*a * that Leschetizky pronounced the two Eng- ’ tb;s must bave been bl twisted out of shape by it. examination paper, but it aptly shows the | lish words ‘hard work’ with intense scorn, wnal c_ new spirit. The teacher had no m’n(' °, | and that he was annuycdw'ththoseericr 0ik-songs are not themselves music in by their inherent completeness, or. manipu- getic Amencans who eem to h nWhat Fol*^ ^ ^ ^ Nor hling them< hc destrQys M ^ ^ ^ force her own views upon the pupil Ha < tie one requisite in music is uic s«■« "• (;1( she insisted that the dance should be ?,ay® the one requisite m music » toC . •„ . . n A /hrv a smrce 0f authentic inspiration causes them to vanish utterly. more quickly she might have spoiled t —John C. Cavendish, child’s mental picture and destroyed he ^ 'SSSslKB^ sFABssjc'sz In the American Mercury. interest in the piece.” SEPTEMBER 1925 Page 623

THE ETUDE THE ETUDE of these have escaped the rtimbo of forgotten thingsVery few, alas! and of these tew, The eaiety and revelry of this street scene in HERE are certain coincidences in life Low often does one hear the "0«ap Sym- I'aye nil SEPTEMBER 1925 T nulslC- , *L, s0 iOI1o- the seat of califal power and which, while in some respects closely re¬ nhonv ” the D Minor Piano Concerto, the once ternating rise and fall the motion of the sea, pervades Ul? “w* radiated bv this dashing theme. After two lated, are so far apart as to cause them to pass £2. SL* » e Major tor Pta.- ^ like ... apparition issuing through a splendor a transition leads to the Subordinate almost unobserved. For instance, it probably hn or the ’Cello Sonata? There remain a few practically the entire first movement. fluttering in -sustained tremolo, to be amwerec 1Hc The Principal Theme is earned to a gripping climax, ThP" rled from the Second Part of the Prince does not occur to many to notice that twe such songs and piano pieces among ‘^ 'atter bemg whereupon the necessary contrast is provided by the brilliant stars in the musical firmament as Anton the one which forms the subject of Subordinate Theme, which, with its smooth, gliding Rubinstein and Hans Von Billow were not only Of Rubinstein’s life, not much is known be born in the same year, but that the length of yond the facts of his career as a virtuoso and chords in wood wind, produces a calm effect, ihis eroussr.svjfjar—s genii which figure in The Arabian «M*f— Nights. their span of life was also practically identical as Director of the Petrograd Conservatoire, of to within a few months, both of them also dying which he was the founder. Born m 1830 (some ii the same year, 1894. It cannot but be inter¬ say 1829), near Jassy, in Russia, of Jevv , esting to the student of the history of piano¬ parents, he was taught first by his mother anil playing and of the masters of the instrument then by a Moscow teacher named ViUoing who to give a little thought to this coincidence, and accompanied his on his first travels. When only The descent of a fourth from the first to the second icturesque theme is the following one, mer- introduces a graceful melody in the flute which has been to the remarkable possibilities that the con¬ nine years old he went to Pans where under the nole of to motive, a feature which it has in common rilv'ntped by" wood-wind to accompaniment of repeated designated as the Ship motive. sideration of the careers of these two famous advice of Liszt he studied for one year. In with the Schahriar Motive, bespeaks its derivauorl frMtt drone-bass in violas and celli. 1842 he made his first visit to England, pro¬ the latter. It is one of several instances of t ™‘tie men opens , up. . , The first thing to be remembered is that they ceeding to Holland, Germany and Sweden iwo derivation already referred to and which exempli y were both, in an entirely different sense, great years later, on the recommendation of Meyer¬ cleverness and craftsmanship of the composer. beer, he studied composition in Berlin, witi This fanfare motive soon becomes the subject ot a pianists and great musical minds. There could hardly lie given a more clearly-defined example Dehm; and, after spending some time m brief but vivacious dialogue between trombones ana of what represents the Subjective and Objective Vienna, he eventually returned to Petrograd trumpet and is later taken up by the full orchestra. •in this branch of Art. Let us confine ourselves where he received the patronage of the Grand Then follows on the solo violin the Scheherazade mo- In this section the clarinet declaims a most picturesque for the moment to what was, originally, the life Duchess Helen, who nominated him Rammer - tive now gracefully undulating in the rhythm of the melody, a whirling figure, its three long opening notes This theme is interestingly featured, after which some work of these two eminent artists, namely, the Virtuoso.” It was not until 1852 that he com¬ movement, like the capricious play of the waves. being identical with those of the first measure of the half a dozen themes and motives with which we are now life of the Concerto-Virtuoso. It _ would be Second Part of the Prince Calender Theme, while the thoroughly familiar recur in brilliant array, including menced his great European tours, at the same futile to attempt a comparison of their wonder¬ flourishing triplet figures will be readily recognized as those representing the young prince and the young prin¬ time introducing several of his larger composi¬ derived from the last two measures of that theme. cess The composer, however, mentions the fact that ful gifts; for, while both enjoyed the homage tions to the public. After some six years he these personages do not appear in this part of the story. and adulation of the entire musical public, the returned to Russia, settling in Petrograd^ where Soon after the last appearance of the \ oung Princess means by which this result was achieved was, m he was appointed Imperial Concert Director Theme the Main Theme of the movement dances before each case as far asunder as the poles. But the with a life pension. He founded the Petro¬ drawing of a few parallel notes of their careers us in strings and bassoon to reach the height of boister¬ grad Conservatoire in 1862, remaining its prin¬ will, I think, throw considerable light on the cipal for five years, after which followed other This motive is now in B minor with the major 6th, ous revelry in which it rushes headlong m violins and wood-wind-the latter twice interpolating the grotesque gifts and character of Rubinstein, both as man extensive European tours. He was decorate G-sharp which identifies the scale with the Phrygian mode by the Czar and raised to noble rank, and as The free rhythm and tempo of this theme illuminate fanfare motive, as if in undeeded warning of impending and artist. of the Greek system. This is not the only instance of Firstly, Rubinstein was what one calls a born the fantastic in its most vivid light. The themd later disaster-brass and percussion adding to the excitement early as 1870 expressed his intention of with¬ Rimsky-Korsakoff's employment of Oriental scales a pianist who first went on tour when only n'ntj drawing from public life. That he evidently appears for the flute, oboe and bassoon successively and turmoil, to the climax of the work. This ,s reached means whereby he effectively lends local and exotic years old; Von Billow, on the other hand, did had no such' serious intention could hardly he The three opening notes also inaugurate the themes ot at the Allegro non troffo, C Major, where we find color to his tone pictures. The motive is developed in not commence serious study of the instrument made more emphatically clear than by his ac¬ The Young Prince and The Young Princess, which ourselves suddenly face to face with the sea in all its the same manner as the Principal Theme, which latter, until he was over eighteen years of age, at ceptance of an offer to go to America for a furnish the subject matter of the third movement majesty. The tempestuous fury of the scene culminates followed by the Subordinate Theme, returns m re¬ which time he was studying law in Leipzig; tour of two hundred and fifteen concerts, for As the first and fourth movements are the most de¬ in the shipwreck, which occurs with the sudden appear¬ capitulation. The movement comes to a close with the and he did not make his first concert tour till he which it is said he received forty thousand scriptive, the second the most fantastic, the third move- ance of the fanfare, as if in sinister significance, rear¬ quiet strains of the Subordinate Theme. was twenty-three years old. Rubinstein may dollars. Whether it was that he was a bad ment is the most romantic of the Suite, and has been ing itself in bassoon and bass strings, like an evil spirit The second movement is the most fantastic of the he said to have been an intensely subjective A Master Lesson on Rubinstein s sailor or that he was not happy m surroundings aptly designated by some commentators as the idyll. A gloating over the disaster. The cataclysm is marked suite The entertaining Sultana again takes up the player; that is, his musical instincts were so that were strange to him, he never visited flower of romantic lyricism is the lovely, contemplative by the tomtom, or Chinese gong, a disk of bronze, a thread of her narrative in the motive that symbolizes strong that, unconsciously, he projected all t e America again, though he was offered one melody of the Principal Theme, that which symbolizes stroke on which with a padded mallet, arouses a feeling “Kamennoi - Ostrow, her She then introduces her subject. The Prince Calen¬ great force of his own personality into what¬ hundred and twenty-five thousand dollars for the young prince, and with which the movement opens. of terror. The tomtom coincides with the chord which der who is represented by the main theme of the move¬ ever work he was interpreting. Von Bulow fifty concerts. He continued to play all over ment, that in B minor. This fantastic and capricious Inasmuch as the composer has not identified any partic¬ was exactly the reverse, simply concerning him¬ Europe, sometimes appearing jointly with other theme, with its sombre coloring and concentrator tone ular prince or princess, this is not a matter of much Ex. 17 Op. 10, No. 22 self with using his gifts to the utmost to give eminent artists, such as Wieniawski, the famous characteristic of the Orient, takes us right into the realm moment in the appreciation of the work. Suffice it to §: exact expression to what he felt to be the spi violinist, with whom he was very friendly. of Eastern life. Salient features of the fantastic char¬ state, in passing, that to some writers Prince Kamar al and the letter of the composer, according to Sometimes Known as “Reve AngClique” Rubinstein, like many others of an artistic acter of this picturesque theme are the-grace-notes and Zaman (Moon of the Age) and Princess Budur (Full tradition. Again, Rubinstein composed— threw and inartistic 1—disposition, was not averse to shifting of accent and phrasing. A characteristic of Moon) are suggested. To the scholar the melodic and lasts four measures. This climactic incident is followed off” might he a more applicable term in regard From the Eminent English Virtuoso Pianist the attraction of Monte Carlo and games ot Oriental music is the narrow range of a melody, ine rhythmic resemblance of the beginning of the two themes by a disrupting diminuendo suggestive of the abatement to a good deal of his work—a vast amount of chance in general, and the story is told of how theme appears four times in succession, each time m of this movement is of greater significance, as an ele¬ KATHARINE GOODSON music in all forms, small and large. after one of his tours with Wieniawski they different harmonic, accompammental and orchestral garb, ment of organic unity. The full song, of twenty-four of the engulfing waters. The calm passage with which the first movement ended, reappears, and from its clos- decided to repair to the sunny southern Eldorado to thereby manifesting as many different moods and changes measures, appears twice in succession, the first time in Rubinstein and Von Bulow G major, then repeated in D, after which it meditates ing chord emerges, on the solo violin, the Scheherazade told of Von Biilow, of how he called one morning at try their luck at the tables before returning to their of character. That striking feature of instrumentation Von Billow, who composed but little, possessed a mind its way to the Second or Subordinate Theme, that of Motive, long, silent, again in all its bewitching charm, the music-shop of Stanley Lucas in London, on his w y respective domestic hearths for a rest after their labors. which lends so much charm to this colorful composition, so analytical that he could write nothing without di ¬ the soloistic treatment of certain instruments, is most The Young Princess. Throughout the first appearance now presaging the conclusion of her long series of tales. to give a recital at Brighton. Purchasing a couple of Alas! they lost all the earnings of their Dur and eting it to such an extent that there was eventually admirably employed in this movement The fantastic of the First or Principal Theme the. melody is sung The soft quietude of the Schahriar Motive following newly-published pieces by Sterndale Bennett, (the_thei like two guilty children, had to go shamefacedly to and exotic character of the Prince Calender Theme could by all violins in unison. The First Part of the theme in celli and double-basses betokens the calming influence very Me oi .he oripta.1 idoa Wt Principal of the Royal Academy of Music) w'thwho their hotel proprietor-who knew them of not be more clearly illuminated than by its assignment follows: of the fair narrator over her stern husband and forms ,hi, power of analysis which enabled tan Inwtoeve he was on terms of friendship, he memorized them dur for enough money to pay their fares home. This being to the bassoon on its first appearance. No less angular the peaceful sequel to the romantic epic. The mysterious such distinction in later years as an editor of the ? ing the short train-journey, and interpolated them TO readily forthcoming in generous measure and hope is the accompaniment to this melody furnished by four chords in the wood-wind that first ushered in the mo¬ sics, a kind of work entirely foreign to the dispos.t ou his program that afternoon! ,. . springing eternal in the breast,” they slipped off once tive representing the Sultana in the beginning of the Rubinstein’s perfection of technic was a by-word, and more to the Casino thinking to recover their losses. A solo double-basses; these instruments provide a quiet Rubinstein. Il l work, now return as if in impending extinction, illumin¬ ™ in the light of latter-day developments in this respect, very few minutes sufficed to render them both penndess and sombre background, notchanging harmony unt: the famous violinist, was an ardent ° . . ating in soft tints the vanishing figure, which in the it must remain a matter for surmise as to whether his once more On a further humiliating confession to their in the eleventh measure. The following is the First Part whereas Von Billow, from the start of his > P last five measures is enveloped by the E-major tome actual technical accomplishments would have impelled friend-in-need, the price of their fares was once more of the theme: chord, softly sustained by wood-wind and horns, settling the same sense of wonder and enthusiasm to-day as forthcoming on condition that he bought their t.ckets upon the scene like a tonal curtain. ar.SKa - they did in the latter half of the nineteenth century. for them and saw them off in the tram, to which, so But evidently, the qualities which, above all, held ana history relates, they eagerly agreed. nun - mThus could one continue to draw such contrasts be¬ entranced his audiences were the intensely emotional tween these two famous contemporaries; andth: e- force and glow in his playing even in quite simple things Conservatoire Director The young Princess enters upon the scene in the How Berlioz Secured Revenge sult might be to ask why it is that, actually as P > Full of fire and depth of feeling, it is easily understoo On the retirement of Davidoff in 1887 Rubinstein charming theme in B-flat major, full of Terpsichotean the brilliant star of Rubinstein so entirely outshone that Berlioz, by his radicalism, his eccentricity and bis that there were occasions when he became somewhat wild resumed the Directorship of the Petrograd Conserva¬ The beginning of its Second Part: grace. A dashing and stirring accompaniment is fur¬ boundless egotism, made himself a very convenient tar¬ not only of Von Billow, but also of every °*e^I££lS and over-excited in his renderings; but such minor de¬ nished by the roll of the snare-drum and is notated on excepting perhaps the dazzling Liszt. In a Previous toire for three years; the remaining four years- get for the critics, many of whom promptly tore up tails were as a "speck in the sky” compared to the his death at Peterhof in 1894, were spent m Dresden the lowest line of the staff in the following example. each new work as it was performed and exposed the Son I referred to the magic of “personahty and tltis general impression of noble grandeur and poetical in¬ bleeding remains of the composer’s genius to the musi¬ nrnhablv will once again be the answer, for wh.le there tensity which are said to have dominated his conceptions. x 9 fTru £7TH m is no doubt tha? Von Bulow, as an all-around musician ""This piece, “Reve Angelique” is the 22nd of the cal jackals who feast upon the misfortunes of others. As a composer, although achieving a considerable “Twenty-four Portraits” published under the collective Berlioz stood this as long as he could and then, accord¬ and a very fine performer (especially of the clashes), amount of success in his lifetime, Rubinstein lacked the was a remarkable individuality, it is equally certain that title “Kamennoi-Ostrow,” Op. 10, and one cannot help ing to the records of Elson, announced that he had dis¬ qualities which make for permanent fame. His ambi¬ feeling that the title of the entire set has only just so covered in an old library a Fifteenth Century work the two outstanding figures of the piano wordd ^ tion was to become a great dramatic composer; and he that' oeriod were Rubinstein and Liszt. Judging from to speak, saved its neck through the success and popu¬ entitled “L’Enfance du Christ” by a long forgotten wrote some dozen operas, besides several oratorios; but larity of this charmingly melodious and pianistically- composer—Pere Ducre. The critics listened to the work the opinions of those who heard ^Tto IpS ^he thev met with little success. They were old-fashioned in the chief characteristics which were; so to ..peak, interesting little composition, for the remaining twenty- and declared it a very great masterpiece, some advising style, lacking in dramatic force and entirely opposed three are little known. It is generally admitted that the After much interesting and delightful presentation of hall-mark of his playing might almost be summed up Berlioz to give up his sensational style and go back to to the then progressive school of Wagner and his fol greatest weakness in Rubinstein’s compositions is largely these two themes the movement is brought to a close score by the one word Leonine though t similar classics. Then Berlioz revealed that Pere Ducre lowers. But these works were merely a portion of his attributable to his remarkable facility; when there is any in dainty, flitting grace. could likewise be “gentle as the .sucking-dove ! Pos¬ was none other than Hector Berlioz. “L’Enfance du amazing output, which further includes Six Symphonies, halting in this facility, it seems as if he put down The final movement opens with two alternating ap¬ sessed of a phenomenal memory, it is stated he was the Christ” was Berlioz’ only oratorio. several overtures, five concertos, two Quintets, twelve the first thing that came to hand and that he never pearances of die Schahriar and Scheherazade motives, first to plav recitals and concertos without the printed Quartets, Sonatas for violin, cello and other instru¬ page before him, just as Von Bulow, who was equally troubled to try to improve it; hence a considerable The middle section of the movement takes us right the former driving in great speed and impetuosity. The ments, in addition to a mass of “Morceaux de Salon blessed in this respect, was the first to conduct ‘ * . amount of “padding” in almost all of his works. This into the heart of the fantastic. Bassoons and bass strings Main Theme of the movement is a saltatory dance-theme Why shrink from difficulties? Mountains were put for piano and a large number of songs. How many chestra without a score. A story as to memory conjure up the most grotesque motive of the entire work, piped by flutes in the narrow range typical of Oriental here only to be climbed. SEPTEMBER 1925 B'Ze 625 TEE ETUDE the ETUDE

Parje m SEPTEMBER 1925 Preparing for a Recital A.RUBINSTEIN, Op.lO,No.22 therefore makes a very interesting study for °btainmg ■u lViVlVir>i>t e_a ^ ya na’cft of%7lT thisc issue.iccnp frequently takes the form of brilliant, but rather mean¬ A. Master Lesson on this piece, by Katherine Goodson^rillbe found on another page of this issue. variety of color and feeling, without f By Dr. Annie W. Patterson ingless arpeggio passages about nothing m particular; similarity of outline will engender a monotony A Maste Andante M M. J = and even in this little piece, the quasi-chorale-hke pass¬ will not be saved by the fact that the firs age marked “Lento,” at the conclusion of the second , , „„ WPii as executive artists are faced ures ''are marked / and the next eight ^ Many stu en^ ^ ^ necess!ty 0f preparing either subject in F minor, (some twenty-four measures) This is a matter which should not be left to from time for public performance. This hardly escapes this stricture. The construction of the but should be studied in detail . pfece is Simplicity itself. In ternary or so-called “Song At the Lento (D), the chords should be well sprea one number matter than the daily routine form, it consists of a melody (A) (preceded by two fully sustained with the pedal, and a quasi-organ effec measures of introduction) for left hand, m two eight- aimed at. Again here, this lying a our-rneasu e P* measure sentences, the second sentence being very similar tern six times repeated, variety must be obtained, b ^ the first excepi that the last four measures modula e instance, commencing p, a gradual increase in t e vo> to the key of the dominant (C sharp major). Here of tone might be made up to the fourth fou follows (B) an eight-measure section, comprised of two repetition, and then with a gradual dimm«rndn wnclud four-measure sentences, which likewise are almost the section quite pp two measures before E. t he sec o Hr- and after a three-measure prolongation on alter commencing at E dm to tie e ei try of le J ject distmguisie JS*. mark as possible. How Irate tonic and dominant harmony, the opening theme should be very freely treated, keeping however a Strmig to Sc the best of which one is individually capable sense of rhythmical proportion. The recapitulation which / a \ is reoeated in a curtailed form of ten measures s the real problem. Possibly it can only be solved by The triplet figure in the accompanying "S^hand shoujd follows hardly requires further remark, if the genera the individuals themselves. But a few practical hints he especially noticed as being of m principles, as enunciated above in reference to the op and quite characteristic of Rubinstem. The seomd sub¬ ing section, be carefully thought out and applied. regarding “method” in preliminaries may help the asp.r- ject (C), Poco fiu Mosso which follows is in tie ! v L; r • and were it not for the entire change m the 31 Excessive practice is as much to be avoided as the method of treatment and the elimination of the above- other extreme. Whether the work to be prepared con¬ mentioned triplet figure of afompan.ment a sens^ Sparks from the Musical Anvil sists of one or several numbers, time for study of them should be so proportioned that rest-periods come m be¬ Flashes From Active Musical Minds tween- otherwise the nervous energy of the artists may suffer Let us assume that a pianist has a full pro¬ “Perhaps the most important thing of all js to acquire -am before him, with which he is airly but by no It will be seen that this section is made up of (L) (l), an the habit of listening to your own playing.” ^ measure phrase followed by 2 a ta/”a —Gertrude Peppercorn. means completely familiar. Some will make the weak variant phrase on the dominant, returning at J to Maces strong in shorter lime than others; sonic, again, shghtly altered version of (C) (1), bringing the cadence “The ‘small town’ program is absurd. There are no will memorize more easily and. rapidly than others^ at the second and sixth measures to the relative major small town audiences in the United States. Programs If we take an average executant under such circum¬ key of A. The effect is much enhanced by the high C should be, built for people, not places.” stances three to six weeks might be given more or less sharp (a dominant pedal) during the first portion of this —Frieda Hempel. Sy to steady “polishing.” First, the daily hours for subj^t especially where it occurs over the A major chord devoted practice need to be fixed and ngidly adhered in melrePseven and over the B minor chonl m m=e “Music is an actual spiritual need that will he satisfied to slve in the case of illness. No attractive function eiOssip Gabrilowitsch. and two more “modern” groups (or pieces) tire to be rectness of time is “merely rigid, mathematical preci¬ prepared. Temperamental ability may demand more attention to one class of music than another. Here, sion ” whereas correct time combined with a true sen.,e “The pupil is a sensitive reflector of what the teacher once more, we can lay down no hard or fast rules. of rhythm is what goes to make the ‘ real poetry o thinks he can or cannot do. If the teacher is waiting The liest plan is, at the start of the preparation period, motion” and that “elastic give-and-take without which with bated breath and a sarcastic remark at the tip of carefully to go over every item on the list, and take music must be meaningless. The opening section of this the tongue for the same mistake to occur again, likely note of pieces, or passages, that will need special at¬ “Reve Angelique” is an excellent study m this respect, as not it will occur. This time it is not the pupil’s fault. for if the triplets in the right hand are played ng'dly, tention. The very best executants are not ashamed of It is the fault of the teacher!” plodding over “cranky” measures hundreds of times, instead of with that limpid and elastic give-and-take, —A. Olaf Anderson. the whole effect will be very wooden. if necessary. Let this be a lesson to the novice. Having The time being Alla breve (2/2) and not 4/4, there discovered the weak places, grudge no care in making are of course only two pulse-beats in the measure, the “What is the way to win success in the musical world? them strong. This is one of the secrets of success of secondary accent falling on the third triplet. This ac- Whatever you do, keep faith with your audience. Every the great virtuosi. They have thought it well worth companying passage should be played, however, with good effort counts; practice, study, personal behavior while to take “infinite pains” with the shaky portions onlv just so much accent as will convey the sense of a and so forth; but no one ever made any permament of their chosen pieces, knowing that the more playable limpid and elastic rhythm. It must always remain en¬ success who did not keep faith with his audience. This bits will take care of themselves. tirely subservient to the left-hand melody, while at the means that one must always play as well as it is in one A few final hints must be summarized. Do not get same time helping to give it color and variety. Great to do.” excited or worried as the day of performance comes care must be given also to the pedal, which is so neces¬ —Yolando Mero. near. Rather do the bulk of practice well in advance, sary to obtaining the singing-tone required. The melody so that you can take it easily as the ordeal approaches; at A though marked p, must be full and rich in quality “The pianist whose ability begins and ends with the for then nerves and health must be equal to any or and an endeavor should be made to produce a rich piano alone is overlooking many opportunities to broaden every strain put upon them. In between whiles, never singing tone which, nevertheless, is not f. At the fif .h his art. I do not imply that one should take up five or omit to take daily walking exercise, if available. See, measure from A it will be seen that on beat three the six instruments for the sake of versatility. It is hard too, that your diet is simple and wholesome; these triplet figure uses the melodic note (C sharp) of the enough to master one. Nevertheless, the pianist will things go to build up the expert artist in all lines of life. left hand. This melodic note is of course held by means find the study of another instrument—particularly the Above, all, do not attempt anything that you cannot of the pedal; and the triplet on beat three must not be violin—to be decidedly helpful in many ways.” do very well. But “what’s worth doing is worth doing interrupted in its easy flow; this also occurs in two or —Harold Bauer. well.” three other places in this section. At the re-entry of the subject, twelve measures after P, a nefv effect is obtained by doubling the melody in the top note of each triplet, and of this upper octave a THE ETUDE Music Memory Contest feature should be made. It is somewhat similar to a Last May “The Etude” presented on this page a “Music Memory Contest” which melody being played by the clarinet in the orchestra, and on repetition, being joined by the flute playing an pleased so many of our friends that in response to their demand we shall make octave higher, thus enriching the tone. Coming to the this a regular monthly feature of “The Etude.'’ The contest for September will Poco pin Mosso (C) it will he seen that almost the be found in the back pages of this issue. whole of this section down to (D) is a repetition of the rhythmical pattern of the first two measures. This THE ETUDE THE ETUDE SEPTEMBER 1925 Page 627 "September 1925 Page 629 THP ETUDE LITTLE SWEETHEART A song without words, based upona single theme. This must be sung out clearly in the various registers, especially where it is transferred to the left hand.Grade 4. ARCHIE A.MUMMA Longingly

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‘Brunswick Radiola No. 260 TT ERE is an instrument that is liter- The superlative in radio, the supreme tion has been subsidized to do for radio A A ally changing the lives of people in a phonograph in one! what it did for phonographic music. — a musical achievement admittedly At a simple turn of a lever, it is the without parallel. Thus the Brunswick Radiola marks the most remarkable of radios. At another best that men know in radio; the best Starting with the outstanding wonders turn, it is the supreme in a phonograph that’s known in musical reproduction. of radio, it multiplies them. —the instrument for which virtually Note particularly that it is a scientifically Educationally, in homes where there every great artist of the New Hall of combined unit — not a so-called “com¬ are children, it offers a wonderful new Fame now records ^exclusively. bination” radio and phonograph. world of musical appreciation. Nothing in music—music in the mak¬ The loud speaker unit, the loop anten¬ Mechanically, it is so far past the ex¬ ing, music of the air, the favorite rec¬ nae, batteries and all the integral parts perimental stage that one may acquire ords your heart calls to hear now and are built into the instrument itself. it with positive assurance of lasting again—are thus beyond your reach. satisfaction through the years to come. You change no parts to operate it. Due to the synchronizing of the Radiola

It combines the thrills of radio’s most Not a makeshift loud speaker with the Brunswick all¬ c.Brunswick Radiola No. 360 remarkable achievements —the receiv¬ hut a scientific UNIT wood tone amplifier and two-purpose ing devices of the Radio Corporation of horn, it attains a beauty of tone, a rich It is in nowise a makeshift—simply a' America—with the internationally ac¬ musical quality — and a clarity that is radio receiving device in a phonograph claimed musical and tonal qualities of almost unbelievable. cabinet—but the ultimate result of ex¬ the Brunswick Phonograph. It is a The Brunswick Radiola haustive laboratory work by acoustical Prices as low as $170 radio, a phonograph in one . . . yet, not Super-Heterodyne and musical experts of the Radio Cor¬ a “combination” in the sense that you Some styles embody the Radiola Super- poration of America and of Brunswick. —some remarkable features: know it. Heterodyne, others the Radiola Re- The Brunswick Method of Reproduc- genoflex, others the Radiola No. 3 and \ Requires no outside antenna — no No. 3A. All are obtainable on surpris¬ ground wires. You can move it ingly liberal terms of payment. from room to room—plays wherever you place it. ‘Remember—Brunswick now offers the choice of two For a demonstration, call on any Bruns¬ 2 Amazing selectivity permitting you sranh™6 mstruments: the Brunswick Phono¬ wick dealer. graph and the Brunswick Radiola, which is a phono¬ to “cut out” what you don’t want to graph and a radio in one. Embodied in cabinets hear and pick out instantly what you expressing the ultimate in fine craftsmanship. ‘Brunswick Radiola No. 160 do. Consider what this means in THE BRUNSWICK-BALKE-COLLENDER CO. ‘Brunswick Radiola No. 60 Manufacturers- Established 184, big centers. General Offices: CHICAGO Branches in all principal cities ^ Combines the superlative in radio with the superlative in phonographic reproduction — a phonograph and a radio in one.

PHONOGRAPHS • RECORDS • RADIOLAS THE ETUDE SEPTEMBER 1925 Page 641 Page HO SEPTEMBER 1925 One of Mr. Williams1 likeable teaching pieces. Give THE] I30-A.T the proper rippling quality to the arpeggios. Grade4. FREDERICK A.WILLIAMS In moderate time m.m.J.=63 "''v. 6 i , i m r"' | 4k .. i „

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FROM the very beginning, the constant aim and policy of the House of Schirmer has been to supply the American public with the very best music, carefully edited, finished with fine accuracy in every particular, and issued in a thoroughly tasteful and at¬ tractive style. It can be asserted without fear of successful contra¬ diction that the firm, by reason of this continual striving after perfection down to the least detail in editing, printing and binding, have set a standard which few, if any, houses in the same line have equalled. Schirmer’s Standard of Excellence was fully maintained in the Schirmer publication's of 1924 and 1925; and these works, listed in the next edition of Schirmer’s Bulletin of New Music, to be published about September 15, 1925, constitute a noteworthy array of material for all musicians planning for the new season.

The Schirmer Publications Schirmer’s Catalogs il will be Sf A detailed list of the complete Schirmer publications 4which cover almost every form of vocal and instrumental music), with comprehensive information about the composers represented, is impossible to compile because of size. In addition to all of the important works of the old masters, and classical and semi-classical composers of the last hundred years, no other catalog contains such a roster of contemporary American and other composers as that of G. Schirmer, Inc. The with Piano and other Instruments, etc.. following partial summary of the contemporary vocal and piano composers graphically 144 pp. illustrates the immense scope of the Schirmer publications. Vocal Music: Choral Collections, Octavo Editions, Masses, Oratorios, etc., 149 pp. SONGS by Allltsen, Andrews, Ayres, Barnes, Barnett, Bartlett, Bassett, Bauer, Bea< Berwald, Blair, Bloch, Branscombe, Brewer, Brown, Buck, Burleigh, Buzzi-Peccla, Cadnu Piano Music: Piano Solos, Methods. Stud¬ —ipbell-Tipton, Carpenter, Chadwick, Clarke, Class, Clough-Leighter, Cook, Coombs, Cut ies and Exercises, Piano Four-Hands, Damrosch,-h, Dels, De Koven, Densmore, Dobson, Engel, Farl|y^ Frir-*1ml, ”—Foch,■ *-Fester, Forsyth etc., 112 pp. Gaines, C >,eman, Harker, Harris dey, Herbt_ _I :, Huhn, Hyde, Josten, Kelley Kemoche_..xamer. La Forge, Leoni, Loeffler, Maimrai, ivia. Mason, Matthews, Neidlinger, Nevin, O’Hara, Parker, Powell, Rikt____ ler, Scott, Seiler, Shelley, Sibella, Smith, Sonneck, Speaks, Spicker, Strickland, Thayer, Tre- harne, Versel, Watts, Whiting, Woodman, Wyatt, Wyman, Zimbalist. Orchestra and Military Band including full and small orehesti symphony orchestra, 44 pp. Music for Wind and String I Guion, Hadley, Herbert, Hofmann, Hudson, Hughes, i --- Hyatt, Jose..,, scella, Krogmann, Leighton, Levitzki, Liebling. Loefflt Loomis, Loth, Lucas, MacDowe _,—----,dacFadyen, Mana-Zucca, Mason, Matthews,----- Neldlir' Oehmler, Orth, Parker, Pfeiffe, Powell, Rogers, Royce, Shelley, Sherwood, Smith, Soro, Spencer, Sternberg. Swift Terrv Whiting, Williams, Wright, Wyatt, Yon. - SPECIAL CATALOGS Catholic Church Music. 12 pp. SCHIRMER’S LIBRARY Chorus Conductor's Guide, 201 pp. nHIRTY-FIVE years ago, the House of Schirmer published the first numbers of L Schirmer's Library of Musical Classics, This edition has been constantly augmented Christian Science. A List of Songs. 12 pp. ntil it now contains nearly 1500 volumes, covering the choicest literature of classical Educational Dance Music Collections, 1. The New Choirmaster’s Guide, 136 pp. Organist’s Guide, 75 pp. SCHIRMER’S SCHOLASTIC SERIES New Piano Teacher's Guide, 202 pp. “Material for vocal and instrumental study—from the very easiest to the most difficult” Schirmer’s Library of Musical Classics, 7( IIS great Series embraces only copyrighted works. New works appear regularly Schirmer’s Scholastic Series, 8 pp. mer-rtibrar "04 Stan* ® “ WlU be as wel! known as ^e world-famous Singing Teacher’s Guide, 202 pp. Master Series for the Young, for Piano, i Publishers of THE MUSICAL QUARTERLY Supervisor' TSSUED in January, April, July and October. Each number (Illustrated) contains 1. about 160 pages. 75 cents per copy; $3.0ft va** r*O. G.fz SONNECK, Editor. a

Order All Schirmer Publications of Your Regular Dealer In addition to the main catalogs and advertising matter listed to the left above, we publish information about all of our important publications. Anybody seeking the details about any Schirmer publication may have prompt and thorough informative service upon request. G. SCHIRMER. INC., NEW YORK

British Copyright secured !iiiiiiriniiiMjiiiiiaiiiiii!i^ ... Copyright 1925 by Theo.Presser Co. THE ETUDE SEPTEMBER 1925 Page 643 Page 642 SEPTEMBER 1925 THE ETUDE

For Mr. Victor Biartfc interesting article TWO THEMES concerning this music, see another pageof from “SCHEHERAZADE” this issue. SYMPHONIC SUITE M. RIMSKY-KORSAKOW The Story of Prince Kalender Oriental Dance Andantino m.m.J> = 108

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British Copyright secured THE ETjjRp SEPTEMBER 1925 Page 649 Page 648 SEPTEMBER'EM IS UK 1925WHO ™ ^ i TT THE etude I HEARD THE VOICE OF JESUS SAY h. BONAR SACRED SONG j. CHRISTOPHER MARKS AnHant.fi rfilieSnsn

Copyrightl92fcbyTheo. Pr»s*«r Co. * * Briti*h Copyright *ecurtd Page 650 SEPTEMBER 1925 tee ETu/j£ THINKIN’ OP YOU the ETUDE SEPTEMBER 1925 ADOLIN VRIERE RICHARD K0UNT2 Page 652 SEPTEMBER 1925 THE ETUp£ the etude SEPTEMBER 1925 Page 653 EMMAUS J.FRANK FRYSINGER Emmaus, the village,eight miles from Jerusalem, mentioned in St.Luke, XXIV, 13. A strongly devotional melody,introducing chimes and harp effects. Andailtino M.M.J.=54 Cb.Clarinet Sw.to Cb. Master Teachers of Fall -Winter MANUAL. VOCAL FACULTY Fall Session Opens Sept. 14th HERBERT WITHERSPOON FAMOUS SINGER. MASTEt VOCAL INSTRUCTOR, COACH. WRITER AND LECTURER EDOARDO SACERDOTE MME. AURELIA ARIMONDI ISAAC VAN GROVE VITTORIO ARIMONDI J^ouis 6)uinze GRAHAM REED PERIOD MODEL GRAND

BELLE FORBES CUTTER For our smallest ( five foot) Grand, Ivers & Pond designers have evolved this de luxe casing, with its ROSE LUTIGER GANNON dainty Rococo hand carving a lafrancaise. Its tone is as refined and charming as its case—a musical MABEL SHARP HERDIEN jewel. LUCILLE STEVENSON GORDON CAMPBELL IVERS & POND HELEN WOLVERTON PIANOS Combine the best traditions of old time Boston piano building with the most advanced ideas of FREE SCHOLARSHIPS today. Built, as from the first, in but one quality The above named Master teachers have each consented to award Free —the best—by the same interests, with the same Fellowships to the students who, after an open Competitive examina¬ artistic ideals, they are used in over 500 institutions tion, are found to possess the greatest gift for singing or playing. Application blanks on request. and 75,000 homes. Our Catalog showing latest style tendencies in Uprights, Grands and Players, mailed on request. STUDENT DORMITORIES Artistic and sumptuous dormitory accommodations for men and How to Buy women in college building. Piano furnished with each room. Prices Wherever in the United States no dealer sells them we reasonable. Make reservations now. ship IVERS & POND pianos from the factory. The piano must please or it returns at our expense for railroad freights both ways. Liberal allowance for old pianos in exchange. Attractive easy payment plans. CHICAGO For catalog and full information write at once. MUSICAL Ivers & Pond Piano Company 141 Boylston Street COLLEGE BOSTON, MASS. / Chicago Musical\ 60 EAST VAN BUREN ST. \ College Building/ Chicago, III.

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that he may learn to measure his strength. sult of this freedom of the throat-space is For the degrees of strength in the human that the instant the breath presses over voice being innumerable, the more one so lightly, a full sound is heard. This full¬ knows how to master them, the more will ness is the tone, and when the sound of the one be able to touch the soul of his au¬ voice is prolonged, it is said to be sus¬ American Conservatory tained. dience.” Jenny Lind, the celebrated smger, bom By this the good note reveals itself. The CHICAGO'S FOREMOST SCHOOL OF cMUSIC 1820, in a letter to a pupil writes: restraint over the breath is, however, “Before a note is sounded, the throat very tiring to the body, but very loosen¬ must be mentally prepared with a right ing at the throat. It brings about, as it position of the register in which the com¬ were, a sensation of the throat dropping ing note lies, whether high or low. Hence in, of the tone floating on the breath, and 40th Session Commences September 10,1925 appears a certain sign, and when once a of the voice placed in unconscious ease as note is there one must leap lightly to never before. We understand thus the idea Offers superior courses in all branches of music and dramatic art, including Master School. Diplomas, all the others, upwards or downwards, so of “No throat, no tongue, no jaw; smil¬ Degrees and i eachers’ Certificates granted by authority State of Illinois. Thorough preparation for concert, that no break is then noticeable between ing lip; eyes soft and natural.” opera and teaching positions. Many special features, recitals, concerts with full orchestra, lectures, etc. the notes, and the phrase receives its full value without interruption. III. A Roman Singing School Excellent Dormitories Offer Accommodations at Moderate Rates “For example, the middle notes A, Cl, We shall all read with the greatest in¬ E must be so joined that they form a terest Angeloni Bontempi’s description of UNSURPASSED FACULTY OF ONE HUNDRED ARTIST-INSTRUCTORS whole. the plan of studies at the Papal singing Among these might be mentioned school at Rome about the year 1624, which indicates clearly the remarkable earnest¬ PIANO — Heni°t: Levy, Allen Spencer, Silvio PUBLIC SCHOOL MUSIC—O.E.Robinson. Scionti, Henry Purmort Games, Louise Robyn ness of purpose of all concerned. Singing Kurt Wanieck, Earl Blair, May Doelling. ’ HARP—Enrico Tramonti, Clara L. Thurston. in class the pupils practiced for one hour MUSICAL THEORY, COMPOSITION- daily, intervals of special difficulty for the VOICE—Karleton Hackett, E. Warren, K. DRAMATIC ART, PUBLIC READING— This happens through singing smoothly Adolf Weidig, Arthur O. Andersen, John acquirement of richness of tone. A sec¬ Howe, Charles La Berge, Elaine De Sellem. Palmer, Leo Sower by. Walton Pyre, Louise K. Willhour. and staccato simultaneously, if I may so express myself, and this is above all things ond hour they practiced the trill. For Weaver—the choice of VIOLIN—Jacques Gordon, Herbert Butler, VIOLONCELLO-Hans Hess. DANCING—Louise Willhour. a third hour different rapid passages; and, Adolf Weidig, Hans Muenzer, Walter almost impossible to explain in words. I - Frank finally, one in the cultivation of taste and »c enbrenner. and others of equal importance have often spoken to you about it, how¬ many masters ever. and given you examples. It depends expression. This was done in the presence The spirit gaily calls, and willing keys respond; comes sorrow GUEST INSTRUCTORS, 1925—Delia Valeri, Josef Lhevinne, George H. Gartlan upon the flexibility of the larynx, and of a professor, who saw that they sang before a looking-glass, in order to learn with its sombre tread, and love, with fiery passion—player and must be practiced.” [Another way of ex¬ instrument unite to give them life and feeling. Because it Free Advantages: pressing the freedom and unconsciousness to avoid every kind of grimace or unpleas¬ complements the master, instead of merely serving him, great of the throat.] ant movement of the muscles, were it musicians acclaim the Weaver Piano one of the supreme THIRTY FREE SCHOLARSHIPS AWARDED In the Manual used at the Paris Con¬ wrinkling of the brow, winking of the musical achievements of the age. EXAMINATIONS FROM SEPT. 4 TO SEPT. 8. (APPLY FOR EXAMINATION BLANK) servatoire, we find: eyelids, or distortion of the mouth. In To understand this perfect instrument you must hear it, the afternoon the pupils often went play it, feel its magic spell. Let us direct you to the nearest Lyceum and Chautauqua engagements secured “The singer should read the poets. Po¬ etry and romance will kindle his imagina¬ through the Porta Angelica, not far from Weaver dealer. Weaver Piano Co., Ine., York, Pa. Weaver, Monte Mario, in order to sing against the York and Livingston Pianos and Player Pianos. Examinations Free - Catalog mailed free on application - Moderate Tuition Rates tion. Tliis is necessary in order to express dramatic passion, to represent the char¬ echo; thus becoming acquainted with their /\ M ERICANCONSEEV A TOR Y, 571 KIMBALL HALL, CHICAGO acter and thoughts of the persons of whom own failings through listening to its an¬ the romance and fiction speak, which per¬ swers. At other times they were either JOHN J. HATTSTAEDT, President. Karleton Hackett, Adolf Weidig. Heniot Levy, Associate Directors employed in the great performances in the WE AV E R sons he should simulate.” churches, or were permitted to attend Hi PIANOS II. Comments on the Foregoing these, to enable them to hear the many great masters who flourished during the I make no apology for repeating a few reign of Pope Urban the Eighth, 1624- passages which seem to state in short the 1644. This course of studies may appear GUNN SCHOOL ideas of the old masters: severe to us, yet we know that the singers “In order to make a good singer, three of those times were able even in their old very different gifts of nature are requi¬ age to excite their hearers to admiration MUSIC DRAMA LAWRENCE site—voice, ability, and ear or intelli¬ Faculty of Eighty by their perfect technic, the richness and gence. ‘It does not matter how much flexibility of their voices, and the vigor Fine Arts Building, 410 So. Michigan Ave CONSERVATORY OF MUSIC but how we sing.’ ‘How long does it and duration of their breathing. The Entrance Also from 421 So. Wabash Ave. ' take to learn the art? That depends en¬ achievement of these results was undoubt¬ Chicago, ill. (A Department of Lawrence College) tirely upon talent and ear.’ One must give edly assisted by the extreme caution ex¬ up the idea of producing a great singer -— ■ = DIRECTORS — - — APPLETON, WISCONSIN ercised in the selection of the studies and in the course of a year. songs used at the school of Rome which “There are two branches of his art that Offers Regular Courses in were always kept within the bounds of the the singer must so entirely master that most natural compass. Edouard Heaelberg Sophia Swanstrom Young Piano, Voice, Violin, Cello, Organ, Public School Music, they become second nature to him. First, May what is here written not lead to lie must imperceptibly and rapidly fill the ORATORIO CHOIR DIRECTING Band Instruments, Theory, Harmony, Composi¬ such inquiries as :— VIOLIN lungs with breath, and secondly, be able (1) What are the singing schools of the tion, Music History, Appreciation and Art to let it out again sparingly, yet with the present day doing? NORMAL TRAINING Certificates, Diplomas and Degree of full force of his voice. In expiration, a (2) Do they still maintain the same high singer must never become breathless, but Bachelor of Music awarded Faculty of twenty Artist teachers. principles ? For Catalogue Address C. E. MOORE, Registrar Excellent Equipment. Dormitories always keep some breath in reserve. (3) In our concerts and theaters, do we “The note must be drawn out, not ORCHESTRAL TRAINING, RECITALS, MUSIC FESTIVAL enjoy sounds of beauty which touch the STEINERT PIANO pushed out. The breath must be taken so soul; or are we not, at times, astounded quietly that one may produce with the and pained by notes unnaturally forced, Fall term opens September 22, 1925 least breath a sound that gradually swells frequently harsh, and even tremulous? Atlanta Conservatory of Music Send tor free catalog. Addre,.- to the loudest note and dies away.” In other words, first get the note rightly THE FOREMOST SCHOOL OF FINE ARTS SCHOOL of GOSPEL MUSIC CARL J. WATERMAN, D,.„, ^ WUcon.,„ Southwestern Baptist Seminar . produced and then add force to it. Indeed, Gum at Lessons ? Seminary Hill, (Fort Worth!, Tern, study all the notes at first rather softly, and then gradually louder, for “through Catalog. GEO. P. LINDNER, Director By Sarah Alvilde Hanson Write for particularsA“ piano singing does loud singing first be Peachtree and Broad Street., Atlanta. Georgia ^Quisville L ®. SCARBOROUGH, Pr DENVER come beautiful’’: “win every high note in CONsehvaTORY “Dobs that really hinder thinking?” asks of MUSIC COLLEGE of MUS softness.” “Tone is the stuff or material of all mu¬ a pupil. ESTABLISHED 1857 Individual and claas instruction in Nl?i™nfl°Wfd In?‘itution-Not for Prof Piano, Organ, Harp, Voice, Violin. nationally Accredited—Diplomas, Degre sic. It has as much variety as the human Positively, yes! It distracts the atten¬ Dramatic Art. Orchestral Instru¬ countenance.” tion ; is not exactly courteous to the teacher. ments and all Theoretical Subjects. ^rAven0u™„f™^*“’%*B- PC’1 The description of the tone being pro¬ One could not call it a well-bred action at Many student and faculty recital, duced, as tlie thread is drawii and spun such a time, though it is probably permissi¬ PEABODY and three large student orchestras — HAROLD RANDOLPH, Director m conoecuon with work. Public from the ball of flax, gives an admirable ble in the privacy of the boudoir. School Music Course lcadinc to picture of the tones of the voice, being Yes, I prefer pupils to dispense with gum One of the oldest and most noted Music Schools in America. ’■sor's certificate. Practice even in quality and unbroken. Equally, at lessons—and they are usually nice about ig in Public Schools. Gradu- Make These Lovely Things \b urself ^ ccepted^by State Boards ot Sf. Louis College of M too, it describes the sensation of the breath throwing it away at my request. Gum 'a a" branches of Music, Ex, , your friends who are ambitious to go high i, being balanced steadily towards one—not chewing makes pupils nervous. The "“(mi to note I Arti.r T \,C ’’’rt. Distinguished Facull Wrigley Wrigglers are a problem to many ?££*""*** br°um • School Address: pib ielT^i Modern Methods. Un, jerked or coughed out. mas .sSnand Degrees001 M“ conferredic C°urx - ModerateCertificates T Our simple conclusion is this: teachers of juveniles. There is a looseness down in the throat Please mention THE ETUDE behind the tongue, experienced sometimes We learn not at school, but in life.-— ’seM1'^«tomp.UUWrito

CLARE OSBORNE REED~ /COLUMBIA Director BUSH ^25th Year “"'MUSIC Opens Sept, 14th One of America's Finest Institutions CONSERVATORY Devoted to Education in Music CHICAGO Fully accredited courses leading to Certificates, Diplomas and Degrees An institution offering accredited courses leading to by authority of the State of Illinois Certificates, Diplomas and Degrees The Etude Music Lover’s Memory Contest . ,2Sr, Ml JSir expression DORMITORY Every month The Etude presents these musical brain twisters. How many LANGUAGES DANriNr OPERATED BY of these famous pieces can you identify by means of the measures given? The mnnth Test and extend your musical knowledge by PUBLIC SCHOOL MUSIC THE SCHOOL -- ^ month> Premier Aristocrat Model DRAMATIC ART, EXPRESSION and STAGE CRAFT No. 1 5 feet, 3 inches long Price $725, f. o. b. N. Y»

Tile Faculty of 125 teachers includes many artists of This quality small grand, at a most attractive price, makes a special international reputation, among them appeal at this time, because of the resumption of studio, school and college work. Be sure that you are equipped with the Premier Aristocrat Model Piano Voice for your professional fall activities. Kh?a±rd Arthur Middleton No other Small Grand Piano can compare with the Premier Aristocrat, at Edgar A Nelson Abernethy anywhere near its price.

Edgar A. Brazeltor ft See and fear this thoroughbred small grand at your dealer’s. If you cannot Mme. Ella Spravki Louis Krei obtain locally, let us know, and we shall see that you are promptly supplied. John J Blackmorc William PI Send today for your copy of our attractive Brochure. “The Magic of Music." Cecelia R°Berry Mme. Just (fe4f M Also paper pattern, indicating Premier exact space requirements. School Music Opera Premier Grand^ Piano Corporation fcfr^Hom^rCotton hm£ 1J \ \■ m 514-562 WEST 23rd STREET NEW YORK Cello Vo,1 Walter Br Dramatic Art, Expression and Stage Craft Organ Edgar Nelt Elias Day Dancing Oranne Truitt Day PRIMARY MELODIES All Orchestral Instruments For the Young Beginner Normal Courses in All Departments by GALLANT GREENE S^toisoO^Mc^ Symphony Orchestra of 75 ;.fl In Your Spare Time p t e MASTER SCHOOL y UJ T j* V ‘V p SAMUEL E, MOIST, Patron No. 5 vSintUO0n “ VT to talented students of advancement in Piano Voice The Dor„itoryislocated a beau Sin^naation dCOmPOSltl0n- Wli* now for application blank and daT* tiful residential district and only one block from Lincoln Park and is the'pubTMlti'rBu^: SCh0°' by r a»rl EgEf E p~pE The melodies include the following, with words: WHO IS BETTER QUALIFIED FOR Jack Be Nimble, introducing the half-note; Simple FREE AND PARTIAL SCHOLARSHIPS No. 6 ^ ^S Simon, fntrodneing the tie: Taffy Was a Welshman, p Bye Baby Bunting, the quarter rest; Yankee ^Doodle,’ J»4s Fp-| t=\ jfiftren- Bumble Bee, the flat; London Bridge (all melodies so =1 A SCHOOL FOR *r kle. Little Star, introducing three-fourths time; Lit- Student Dormitories for Women and Men T Sz I j-j-j d nf buildingS adjTnt t0,,lhe Main Building devoted to accommoda- J r n‘T^rof„usic H m Price, $1.00; to teachers, 43 cents, postpaid No.7 * 3 Pt We send music on selection KUNKEL BROS. MUSIC CO. and more.” Noobligation Writetoday.^ 5500 amonth” Ip „ • , Every Branch of Music 3750 LINDELL BLVD. ST. LOUIS, MO. Pon«t*BuUdinn 1 Fall Term September 14 LA PORTE INDIANA ||| Opens Public Schoo”Mugic ^'chonj, sV‘°!oncel10 Normal Training History of Music Ensemble Orch^i Correlated Arts Write today for our catalog with full information on all courses Conducting Dramatic F ^ ^ ^r° esslonal Accompanying Drama,,o Exprea,™ English Psychology Please state the course of study in which you are interested MUSIC PRINTERS! and if you wish special Dormitory booklet. Address: ENGRAVERS*™ LITHOGRAPHERS Send for Complete PRINT ANYTHING IN MUSIC- BY ANY PROCESS llPIANO UAZZlI ,or fcar- "ith or with°ut music. Short Course T. E. Schwenker, Secretary •OLUMBIA CatalogueCdialogue WE PRINT FOR INDIVIDUALS AdultJ, beginners taught by mail. No teacher required. Self- instruction Course for Advanced Piauists. Learn styles of 839 North Dearborn Street, Chicago, Illinois established .ait REFERENCE ANY PUBLISHER 259 — MottomfdoSSP|iS Trick’Si H:ir“OQy'Orient* ls<5hitue, SCHOOL OF Fillers, Sax Slurs, Triple Bass, Wi'ckiid^aimony^ Uue1OblN Box E. 509 S.S WABASHWadaou AVEa « gato i.ud 247 other subjects, including Ear Playing. 138 page* Chicago, U|. The answer to this month's Music Lover's Memory Contest will appea special■ l'.'\ offi,, r. ,U- ' I-.-'nI brine- .mu I RKi; music * this space next month. jys-ZIHMERMAfrsn Waterman Piano School, 1836 w. Adams St.. Los Angolas. OaL Please mention THE ETUDE when addressing our advertisers. Page 660 SEPTEMBER 1925 fj-lE ETUDE SEPTEMBER 1925 Page 661 The Organist Goes Visiting sound or function of each as it js Particular attention should be given study of what he must retain, and what couplers, as they always play a very n° ™ sion. Suffice it to say that many sections By W. Stanfield Cooper, Jr. he may sacrifice. inent part in obtaining a smooth, di^c*] of the Pastoral Symphony and overture The Pastoral Symphony also was de¬ were a valuable lesson on what not to do. The Organist’s Etude performance. If the same stop, atm^ serving of better treatment. Here, as Sooner or later every organist is called on more than one manual it can safefyT everyone must recollect, the atmosphere is Dynamic Contrasts The Child’s upon to play an instrument with which he It is the Ambition of THE ETUDE to make this Organ Department assumed that there is but one set of • be tranquil, both in tempo and dynamics; Of the chorus accompaniment, the first is not familiar. Even if he does not desire "An Organist’s Magazine Complete in Itself” playable from each. Sometimes this anything bizzare or strident to be rigidly that claimed particular notice was “For Approach to to do substitute work, the weddings of his affect the result obtained and should ,d excluded. The pervading string tone, unto us.” As everyone knows, the thirds friends make this call upon him, to say taken into consideration. Locate th„ De which finally is heard muted, and subdued that are played between the words “Won¬ Music Study nothing of the audition that precedes the pedal and move it several times in order f wood-wind, produce a lulling effect im¬ derful,” “Counsellor,” are in the orchestra obtaining of a new position. The oppor¬ Edited, by Well-Known Specialists get the “feel” of it, at the same time dti ° possible to describe, but, once heard, never just quoted. This creates a dynamic con¬ To win the enthusiastic interest of the boy tunity of familiarizing one’s self with the gmsh its location carefully fr0m that forgotten. No musician ever dreams that trast that never fails to thrill the lis¬ girl at the very outset has always been instrument in such cases is scant, if not the crescendo pedal. 1 01 tener. But in the present instance every¬ of the biggest problems in music teach¬ altogether impossible; and the man who this beautiful, ethereal, and yet at the same It is best to start out with a combination time, fall mass of tone can be duplicated thing was played full organ; the interludes ing. Leading educators agree, today, that can give the most creditable performance as near as possible to one with which is the one whose musical ability is not ham¬ on the organ. But an organist can confine of thirds being every whit as powerful as this can be best accomplished by enabling manuals to pedal and unison between manu¬ are thoroughly familiar. For example on pered by his being unable to recognize bination-pistons and pedals become possible. himself to the stops of decided string the looked-for climaxes. Consequently, the youngsters to make music in their own als. Most of the older instruments will a two-manual organ, a “P” combination ° quickly the possibilities, limitations, and Generally it is a good rule to avoid using quality, and especially remember to avoid each entry of the chorus was not particu¬ way with the use of that universal musical be found to be this type; and often they are the swell coupled with an “M F ” 1 peculiarities of a strange organ. them unless it is known what to expect. a heavy, booming bass. larly inspiring; rather the effect was like not in good condition. Their action has bination on the great, and with a soft ,1°'m instrument—the Harmonica. After they have become proficient on th's Each organ builder seems to foster dis¬ Frequently a tubular instrument, well- a brilliant organ toccata with a rather been repaired and adjusted for many years The String Tone instrument they will take naturally to the study of the piano, v.olin and tinct ideas and hobbies which he incorpor¬ mannered otherwise, will display tempera¬ indifferent ejaculatory chorus accompani¬ until the pressure required to depress each useful, yet safe. The great is ready o other musical instruments. ates in his work. For example, there is ment when these pistons are used. ■ The quality of string tone in the orches¬ ment. key is noticeably different from that of the one whose stop tablets are lifted, or the However,nowever, despite thesetnese possiDiepossible occur- solo -i*work, • and. ..considerable , "expression iis tra is distinct, and yet not at all unpleasant The “Halleluiah” was up to the aver¬ next one; and often the valves are not possible just with the use of the swe upper end pushed, to draw the stop—just rences, the tubular-pneumatic organ will be ^ j *1 S t Wl 1 .t,lc °* the swell even if long continued, as a pedal-point, by age ; perhaps a little better from the chorus opened fully so that the pipes are under¬ HOHNER HARMONICAS the opposite of common practice. The the ’cellos. (The double-basses verge oc¬ stand-point, where the crescendos and blown and speak slowly. On the whole, found very light playing, pleasing, and gglaS As writer had the opportunity of speaking with interesting. tamilianty is gamed, excursions' into the casionally on a rough tone.) But a long fortissimos were much finer. But the or¬ for the boy or girl will help to solve the problem. With the newly however, the tracker-action organ is not this builder and of asking him why he continued pedal note in the organ will tire gan betrays its weakness on unison pas¬ perfected Chromatic Harmonica they can play the complete chromatic tricky, and its markings are simple and We now come to the electric action, token gradually °bJtb? mstn™ can be maintained this peculiarity. He replied that the ear much more quickly. In the pres¬ sages such as “For the Lord God Omni- scale. It is not a toy, but a real musical instrument which will promote lucid. The point to keep in mind is to Although not so much heralded electricity Perhaps these nrrrn u " '*1 caution- he was not the peculiar one, for did not the ent instance, and Vie fore the selection was . potent.” In the orchestra the brasses enter the child’s self-expression in music and lay the foundation for serious handle things firmly. Press keys to their has worked the wonders in the organ that tjons jnstj]j t! - j t|,?nd sfugges- swell pedal move backward for a crescendo, finished, the organist had held down for full depth; pull stops their full length. il has in other lines. There seems to be no organist o 1 hi n for the here with majestic effect; the organ always musicianship. and did not the crescendo pedal move the limit to the possibilities both in tonal effects thoughtf Them -.r, ,, Ut .)an,sh the several measures, what gave the impres¬ fails to give the pomp and pageantry the same way ? Then why not the stop keys ? Tubular-Pneumatic Action and convenience for the player. that ran _mrm 1 c. rca J-v fcw things sion of low C in the pedal, on a 32 foot words and music seem to suggest and in¬ Hohner Harmonicas are endorsed by such prominent group educa- The reason seems logical enough, but it stop. It was not a loud sound, certainly, Briefly, the tubular-pneumatic action de¬ The console can be placed any distance tion. with meeting' and playinL on Sfc' spire. Of course, this is a short-coming does not help the organist who finds the de¬ pends upon the sudden drop of air pressure but during that unrelenting holding of the in the organ itself, as it cannot reproduce sired pianissimo passage a blare of trum¬ from the pipes; m fact it is often movable ent instrument nariic-n!-., i 7 d d “cr" Peter W. Dykema, Prof. School Music, Harry Keeler, Principal, Lindblom High in a tube, causing the collapse of a tiny pedal note the atmosphere became charged exactly the bass effect, the nearest ap¬ Columbia University, New York. School, Chicago, Illinois. pets, or his decrescendo a popping-in of within a wide area. Little lights show ticc is possible before a imblicTerform' bellows or “pneumatic” which in turn actu¬ when the pressure is up and also what ance. Perform- with a vibration that beat pitilessly on one’s proach being the trumpet and trombone Dorothy Enderis, Ass’t Supt., Mil¬ Edward Randall Maguire, Principal louder stops. While not so annoying or waukee Schools. Junior High School 61, N. Y. C. ates the valve. Since both keys and stops 'combination-pistonM**a*”a-“ is m effect.eneci. Thei ni --- par-drums, till the longing for relief put stops. But perhaps a more serious weak¬ distracting as mechanical differences, vary¬ Supt. Schools, Webster W. H. Wheeler, Principal, Alton Com¬ have to move nothing except a small air organist will recognize the electric instru all other thoughts to flight. As one knows, ness here is the absence of accent which ing ideas of pipe voicing can also cause dis¬ Grove, Mo. munity High School, Alton, Illinois. control, the action is very light, and stop- meat readily and he has reason to do so a long continued tone of this kind does not characterizes a flourish of trumpets, and Principal Mozart comfort. One finds that the Salicional can The Organ in Oratorio Nellie C. 1_, —AND MANY OTHERS— tablets may be used instead of draw-knobs. enthusiastically. appear particularly noticeable if close to which an instrument like the organ, with School, Chicago. be anything between the Acoline and the Some of these organs retain knobs for the organ, but a short distance away the its “set” tones, cannot emulate. The writer Write today to M. Hohner, Inc., Dept. 204, 114 East 16th St., N. Y. C., realm of the Gamba. It is very dependable and seldon mis¬ By H. C. Hamilton speaking stops and use the tablets for the behaves. Since the keys and stop control sound, if long sustained, grows exceedingly has found on more than one occasion, that i FREE BOOK OF INSTRUCTION on How to Play the Har¬ couplers. In such cases, of course the unpleasant. Then, too, as its use did not a trombone played with the organ is a No Substitute for Practice have only to make contact between two monica and particulars as to its application to School work. knobs move only a fraction of an inch and The matter of playing oratorio work carry out the orchestral idea, it had noth¬ splendid combination at such times. This Of course there is no substitute for an copper tabs, the action can be as light as require only the touch of a finger. When on the organ, especially the better known ing particularly to commend its use in instrument combines especially well with opportunity to practice, and the visiting or¬ desired. Some builders have even gone so HOHNER HARMONICA—“That Musical Pal of Mine” a stop or coupler is drawn, or when keys parts of Handel’s “Messiah,” usually per¬ such a selection. a pipe-organ, and its use can be commended ganist is indeed fortunate to be able to far as to make the required pressure adjus¬ are depressed, there is a characteristic table. - Such extremes of pitch or color have in such selections as “Unfold, ye Portals,” study a strange instrument before per¬ formed at the Easter and C hristmas sea¬ “pflup” that bears witness to this type of sons, is an occasion on which one may their uses, of course, but not frequently. “Nazareth,” “By man came also the resur¬ forming on it. But there is another ele¬ The Couplers action. The console, if not directly at the One might as well commend the use of the rection,” as well as the “Halleluiah.” ment which greatly influences a man’s hear some very fine organ playing, ( organ case, is seldom more than a few feet The only probable difficulty that the v adaptability and readiness to control the me only probable difficulty that the visit- reverse.reverse. The differences between ia first- Iff foot trombone as desirable throughout If one will listen to the best things with from it. Sometimes the builder has ex¬ mg organist will meet will be the difference class orchestral accompaniment and what some brilliant selection. But the only ef¬ the utmost attention, and reflect later in unfriendly organ—one that makes any tended this distance, and in such cases the (AUSTIN ORGAN possible practice more telling and at the in the facilities and equipment of different ls frequently heard on the ■ as a sub- fect to a musical ear would be coarseness quietude upon what he has heard, it will £J Dr. WILLIAM C. CARL organist must be prepared for a drag in the of the first degree. Such a stop may be soon become apparent that anything really CONTRACT for St. Luke and The same time is invaluable where circum¬ couDl’eTeo h FiS “ array °f t0° cvidcnt <“ « »’ critical list- ^ Epiphany organ, Philadelphia, fol¬ action. Although the note will sound only ■ used with fine effect in some cadences, or fine in music is more than a certain num¬ stances prevent previous preparation. This Z l;itr n, "'P,St,0nS and peda,s- ent~t0 necd furthcr comment, other than Instructor a fraction of a second after the key is de¬ eir position and action depending on the to offer some suggestions v Inch mav Drove where a finish is upon a unison; a thing ber of notes played or sung within a given ium organ in Chattanooga, generally held is a knowledge of the mechanics and con¬ pressed the result can be very annoying, es¬ of Many Prominent Organists struction of the three different types of or¬ opinion of the builder. Often there is a tab helpful. 88 may prove in which the organ betrays its weakness space of time, but rather the calling up pecially in rapid repetition of chords as very noticeably. However, this is a digres¬ and presenting in very truth a tone-picture gans. Each of them is likely to present its found in many accompaniments. looking a°nd3the C0Uplers' innocent A few months ago the writer attended Director own limitations and difficulties; and each and "° conspicuous than a Performance of the greater part of the The tubular-pneumatic action is the most e smallest of the Guilmant Organ School has its own diseases and bad habits. With tricky of all and can cause much discomfort U,fison”rS’TbarfCbd nW7 Ua!s°n” or “Gt- :MeSsiah>” one of the larger cides of eblMliditynand absolute c this knowledge there are fewer surprises, “Here lies the great work of musical ciation of the art; to affirm and empha- and embarrassment. This is especially true ately for unTes and 0,,c which has made wonder- and difficulties can be anticipated and education. Its true function is to arouse size the intimate connection between life in damp weather or when there has been a wilf find ’that heIS IS °u the organist fu progress- musically, of late. The chor- avoided. This might seem to be advice and foster the spirit of enthusiasm and and art, and to link up past and present pronounced change in the temperature, par¬ normal nitch Mnr r°bP S°Und in its Us numbered somewhere near two hundred, AUSTIN ORGAN CO. 17 East 11th Street, New York City that is self-evident; but the writer recently appreciation. To create this, a firm foun- achievements with future possibilities are ticularly if the organ is near a door or win¬ hL aobroaehed *?°neg0Od0rganist ?”d the work was rendered in one of the 165 Woodland St. Hartford, Conn. was called upon to substitute, and, upon in¬ dation is the proper and intelligent appre- necessary.” —Sir Dan Godfrey. dow or against an outside wall. Perhaps SreS setclf hjrStUlnef a?d’ after larfst lurches in the city. The organist, quiring from the regular organist, was in¬ the trick most noticeable to the audience, loss when there wlh °PS’ ^ been at a WC, known as a recitalist, and possessing formed that the action was tracker. The INSTRUCTION IN and therefore most embarrassing to the or¬ loss when there was no response to his play- a high degree received in England, had a instrument proved to be tubular-pneumatic. Tschaikowsky’s Adoration of Mozart ganist, is the sounding of pipes when they Occasional, - . magnificent instrument at his disposal, and, THEATRE ORGAN PLAYING That organist has been doing very cred¬ should not. It is good to know the whys and to rS!k” fer n°t.sound, due Rurally, some very fine things were ex- itable work for his church for a number of Practice’Organ. Special course wherefores of such conditions; but here However the stnV *’r ?ma 1 contacts. Pected. But, with the exception of a few By Arthur Walsall years; but it is probable that his ignorance for pianists changing to organ. space permits only a few suggestions that of the mechanics of the organ would make times will be snffiri’S i°! key SCveral T?hers' the organ work that night was will aid in avoiding the occurrence. brine- the •T™ to clean th« and a disappointment. The musical director of the state pub¬ beauty in the world of music. No one else Vermond Knauss, him slow and awkward on a strange bench. lishing house of Soviet Russia has recently has made me weep with joy and inspiration, The three types of action now in use are of truing ceai\0ea2venoIhthSalTler-0rd An^ introductory Grave and succeeding Starting the Blower published diaries of Tschaikowsky, ex¬ nor made me sense the nearness of what we the tracker, the tubular-pneumatic, and the Before starting the blower, be sure that tion pistons here as was on tL^ T ^ tl,e ovcrU,rc were too identical tubular organ. While thev are nlr i tenJP° a“d registration; each movement cerpts from which were printed in the New call the ideal. Beethoven also makes me electric. The organist should first identify all stops are closed, not neglecting the cres¬ or liable to cause any noise it is resei”.bled a. Modcrato, and the tone-color York Times. An entry dated Sept. 20, 1887, tremble, but out of fear and painful long¬ the type and he then will almost know what cendo pedal or combination-pistons. This CONNECTICUT know just what is coming’ In s r . 0 was deadening in its monotony. In some is very curious. With child-like piety that ings. mm a guarantee’ employment^ndYurnl!'^ WORKING*0 OUT^ facilities he may expect upon studying the precaution will prevent agonizing groans as UK EIT FREE. Limited offer. Write to-daj. ARTCRAFT struments the pistons actuate the Part,S of the development section, where excuses the great Russian composer of any “In Mozart I love everything, because in console. Usually it is not hard to distin¬ the pressure rises in the chests. Some notes guish between them, even with a very in others, each stop has a corre- T' WCre assi«"«> to the right hand, the intentional irreverence, Tschaikowsky a person whom we love, we love all. Most might continue to. sound persistently, compares Beethoven with the God of Sab- of all, I love ‘Don Giovanni.’ Thanks to casual examination. In the tracker action especially if the organ has not been used i'bdit which shows whether the stop is With'! n !^° WaS painfully cvident; A FEW SUGGESTIONS the console is invariably a part of the or¬ drawn or not. Of course in cither ,7,1, • ‘ . d.htt,c carc. and the exercise of aoth whom as a child he held in awe but him I first understood what music really is. for a few days, but in many cases just the also in fear, and Mozart with Christ. Of Until that time (I was 17 years old), I gan case. The touch is inclined to be stiff, striking of the key several times will prove cases the organist will be grcatlv hel3 !magmatl0n a"d taste, these things would FOR THE ORGANIST especially when manuals are coupled, and in the use of the pistons Other orv-m ’CC" largel>' avoided. The solemn Beethoven, he says: “I bow before the knew nothing but the. Italian or sympa¬ sufficient to stop it. Move all the stops and majesty of his works, but I do not love thetic half of music. Naturally, though I the stop knobs are likely to require a firm couplers quickly and be very careful about arranged so that the organist can nH; ,=,orC r0Ve W0,,ld not haw been made to ap- pull. Perhaps the greatest tell-tale, how¬ Beethoven. . . If Beethoven occupies in love Mozart, I do not assert that every one making any changes during a part of the combinations drawn by the piston^ 7, th P°ai, aS sometlling trivial or unimportant, 9951 Song of Contentment...... Carl F. Mueller ever, is the visible action of the keys when my heart the place of the God of Sabaoth, of his compositions is a master-work. I 9927 Adoration.J. C. Cunningham service where a possible sound from the bench, but this requires some knowledge 'd the Oirightly fugue have - Romance sans Paroles.Gordan Balch Nevin manuals are coupled, so that the keys of 1 love Mozart as a musical Christ; inci¬ know, for example, that quite a number organ might be most distracting and annoy¬ of the instrument and may well he liff !i en 011 w^at may ^ well defined as the Reve d'Amour I he swell lower as those of the great are alone the first time it is played unon cxerasc sound.” A few of the printed dentally, he reached the same age as of his sonatas are not masterpieces, but I (for soft stops) .R. M. Stults T7XCEPTI0NAL opportunitiei ing. Before turning off the blower the 9904 Marcia Pomposa.RM. Stults played. This type of action is now found Christ; this comparison is not intended to love every one of them, because this musi¬ 9834 Souvenir Joyeux.Roland Diggle kj Piano Technician. Short hoi stops again should all be closed. This not So much for what may be exnertJ notfJ have had to be sacrificed, to ings, uncrowded field, mak( only in organs of very moderate size, and be blasphemous. cal Christ has sanctified them with his 9806 Allegro con Motto.Ernest H. Sheppard only reduces the probability of noise as the erally from the different typTofIf”' C"able the Ieft hand to assist in the pas- *“* Cathedral Morning Chimes.John Martin With our Tune-A-Phone, Actii the organist can expect few interesting “Mozart was of the same angelic and touch.” A Summer Idyl.R. M. Stults plified lessons and analysis of Business Advertisi pressure goes down but also helps in Let us now consider some positive ^ °f sixthsi but it would have been stops and a severe limitation- in the coup¬ childlike purity of disposition. His music (Tschaikowsky’s childhood was not a 9337 Prayer and Cradle Song. . Frederic Lacey can learn quickly and easily and be prepared to m avoiding it when the organ is again brought t'°"s- ^lrst fbe visitor should read8ah W°rth d' An organist, even with all the 9176 Evening Meditation.W. D. Armstrong money. Low tuition. Easy terms. Diploma j lers, there being usually only those of the of such unattainable, heavenly beauty musical one. Almost the only music he 9026 Ecstasy.J. G. Cunningham into use. With this type of action, com- stop knobs and couplers carefully mak-inl fesofur<;?s before him, cannot be expected Established 1898. Money-back Guaranlet. Writ note of their location and thinking r,f tu u dup Icate aI1 the multiplicity of the or- mat, ;f anyone deserves to be compared to heard in infancy came from a music-box for our FREE book, “Winning Independence.” tnmkutg of the chestral score, but he will do well to make Christ, it is he. . , I am deeply con¬ tinkling out Italian opera selections and THEO. PRESSER CO., Philadelphia, Pa. NILES BRYANT SCHOOL OF PIANO TUNING vinced that Mozart represents the zenith of one or two short Mozart pieces). 61 Bryant Building Augusta, Michig! Page 662 SEPTEMBER 1925 mjog the etude SEPTEMBER 1925 Organ and Choir Questions Answered

By Henry S. Fry Former President of t CHICAGO Year THE ETUDE herewith inaugu¬ e elaborate array of stops, i rates a question and answer depart¬ Swell Organ ment devoted expressly to the Organ Duleiana-16 ft. 97 pipes Bourdon -16 ft. 97 pipes MUSICAL and to the Choir. Mr. Henry S. Duleiana . 8 ft. (from No. 1) 61 notes Stopped Fry is one of the best known of IHapnson ..8 ft. (from No. 2) 61 r Duleiana ....4 ft. (from No. 1) 61 r American organists, and, because of Flute . 4 ft. (from No. 2) 61 r his affixations with organists in all Piccolo . 2 ft. (from No. 2) 61 n )-81.n< parts of the country, he is in position smaller schools. COLLEGE Oboe . -85 pipes to be extremely well versed upon all Oboe -- --1) 61 nbtes Oboe . ft.(from No.10) 61 notes A Conservatory Pledged to the Highest Artistic Standards f subjects relating to the instrument. Great Organ What is the meaning of (1) Duplex Organ, See HowEasy YouCan FALL TERM OPENS SEPTEMBER 14 (2) Unified Organ, (3) Augmentation? Diapason .16 ft. 85 pipes ' A Duplex Organ is an instrument where Duleiana 16 ft. (from fell) 61 notes , More than 100 teachers of world-wide reputation. Private lessons only or courses leading to I stops appearing in one manual Bourdon ., 16 ft..../ell) (f 61 notes eluded in another manual, one ... Duleiana .. ft. (from Swell) 61 notes Teachers Certificates, Graduation and Degrees in Piano, Vocal, Violin, Cello, Church Organ, Movie I beingring used forf< both stops. The following 5 Stopped ,)eeification c, ft. (from Swell) 61 notes Train a School Band Organ, Theory, Public School Music, Dramatic Art and Expression, Toe, Ballet, Interpretative and I a example : 8 ft. (from No. 1), 61 notes | Classical Dancing, School of Opera, all Orchestral Instruments Chautauqua Lyceum, Concert and I Swell Organ ft. (from No. ... I Languages. | 1. Salicional (or Duleiana)...8 ft.. 73 pipes ft. (from Swell) 61 2. Stopped Diapason .8 ft. 73 pipes ft. (from Swell) 61 X Flute .4 ft. 73 pipes ft. (from Swell) 61 ”~x Celeste (or Unda Marls) 8 ft. 73 pipes ■ . 2% ft. From Swell No. 2) 61 5. Oboe .8 ft. 73 pipes h ... 2 ft. (from Swell) 61. Great Organ . 8 ft. (from Swell) 61 notes 1. Salicional (or Duleiana).... 8 ft. 73 m STUDENT DORMITORIES 2. Stoppe ' " " " I’edal Organ 3. Flute . ^Diapason. 16ft. (from Great) 32notes cago Musical College Building 4. Open Diapason 16 f(. (trom Swell) 32 notes ing of the school band. G. C. Mirick, Duleiana .16 ft. (from Swelli 32: of Upper Iowa University, was chosen Pedal Organ Oboe .16 ft. (from Swell) 32: Open Diapason 8 ft. (from Great) 32: Of the Total Value Bourdon . 8 ft. (from Swell) 32 FREE FELLOWSHIPS AND PRIZES of $20,000 Duleiana . 8 ft. (from Swell) 32 i 75 Free and 140 Partial Fellowships to be awarded this year. Free and Partial £ In this example stops Nos. 1, 2 and 3 In Flute. 4 ft. (from Swell) 32: the Great Organ are Identical with stops Plrr"brla,nk(S 0,1 req“-St- Ma?°" & Fam,in Grand Pian°- Presented for com- 10 presented for competition m the Graduation and Senior Diploma Classes by the Nos. 1, 2 and 3 in the Swell Organ. Slops While a specification of this type would be Cable Piano Oanpany. Valuib^'^lin ‘^Vf ti|l'on ch* Graduation and Senior Uiploma Claaaee by the 4 and 5 in the Swell Organ are not duplexed useful for individual tone-color effects, the S£nfHrSSS: Teachers and consequently do not appear In the Great result of the Full Organ ensemble would be Organ. Stop No. 4 in the Great Organ is a very unsatisfactory for the reason that there separate stop, appearing only in the Great would be too much “top and bottom,” that Complete Catalog on Request Organ, and is the only stop appearing in the is, 16 ft. and 2 ft. As all the Pedal Stops Pr“i‘U"' 60 EAST VAN BUREN STREET Organ that is not duplexed from the Swell are derived from the Manual Stops, the Pedal . i ,1 onager (Chicago Musical College Building) Organ. In reading specifications, care should Organ would also lose in effectiveness when J. W. YORK & SONS be exercised in noticing whether the term Full Organ was used. Unification of some Established 1882 “pipes" or the term “notes" is used. When stops is desirable in some instances, but must Dept. 1025-1 Grand Rapids, Mich. the term “notes" is used it is an indication be used with much discretion if unsatisfactory that the pipes used for that stop have already results are to be avoided. Additions could be been used elsewhere and are being “borrowed” above specifications without add- for a second usage. ing “pipes’ *■ all the stops that might he Theater Organists derived have n *—UgH*included ii speed¬ Unified Organ is an instrument where or ranks of pipes are extended to (3) Augmentation is really another word A Real Novelty for the Agile Fingered Pianist nines and are used to produce tones for Unification, but is more commonly used in inality at different pitches by connection with the Pedal Organ, when some means of these extensions.—v—,— ,. 8pecjflcati0n of the ranks or sets of Pedal Pipes are ex¬ TRAINED and PLACED somewhat similar to the one _, .. tended upward, and are used to produce JAZZ AMERICANA piexed and unified, would result in a stops of similar quality but of higher pitch. Piano Solo by C. HARLES Cat. No. 19866 “Thi i no single instrument which "The perfect purity of his harmonies (in PRICE, 45c machines, to provide actual experience in picture accompaniment. *°S motlon Picture projecting can approach the organ in the wide range the Mendelssohn Organ Sonatas), the of color which it commands; and for that natural manner in which they follow each Positions Assured after Completion of Preparation we have to thank the American organ other, the rigid exclusion of every note not “Bob” Aldrich builders. Of course, one must use discre- exclusively belonging to them, and their The popular pianist whom thousands have heard tion in mixing the colors of his tonal perfect unity one with the other, however, Write for Free Descriptive Catalog through WFBL, Onondaga Hotel, Syracuse, N. Y., palette; for too much color is as bad as proclaim the refined and accomplished too little.” scholar, with whom art has become second features “Jazz Americana” by C. Harles SHERWOOD MUSIC SCHOOL —Marcel Dupre. nature.’’— Dr. H. J. Gauntlett. Fine Arts Building 410 South Michigan Avenu,»_ CHICAGO, ILLINOIS Is This the Largest “Etude” Family? jl 'J Ul N JUT I M j W _ i 1.1 "Free bulletin- j Piano Number Gives the Pianist “Something Different” irsssLisrnjss sr dana s musical institute THEO. PRESSER CO. cheW^st. PHILADELPHIA, PA. SCHOOLS aeaa.Uniida'iMaiei.b’l^K.n fsft* Qlf hf lanbJnatitulf EVERYTHING IN MUSIC PUBLICATIONS ESTABLISHED 1883 MUSIC ":?S=S“S=~ Fdl u.i£, n M.n.l,,M b,p+.cl,h... i,,.11 an_ ’ mSpecialiC ,n Music,hc SupervisorsWorld Course Opens Sept. 21,1925 f l FALL TERM, OCTOBER 5 — net- appUtaiion L i T -j- «* « MILLIKIN CONSERVATORY OF MUSIC DECATUR, ILLINOIS ^^orchratral'choral and'e^1^ °bl ““'‘f1 Ull;hidti Teachers’ course leads to certificate and includes two years of practice teaching Mnsic Methods and Music'Kindergkuen MefhoS' Lectures, concerts and recitals by visiting artists Bulletin lent free upon request Mrs. Franklyn B. Sanders, Acting Director LOWELL L. TOWNSEND. Director. 2827 Euclid Avenue Cleveland. Ohio £incianati (fonserbatorlj °

A 0F orcoujmsS?Mu°sic,?,TY™f,„SS,DY,hAT S?T LEAD,NG s™001- Here is the family of Mr. Sheridan Lawrence'of “The Ranche,” which is «,,ii.Kdbyh0”"lf,hA Courses leading to Defireec The Etude. Write the circulation as to how you can become Tn’” ,* *ub.sc"P*2°n Residences for students from a distance o ,P°maS anc* Certificates located along the Peace River in North Dakota. Mr. Lawrence writes:—“Enclosed agent and earn money securing subscriptions in your spare time. th°nZed Etude yhu will find a snap-shot of my family of fifteen children, ten of whom learned and BERTHA BAUR, Director311’3 tnusio'h' “nterof Burnet c.T„thiiithill, Generd Highland and Burnet Aves. and Oak St. enjoyed pieces out of The Etude, and the younger ones are going over the back Please mention THE ETUDE when numbers. I enjoy The Etude more than I ever thought I would.” it advertisers. — CINCINNATI, OHIO Please mention THE ETUDE when addressing our advertisers. t THE etude SEPTEMBER 1925 Page 665 Pago 664 SEPTEMBER 1926 THE ETUDE GRAINGER "Grainger made the sensational success of the North Shore Festival’s six concerts. But he is a stimulating per¬ dwell long in the memory, was a performance of magni¬ sonality and a great artist, with a tone of colossal power ficent authority, of inspiration and of finely wrought that is capable of the most sensitive and eloquent inflec¬ phrases.”—St. Louis, Mo., The St. Louis Times. tions, with that superlative command of all the instru¬ ment’s resources that come but once or twice in a genera¬ tion. “The prismatic wealth of overtones he got out of his Steinway was gorgeous beyond belief. Never before has "When he plays Liszt as he did last night he is the one and only successor to Busoni. When he plays a sustained he revelled in sensuous beauty of tone as yesterday. To¬ melody such as his transcription of Brahms' ‘Cradle- gether with his rhythmic virility and his passionate emo- bong he is another Paderewski.”—Chicago, Ill., Herald- Examiner. ing, alas, is r ".. ' " • “A critic runs no risk in placing him among the leadin'* is the word! exponents of his instrument before the musical public to-day. He should be heard more frequently. Such achievement is an inspiration for student, professional, lay-listener and critic alike.”—Cincinnati, Ohio, The En- The dainty woman has Last night’s event was as near the ideal piano recital so many little ways of as one is likely to get, in interesting music imaginatively and tastefully played. making herself attractive. “He penetrates to the essential significance of Bach’s to hear them. Chopin’s Opus And she likes also to avoid musical thought and reveals it as few players have done. was really played.’-Ottawa, the things that make her less attractive—when she Only dates enroute available for 1925=26 realizes what they are. And so one is grateful for Address immediately “Mum”—the delicate, long- lasting deodorant cream. Mgt. ANTONIA SAWYER, Inc. For “Mum” prevents Duo=Art Rolls WHITE PLAINS, NEW YORK Steinway Pianos throughout the whole day Columbia Records and evening the unpleasant odor of perspiration, without checking perspiration. Just a finger-tip applied here and COMBS CONSERVATORY there keeps the body fresh PHILADELPHI A jf THE CURTIS and sweet from bath tobath, and gives you a perfect pS INSTITUTE OF MUSIC S| A 'r::£ZZ7j s,r|>— sense of personal daintiness. Endowed by Mary Louise Curtis Bok “Mum” is so effective—and so

The Endowment Makes Possible Courses for Public School Music Supervisors its regular use with the sanitary Rare Opportunities for Students of Talent Supervision. Standard State Certifi- “Mum” is 25c. and 50c. at all Second Year Begins Thursday, October 1, 1925 stores. Or use our Special Offer Full Courses—Practical, Theoretic, Academic-in All Branches Sp is the word for men, too. THE FACULTY INCLUDES Careful men are quite as sensitive ....511 ,s>’,=tasa‘’ 9s about offending with the odor of

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THE CURTIS INSTITUTE OF MUSIC 627 Rittenhouse Square, Philadelphia Pennsylvania *"ltf °f the 8X031 masters of singing. This book Page 666 SEPTEMBER 1925 THE etude SEPTEMBER 1925 Page 667

Developing Genius Diminished Fifths violin except by the use of two different months, at least), and to use good strings What shall we do with our young vio¬ fingers such as in the following: with just the right amount of resin, and, Violin pupils, at least in the earlie Ex 5_ of course, to bow at the right angles. lin geniuses? This is a problem which is stages, are invariably puzzled when thev worrying thousands. come to the special fingering required f„ From out of the great West conies the The Violinist’s Etude the safe performance of passages contain The Secret of Cremona following appeal. ing diminished fifths. They usually balk Prof. Einstein, whose theory of “rela¬ “Editor, Violinist’s Etude: Edited by ROBERT BRAINE when they come to such passages, and on v The teacher should strive to impress these rules governing the fingering of di¬ tivity” has made him one of the most "This letter to you is in the nature of an repeated explanations on the part of th famous living scientists, also has a theory It is the Ambition of THE ETUDE to make this Department teacher enable them to see through th minished fifths, upon the pupil so continu¬ appeal. Here is my story. I am a violin ally that his mind will grasp the principles in regard to the famous violins of Cremona. teacher in a small town, and have been for “A Violinist’s Magazine Complete in Itself” principle involved in the special fingering An exchange quotes him as saying: required. lg involved in them. It is an excellent idea to many years. Have made the violin my in¬ pencil a few such passages on a piece of “Violin makers in Berlin claim to have tense study, and love it with a passion. I The pupil readily understands the finger discovered the secret of making instru¬ ing of a perfect fifth, such as the follow music paper, without marking the fingering, have a boy, aged 12, who has, with tender to give to the pupil to mark at home. ments like the old Cremonas, ‘Strads,’ etc., nursing, you might say, reached the place but I do not believe they can do it. attention of a wealthy nobleman, with the where he needs help. I am turning to you open to pupils who have been pay students “The great violins of olden days were result that he was given every opportunity for guidance. Here we have a talented boy of the school for a certain length of time; Some Hints for Eliminating made by highly sensitive artists who had an without question, and if it were not for my to develop in the right way. He studied but in others there are no strings to the understanding of their craft that cannot be seeming conceit, I should say he is a genius. with Professor Ottakar Sevcik, the fa¬ offer and the scholarships are given to any Scratching reduced to rules and formulas. It was no Just think—a genius to give the world his mous master of the violin, and lived in an one, so long as the talent is there. So if special wood or varnish or size or shape the parents of this boy can get him to a beautiful talent and art,- and here we are atmosphere of good music. At his debut he 'One finger set square across the two By William Kupper that gave the violins their rare, quality. The practically helpless, not able financially to was hailed as a great artist; and in the en¬ large city there is no doubt whatever that strings serves for both notes. makers imparted their souls to the instru¬ he can obtain a musical education of the One of the many difficulties besetting help him on. Can you tell us what to do ? suing years he won fame and fortune. He In diminished fifth chords, however a ments in a manner which defies scientists finest character, absolutely free of cost, “Don’t confuse this with the over-fond single finger cannot execute both tones be¬ the aspiring young violinist is the elimina¬ who rely upon mathematics, physics and married a countess and achieved social always provided his talent is great enough parent who always thinks he sees in his cause the lower tone in this interval is tion of scratching and grating noises. The chemistry to explain them. rank. Few violinists who ever lived have to win a scholarship. This would give him children marks of genius. ... is now raised a semi-tone, and is half a tone higher relegation of such cacophonous sounds de¬ “The old instruments were individual The Life achieved the great success which fell to the instruction under excellent teachers, and studying the Kreutzer Etudes. He has a on the fingerboard than the upper tone It pends almost entirely upon the performer; and personal creations. The new ones are fine technic and draws * most beautiful lot of Kubelik, the poor gardener’s son. also give him the benefit of other advan¬ is therefore necessary to use two fingers in the personal factor in playing the violin ‘mass products.’ Mass production can tone. It is not what one plays, but how tages of the school, such as the orchestra of the Party Genius and Poverty executing a chord of the diminished fifth puts the player at a disadvantage greater never achieve, what individual production well one plays—you would be quite satis¬ class, recitals, lectures, theory and harmony as m the following: than that encountered in mastering other When young folks get fied if you heard him, I know; and it’s too Speaking of the opportunities given to classes, reduced rates to symphony concerts instruments. It is a truism that thought together, the first note poor boys of great talent in Europe, Pro¬ bad we live so far from you; but many and other privileges. In a large city there can play almost as an important part in the of the Saxophone puts fessor Leopold Auer, some of whose most Non-Businesslike Mozart years of work and hearing good violinists is also much music of the finest character molding of the player’s ability as genius pep into the party. It’s famous pupils were poor boys in Russia, Fetis, “the most learned, laborious, and convinces me that a boy of twelve who can going on all the time, much of which can and hard work. So, in the elimination of an irresistible joy-maker said to me on one occasion: “I find splen¬ prolific musical litterateur of his time,” play Ovide Musin’s Mazurka de Concert, be heard free of charge. Even the bands rasping noises, one should consider the for all social occasions. did violin talents on every hand in the in his Universal Biography of Musicians, It combines the ringing DeBeriot s Sixth Air, the Zigcuncrwcisen, which play in the parks give a certain por¬ OUR HANDSOMELY problem in a thorough fashion. United States. This country is full of bright gives the following incisive characteriza¬ notes of the cornet with by Sarasate, and other pieces of like diffi¬ tion of their programs to standard over¬ If the bow is drawn across at right children who only need good musical sur¬ Pupils in the earlier stages, invariably ILLUSTRATED CATA¬ tion of Mozart: the soft sweet tones of culty, is far above the average child. tures, selections from grand opera, and angles to the strings, the notes produced roundings and good teaching to develop in¬ play such passages atrociously out of tune, “Mozart, an impassioned artist, composed the reed instruments. “If there were some way he could get the Other music of good character. The student will be well-nigh perfect. Imperfect bow¬ With piano accompani¬ to excellent artists. What the United both tones being wrong as a rule. They LOGUE OF RARE as he felt; he composed for himself, and proper attention now, what a credit he in any one of our large American cities can ing may sometimes affect the intonation. ment, Why 1 It’s States lacks is free education for young usually finger the upper tone too high, or if in good earnest, never supposing it worth would be to his teacher. He is large and live in a perpetual atmosphere of good mu¬ the upper tone is correct, the lower tone OLD MASTER VIOLINS Accordingly, the student should watch the almost like a full geniuses whose parents cannot pay the sic, will he but diligently seek for it. his while to please any but those who felt orchestra. strong for his age and capable of hard will be too high. The fingers in such a goes to press in August To ob¬ course of his bow by playing memorized study. He began studying at the age of heavy cost of a musical education. The in a lively manner, and who reasoned upon The ability to play passage lie close together on the finger¬ tain a copy write for it at once, scales slowly and carefully, noting and cor¬ seven. What shall we do? Write and tell United States should have national schools Metropolitan Advantages what they. felt. When he found that a pro¬ -axophone lifts a board, just as when a semi-tone is executed so that your name will be placed recting defects. Practice of this sort will young man out of the of music, supported by the government, If it is impossible for our correspondent duction of his had not the success which he on one string. An excellent way to practice on mailing list. Established al- also improve tone. crowd, puts him in the where poor students could be educated to move to a large city the only other way anticipated, he would shut himself up at Talent and Opportunity these diminished fifth chords, is first to • most a half century in New York, In the high positions, especially while social spotlight and de¬ free of charge, just as is done in Europe.” would be to have the boy go alone. Many home with some of his friends, play over place the finger for the upper tone, making our reputation stands back of playing double stops, morbid, jarring noises to them the music that had been rejected velops his personality. The world is wide, and the amount of But for a few words of practical advice of the large conservatories have dormi¬ every instrument we sell. will mar the playing. To eliminate the He’s the life of the to our correspondent. Possibly national sure that it is in tune, and then to place the by the public, and, satisfied with their ap¬ talent is limitless. I do not doubt that, for tories, where the pupils board. The stu¬ flaws, the fingers should press firmly, while party with a schools of music may come; but it may be finger which produces the lower tone, tak¬ Our catalogue of fine new violins, bows, probation, thought no more of his ill for¬ every great violinist who has gained emi¬ dents are carefully looked after and made the bow should be used sparingly. The nence in his art, there are a hundred, possi¬ many years yet, and that will not help in ing care that it lies close to the other finger, cases and appurtenances will also tune. In a word no man was less calcu¬ to obey the rules, which are usually of a be sent; beautifully appointed fact that the clearance between the strings bly a thousand, who might have become the present instance. The first thing our a semi-tone higher (on the lower string) on lated to succeed than Mozart, and conse¬ Very strict nature. If a scholarship could be complete outfits at all and the fingerboard is greatest in the equally great, had the opportunity of being correspondent should do is to have the boy the fingerboard. By following this method, quently the success he met with during his True^fone obtained, the only expense would be the high positions shows the necessity of firm trained in the proper musical atmosphere play for one or more violin authorities and charge for board and room. • n ?£? r11 soon leam to play dimin- life was comparatively small.” isned fifth chords in tune. stopping. SAXOPHONE under a great master been offered in early see if their opinion as to his talent coincides JOHN FRIEDRICH & BRO. In case the lad’s father is unable to save In changing strings it will be found that o “study” the Saxophone as youth. No one has expressed this truth with his own. Once it is settled that he has The same rule as to the fingering holds 279 Fifth Ave., New York, N. Y. You don’t ha> enough from his income to take care of the the bending of the wrist toward the body The Ambiguous “Polonaise” you do other instrwi*uments. There’sno practice more beautifully than the English poet, extraordinary talent, no time should be lost dormitory charges, the only recourse is to “1®a"y cases when executing dimin¬ drudgery. You don’ ished fifth passages not in chord form, but at the moment of transition, and a subse¬ In glancing over some old numbers of Three lessons sent fr Grey, who says in his famous “Elegy in a m getting him out of the small town where seek the assistance of wealthy friends, or airs. It’s great fun, and where the tones follow each other as in the quent turning back to its original position Harpers Bazar, we find in the issue of you can play popular Country Churchyard:” he at present lives. Residing in small towns to get up a benefit concert. There is no even though you__dy1*"' interested for pleasure following: Faust School of Tuning when the next string is touched, will elimi¬ January 5, 1878, this reminiscence of the now vw 90 days, if you wish, join a band “Full many a gem of purest ray serene, has many pleasures and advantages over doubt much local pride in this boy, in the or orchestra. You might become a wizard like nate, to a certain extent, crunching sounds. once famous Clara Louise Kellogg, our The dark unfathomed caves of ocean large cities; but developing a talented small town where he lives, and he has no Ex 3 STANDARD OF AMERICA Tom Brown, Clyde Doerr or Ross Gorman. bear. young violinist is not one of them, unless However, there is another factor in first native soprano to attain international First class Saxophonists make big money. doubt many friends who would like to as¬ sound production which does not depend renown. 'Full many a flower is bom to blush unseen, the small town happens to be located near a sist him in continuing his studies in a large Try it out Free Six Days In Your Own Home. upon the player’s skill. Strings must be “When in Chicago Miss Kellogg sent And waste its sweetness on the desert large city, where there is easy access to its city. Try the plan of having the boy give 6 DA YS TRIAL - EASY PA YMENTS. Try one perfect—free of irregular thickness or word to Behrens, the musical conductor, of these sweet-toned Bueschers in your own musical advantages. If the father could a benefit concert. Probably 100 persons home for 6 days without obligation. If p thread-like tears. Then, too, the bow’s that she wished to rehearse with him the n easy payments. secure employment, either musical or other¬ would be willing to pay $5 each for their In the first two measures above, if the fectly satisfied, pay fo- In the case of a young violinist, it is not hair must be absolutely clean, without Polonaise from ‘Mignon.’ Behrens went to Play while you pay. wise, in one of our large cities, such as tickets, to help swell the fund, and the rest second finger were used for fingering the enough to have the genius; for, untrained, greasy smudges, often found from promis¬ hunt up the music, but the man who had it leads nowhere. There must be the ad¬ New York, Chicago, Boston or Philadel- of the audience ordinary admission rates. * s“arP> and also for the following C nat¬ C~Jrnol this BeautifuIly IIlas~ | cuous handling. it in charge had sent it on to New York. '■’jTCC! trated Saxophone Book | vantage of a musical atmosphere, the com¬ phia, or a small suburban city near to one This would give a fund of $700 or $800 ural, the finger would have to be drawn FOR SEVENTY-FIVE “After failing to find the music in any Very Interesting. Telle all about the ec munion with great musical minds, and the of them, I am sure the problem would be which would pay the dormitory charges back to the C natural, making it much more oue Saxophones, with pictures of the Jaml of the Chicago music stores, a lady said guiding hand of an eminent master. half solved, if the boy possesses real genius. difficult to play the latter in tune than if the CENTS YOU CAN ADD The Violinist’s Tone professionals. Every boy and girl should jZ It is true we have no national music L°"fptlme- Ma>;be a wealthy friend could that a friend of hers had the Polonaise and haoe this beautiful booh »/ information. Send IF In a great country like the United States advance a sum of several hundred dollars, first finger were used as above indicated. coupon for a copy. Mention any other let schools in this country as they have in Eu¬ that if Miss Kellogg had no objection she Instrument in which you may be interested. M there are thousands of talented children, m a lump sum, with the understanding that n the last two measures given above, the TO YOUR MUSIC LIBRARY rope, with free tuition for gifted pupils, By John I. Brooks would write her a note and ask her to send who their parents feel might develop into it was to be paid back from the boy’s earn- intonation will be much surer if, instead of Buescher Band Instrument Co. but practically all our larger colleges and ANYONE OF THESE ALBUMS it down to the hotel. So a note was writ¬ violinists of the first rank, could they but paying the G and C sharp both with the Everything in Band and Orchestra Instruments conservatories of music, many of which Among all violinists there are great ten to the owner, asking her to send her 910 Buescher Block Elkhart, Ind. have the right opportunity to study with YOUNG PLAYER’S ALBUM have been endowed with large sums by differences in tone. Probably no two have Polonaise for Miss Kellogg’s use. great teachers and to grow up in a musical Thousands of eminent musicians owe STwrd c t “ ”i,h 70 melodious second and third grade piano wealthy philanthropists, have free scholar¬ quite the same. It is possible, from listen¬ “Unfortunately, when the messenger atmosphere, which would give them the their success to having been helped in this This rule 0f using two different fingers ships which are given to talented pupils. In POPULAR HOME COLLECTION ing to the records or the playing of some reached the house, the lady was out. The nourishment which even genius must have m diminished fifth passages as above, is 46 excellent numbers for the average pianist. some schools these scholarships are only manner when they were young and their great artist for a time to copy his way note, however, was opened by her daughter, I Buescher Band Instrument Co., to develop its full powers. parents could not finance their education ‘ not observed in all cases (except in the case POPULAR RECITAL PLAYER I 910 Buescher Block, Elkhart, Ind. j 31 pieces that will delight the family good of playing a composition, but it is impos¬ a young lady- of seventeen or eighteen, who, In Europe greater heed is given to re¬ c ords) as it is sometimes found more j I am interested in the instrument checked below: J sible to copy his tone. Then, too, two vi¬ after looking through her mother’s room, markable musical talent wherever it may STANDARDrBRILLIANT ALBUM | Saxophone □ Comet □ Trombone □ Trumpet □ ■ StesenieTht0 T thC Same finger f0r b0th olinists may play on the same violin, but sent back a note saying that she did not j (Mention any other instrument interested in) | arise. The young prodigy attracts atten¬ notes. The educated, highly-trained vio¬ __27 showy piano pieces, yet none very difficult. Little Hints the tone of each is still different. Some, know exactly what the ‘Mignon’ polonaise tion, and wealthy people consider it an obli¬ linist, however, uses different fingers wher- EXHIBITION PIECES As the pegs of the violin wear, they __22 brilliant solos for accomplished pianists* naturally, play the violin with a small tone, was, but that her mother had only three gation to help the talented children of par¬ projecting ends, pushing the pegs out and er possible. The use of another position gradually work farther and farther OPERATIC FOUR-HAND ALBUM while others have a more robust one. A and not one of them was large enough to ents who are not able to afford the proper causing the strings to come down 22 excellent piano duets or operatic airs. m,V Lj' cfeS the execution of these di¬ good test of this is to listen to records of fit Miss Kellogg, who, she understood, was | Town.State. education for the young violinists. Many through the holes in the walls of the string- minished fifth passages, in many instances the standard organist fl.n •?f°Jfting ends should be cut off two different violinists. Anyone can detect a little stout.” instances could be cited of eminent musi¬ box, until they project beyond the walls. flush with the outer wall of the string-box such as the following where an advance VIOUNIST’SPPOPULAR REPERTOIRE the great differences in the tone of Kreisler cians in Europe who were educated in gov¬ In a violin which has been used a great deal This will cause the head of the violin to trom the first position to the third is used. __ 29 melodious violin and piano numbers. and that of Elman. So the difference with “I do not play what is called Berlin Get This Magazine ernment schools of music, free of cost to without having had the pegs replaced, we present a much neater appearance, and will STANDARD SONG TREASURY ACT QUICK! 48 recital, concert, classic and sacred songs. all violinists, great and small. Each one is schooling. I revere the name of Joachim, Send today for copy of True-Tone their parents, or by wealthy patrons. Kube¬ sometimes find the pegs sticking out a prevent the protruding peg ends from Ex. 4 born with a tone to develop up to its but in some respects I have changed my Musical Journal, a wonderful book for lik, the eminent violinist, was the son of a getting m the way of the fingers in tuning everyone interested in music. Of quarter or half inch, beyond the walls of highest degree of perfection. special value to School Music Super¬ poor gardener in Bohemia. His extraor¬ If, from long continued use, the pegs have ideas of violin art since his day. Do not visors, boys and girls, and parents of the string box. The result of this is that, musical children. 146 pictures. Lim¬ dinary talent for the violin attracted the A great help to the thin, scratchy tone waste time playing what your hand cannot ited edition. Write name and address when tuning the fingers press against these 1 v ar thr°Ugh the string-box THEO. PRESSER CO. PHILA., PA. of so many pupils would be to have their do. Use the literature you can play.” they should be replaced by new ones It is impossible to play many velocity 1712-1714 CHESTNUT STREET m BUESCH3 D INST. CO. Passages involving diminished fifths on the bows repaired more often (every three Willy Hess. Page 668 SEPTEMBER 1925 ' etude the etude SEPTEMBER /9:25 Page 669 NEW YORK SCHOOLo/MUSIC WARTS 148-150 Riverside Drive 23rd Year Ralfe Leech Sterner, Director THE SCHOOL SIX WEEKS SUMMER COURSES PupHs may^nrerincludes board any^day'.^RiUesk^i^anT&WO^fercordT^^t^adiei^fonirivam'lessoiufwUh and room, tuition, lectures, classes, concerts, teachers’ certificates, etc. ch of Celebrated Faculty Including: ARTHUR FRIEDHEIM. One of the world’s greatest pianists. The PAUL STOEVING. The eminent violin artist, teaci RALFE LEECH STERNER. The well-known voic colleges and schools. Also Opera, Church and Conc< EDUCATION FRANK HO W ARD WARNER. PPianist,™a: Composer and Lecture ALOYS KREMER. Teacher and namst. FREDERICK RIESBERG. Distinguished pit 2 Liszt, Xaver Scharwenka and Carl Reinecke. ALEXANDER PERO. Harmony and Counterpoint. of New York University LEILA YALE. Celebrated Teacher of Public School Music in our New York City Schools. HELEN CARMICHAEL ROBERTSON. Drawing and Painting. announces a four-year ALVIN BELDEN. Classical Dancing. Highly indorsed by Mary Garden. AND MANY OTHERS Our entire faculty will remain in New York City and teach all summer course, leading to the Send for Views and Outline MEHUN PIANO USED degree of Bachelor of Science in Music, for the TWO NEW COURSES training of supervisors INSTITUTE OF MUSICAL ART and teachers of vocal and FRANK DAMROSCH, Director 120 Claremont Avenue New York, N. Y. instrumental music. CRITICAL AND PEDAGOGIC COURSE This course will be for Teachers and Advanced Pianists under CARL FRIEDBERG NORMAL COURSE FOR TEACHERS under the direction of Methods of interrelating all theoretic subjects and correlating them with the study of piano, violin, v Hollis Dann, Mus.D., TUITION FEES VERY MODERATE CATALOGUE UPON REQUEST head of the department of music education. VIRGIL PRACTICE CLAVIER (Invented by the late A. K. Virgil) Manufactured and sold only by The A. K. Virgil Clavier Co. Registration opens September 16, Full length keyboard. All latest improvements. course begins September 22. FOUR OCTAVE PORTABLE CLAVIER for u*c in travelling

For bulletin containing detailed VIRGIL SCHOOL OF MUSIC information about requirements, Re-opens September 28th courses and credits, address Dr. e. ete addreaa The A. K Virgil Clavier Co., Hollis Dann, Head of Depart¬ A. K. Virgil, 510 West End Ave., New York ment of Music Education, New No Other Address York University, 102 Washing¬ ton Square, New York, N. Y. (MUSICIANSHIP TRINITY PRINCIPLE PIAI^^SC^OOL PEDAGOGY New Y ork University CarnegietHrqf, New York Sight Singing Washington Square, New York For PIANISTS, ACCOMPANISTS and TEACHERS . Fall classes for teachers and Th. SICHT, TOUCH ,.„d HEARING students begin September 21st System of Teaching. Write for Booklet. Send for Catalogue

EFFA ELLIS PERFIELD THE NATIONAL CONSERVATORY 121 Madison Avenue (30th Street) OF MUSIC OF AMERICA York City Ashland 5551 Founded by Jeannette M. Thurber American Institute Only conservatory chartered by Congress iuko. BABCOCK Fn^^XrT ni ssttr5 of Applied Music 0FFERS Teaching Positions, Col¬ The pedagogic leges,leges. Conservatories, Schools. , th7uShl, result? The Seymour School of Metropolitan College of Music AlsoChurch and Concert Engagements CARNEGIE HALL, NEW YORK History:vOlin Olind Downc..E j?" ^°po1deLiJhSSbl“ Musical Re-Education KATE S. CHITTENDEN, Secretary, 53 W 74th St., N. Y. City (Formerly at 126 West 7QlL j y “Music From Within Out” COSMOPOLITAN WINTER SCHOOL SESSION MUSIC”-— ■ v ART JML CARVER WILLIAMS—President CONWAY. 10th YEAR Write for Catalog acuity of 6 Nor Teachers. Students’ Orchesl -oueen.8, Lectures, Diplomas, Degrees and Teac—... Certificates. 57 West 48th Street joepartmentsDepartments—Piai Piano, Voice, Violin, Musical Theory.u Compositionc--a._ ->* ■-„rv Violoncello,violoncello, Orches-Orch NEW YORK, N. Y. Fortieth Season Opens Oct. 6, 1925 Public School Mus Many Free Advan :es and Scholarships Circulars, Address Piano D. THOMPSON = or particulars address — Edwin L. Stephen, Mgr. 212 West 59th Street New York City COSMOPOLITAN SCHOOL OF MUSIC Virgil Piano Conservatory Bor E, 16th Floor Kimball Hall Bldg., Chicago The Place to Acquire AL mUM ,0F TRANSCRIPTI0NS F0R THE PIPE ORGAN-By H. J. Stewart A THOROUGH FOUNDATION ^ A WONDERFUL TECHNIC sonata, in four movements, that is being played by the foremost concert artists'Bting’ origina* THE ABILITY TO PLAY FOR OTHERS Price, $2.00 THEO. PRESSER CO., 1712 Chestnut St., PHILADELPHIA, PA. A. M. VIRGIL, Director 120 W. 72nd Street, wYork Please mention THE ETUDE when g our advertisers.

LM Page 670 SEPTEMBER 1925 THE etude 0E* ETUDE SEPTEMBER 1925 Page 671 VIRGIL PORTABLE The Laughing Chorus KEYBOARD Professional There is nothing tl Directory DETROIT 52"*Yar of The Etude Mlis a* CONSERVATORY of mrngmm f ALBERT BEECHWOODSrKS^ musics2£ss£ immm [THACA Q3NSERWORY’ . s£sfaias: •'Jfi Fall Term Opens Sept. 14, 1925 Stl HSdpSHHfc UNRIVALED FREE ADVANTAGES mmsm grasses nnr^B 5eaa— ^smjusta and fine. An old harpist was playing at HAWTHORNE the gutter-side. With his right hand he played the harp and in his left he held an ocarina with a kind of megaphone attach¬ MOULTON rifr&awc= ment, upon which he played the melody UNDER THE SEA HEW YORK saassraB- liipss by the player and MLGJ£giP behind the old man. The stopped playing and looked up. The po¬ 2 The School for Training liceman was just about to get into action and Placing Public TRENTON-=S=;Sgg.. School Music Teachers. Special Notices s Announcements I -L..- - . . much. “Giddap,” said the “cop,” with a 4 The School for Training * New England and Placing Theatre and PERSONAL FOR SALE Conservatory* or WANTED VIRGIL ».«v«rt uuscripts corrected. Music com- us m a lot of musical jokes, which we print OFRACTAM MUSIC h/taoc September 17, 1925 poem, price reasonable. Write herewith. If you want more of this sort 'd Avenue, Buffalo, iJ. “ " of thing in The Etude we would like to ®ricans^«^ School for CWCAGO^^KS jpggigg gp^lS?S UsSssi- Training and CINtlNNATI':~;-:S« keeper refused to let him in. Placing DETROIT - llSiljga ?Sging the third song, and so I can- Teachers THE FLOWERS THAT BLOOM this S IJ_ MM_ Y ’ S COR_NER *s£iZ tay re¬ IN THE SPRING ceive appointments DUNNING SYSTEM -‘rSJSS* PIANO OF RECENT ISSUE next season to the 77,6 °emant/ f Faculty of our Chi¬ cago Neighborhood WESTERN aME*.. Branches or of our By David Nyvail, Jr. Extension Branches CONVERSECQLLEGESaS

the rivarde school of VIOLIN PLAYING *“s2ysissy-

Sherwood Music School e Building 410 S. ft

CLAYTON F. SUMMY CO., Publishers Parjc 672 SEPTEMBER 1917 _ »iude ANNUAL FALL flP / • • £ Yk m j THE ETUDE SEPTEMBER 19 '5 Page 678 bargain ANNUAL OFFERS FALL D&rj&in Time for Musj/» Buyers Everywhere^ BARGAIN Meritorioiriousus Publications of the Past Year Offered at Special Low Prices for Finalc* , •r OFFERS

OFFER NUMBERS ONLY Introductory Purposes—These Prices Positively Withdrawn October 15th, 1925 ARE NECESSARY IN THEO. PRESSER Co. TA?£she? Everything ORDERING 1712-1714 SIX STUDY PIECES FOR THE i Music Publications CHESTNUT ST. OFFERS NOS. 1 TO 54 ARE CASH TO ACCOMPANY ALL JOLLY JINGLES FOR LITTLE Phila., Pa. DEVELOPMENT OF THE FINGERS READY FOR DELIVERY. OF¬ ORDERS. WE PAY TRANSPOR¬ Violin FERS NOS. 55 TO 89 ARE “AD¬ TATION COSTS. NO EX¬ WRIST By Helen L. Cramm > Price, 75 cents BARBAROSSA OF BARBARY THE AWAKENING WHAT TO PLAY—WHAT By Carl Meter Price. 80 cents A Musical Comedy in Two Acts VANCE OF PUBLICATION” OF¬ CHANGES OR RETURNS PER¬ OFFER Seventeen' little pieces that Christmas Cantata for Treble Voices TO TEACH OFFER A pupil should have finished - ,, chase away the child students 36 etudes or caprices Books and Lyrics by Frances Bennett By William Baines Price, 60 cents FERS, THESE WORKS BEING MISSIBLE AT THESE PRICES AJ/k VI „c .1--: .—i : i By F, Florillo . By Harriette Brower Price, $2.0 Music by David Britton Price, $1.00 OFFER A cantata for soprano and alto ONLY ONE COPY OF ANY T N0'7 bemgarLd5efor‘ :' work. These OFFER , Music IN PREPARATION, AND DELIV¬ Introductory six study piece* ill benefit the Cash Price catchy OFFER Many violin teaches f OF THESE OFFERS SOLD AT Cash Price pupil who uses lem in daily No. 20 ^esc^sutdies essential pa^r offer m;“yf No. 33 by Xayoungitlad1ieesf0orf a^volun No. 40 LTpfu/’a ERY WILL BE MADE WHEN problems into pleasures, No. Zo formances despite its short time Introductory teer choiri o"Bfo? use by a /unl¬ THESE PRICES. 30 cents S|henf?L.;; 35 cents 52 ire texts ad lib., and they Introductory coming a rcrd'l'v'1""* tow;"''1 eash Price - Introductory enlighteni PUBLISHED. the charming strategy of Cash Price forme? the Introductory in publication, it is safe to pre- ? the little stt Cash Price d.ct^Jbat^veryone -terested^in d also . This t begim NOTE BONUS OFFERS ON $3.00 at the keyboard i"vVe|hea?|i

0nTsr Jjjggs INDIAN LOVE SONGS THE VISION OF DEBORAH FOR LOW VOICE SilP#ffl . OFFER THREE SACRED THE MUSIC SCRAP BOOK “ism»ot removed from the 're^ch of opportunity to^ A Kindergarten Method foe No. 46 FIVE SECOND GRADE S0NGS F0R HIGH THE WOMAN OF ENDOR “pric°ery PIAN0 PIECES Cash Price^ VOICE 45 cents Total Retail Price, $1.30 50 cents Total Retail Price- $1'40 rff ;S%£§ ANTHEM GLORY LIGHT Cantata for Three-Part Chorus of MUSICAL MOMENTS iTttie pieces .. 47 FOURMEDIUMGRADE IGS FOR LOW By Mrs. H. B. Hudson Price 75 cent. first I“son- off tar? Thic ^.. . — - PIANO PIECES VOICE 5 Total Retail Price, $1.40 Piano Collections ££ f Be Thou My Guide Bj’ “ GEMS OF MELODY AND £vu51s Text Books & Literature mmwsm Lead Thou RHYTHM Vocal °NoFE48 THREE DIFFICULT OFFER THREE VIOLIN AND Cantatas & Operettas tfcrs i YOUNG FOLK’S PICTURE RECREATIVE ETUDES By Blanche Pox sZtunffn ^ ^“e^lOO EACH IN H1S OWN TONGUE HISTORY OF MUSIC “pScf PIAN0 pieces Introducing PIANO PIECES PAGEANT OF FLOWERS For Equalizing Both Hand. 50 cents Total Retail Price, $1.40 By B. S. A ^thLranrt^rt^for S0ngs«r — THE FAIRIES’ REVELRY Operatic Cantata for Soprano Solo and yA&«[

J| j|®lSt JJff§P®5 SLl °No.E49 three son< Icli°hdp?icey F0R HIGH VC Isis

\7*. Page 67J, SEPTEMBER 1925 ri EMUhR 1925 THE ETUDE TflE ETlDE SEPTEMBER 191925 Page 675 ANNUAL FALL BARGAIN Music Buyers’ Money Saving Opportunities OFFERS Advance of Publication Offers that Teachers and Active Music Workers will Find Exceedingly Low Priced for Values Received Offers Nos. 55 THEO. PRESSER Co. e>sta™d Everything in Music Publications CHESTNUT ST. PHILA., Pa. TO 89 ARE THEO. PRESSER Co. miniature fugues for RHYTHMICAL A-B-C’s “ ADVANCE OF Two Pianos—Four Musical Recitations ANNUAL FALL BARGAIN OF¬ THE PIANOFORTE For the Violin Beginner, with Piano Pipe Organ FERS PRESENT FINAL INTRO¬ [ PUBLICATION OFFERS” By Russell Snively Gilbert Accompaniment DUCTORY OFFERS ON PUBLI¬ OFFER The Forty-eight Preludes an ALBUM OF SONG TRAN¬ Hands By A. Louis Scarmoliu ALBUM OF TRANSCRIP¬ PLACE YOUR ORDER NOW BOOK OF PIANOLOGUES CATIONS ISSUED IN THE PAST No. 59 b/ B“cbi k!10'™ as Th SCRIPTIONS AND VARIA¬ TIONS FOR PIPE ORGAN WITH REMITTANCE AND AS W elt-Tempered Clavichord, rep-' SUITE, OPUS 15 onff NO. 2 TWELVE MONTHS AND WORKS Advance of sent the apotheosis of Polyphot TIONS FOR THE PIANO- No. to fcet, but for the very young be- By Clay Smith By Orlando A. Mansfield TO BE PUBLISHED IN NEAR FU¬ EACH WORK ORDERED IS IS- 2SS& bas Two Piano.—Four Hand. ’t there OFFER Clay Smith already has ; OFFER c In this new volume Dr. Mans- No 84 fie d ha- assembled playable TURE MONTHS ARE OFFERED IN ADVANCE OF PUBLICATION AT VERY LOW PRICES. PRE¬

OFFERS (Nos. 1 to 54) I ARE READY FOR DE- LIVERY. ON

CATALOGS FOR IMMEDI¬ Plano Study Material ATE USE IN SELECTING S| MUSIC OR FOR FUTURE BACH ALBUM JZlZ m Pa" 35 cents TECHNIC FOR BEGINNERS mirabiy , BfAnna^^ NEW AMATEUR Text Books &Literature TRA COLLECTION FROM THE DALLES TO SCALE STUDIES FOR THE HOW TO SUCCEED IN HEARTS AND BLOSSOMS Sllfl?a= msmxsrns —szzsuMINNETONKA VIOLIN rff raar^stw SINGING SSSSJOWM Si§g=S=5 n‘i|S-= ALBUMAt HUM nrOF OCTAVE __ P^bUcatlon SECOND AND THIRD YEAR PLAYING STUDY BOOK FOR THE %‘Sw: PIANOFORTE mmm GREAT MEN AND FAMOUS third cornet. In all there are parts _ MUSICIANS ON THE ART SOFFER goo^Uvefy book of studies THE LOST LOCKET OF MUSIC as?-si^taa ctsar6o^t£“F”y /Vo- 62 STANISTANDARD SECOND GRADE RECREATIONS FOR THE PIANOFORTE MAKE UP AN ORDER OF OFFERS NOS. 1 TO 89 TO¬ PIANO COLLECTIONS EASY^SY STUDIES IN EARLYFAPIV attention can be *>“PlI’.s it._ TALING $5.00 AND ANY GRADE FOR THE ONE OF THESE EXCEL¬ PIANOFORTE MIDDLE C AND THE NOTES LENT WORKS WILL BE ABOVE AND THE SENT WITHOUT ADDI¬ ORDERS OF OFFERS TIONAL COST. o^anyn ^PS. 1 TO 89 TOTALING THE MADCAPS LITTLE LIFE STORIES OF *300 YOU ARE ENTITLED MItEtoi^^Sd°TsicI THE GREAT MASTERS ALBUM T0 BE F0R PIANO worksY ONE of ™ese SOLO AND PIANO DUET [VE CATALOG OF OFFER T~ VOCAL COLLECTIONS No. 69

A LITTLE OF EVERYTHING FOR EVERY DAY WHAT TO TEACH AT THE d°Brya.ft 'a"° OLDER BEGINNER’S BOOK VERY FIRST LESSONS UiSfi CATALOG OF ..S'fert:s JrzLr1 contemporary march young folk^opera gems 1SISI8P j^rtasrufcva«; ^:,;.afd»0rcan|e played !ikf a pi40 Cents eirate abint*Td opera* °or Payers oTmod auracti StUdy’ ThC‘ vork gives BE SURE TO READ THE RONik s C Major/ it is pre- k has been used and progresses •,-"‘“"“r, that will in the two columns to STANDARD VOCAL REPERTOIRE beyond the “child” sS-SSis orderIGHT before mailing your byAmod^codm^Se?s.red a"d SCC"'ar 5ongs a=!S- SELECTED CLASSICS the standard violinist Soil hirty-two excellent compositions in all CO. STANDS READY TO S ONLY ONE COPY OF ANY OF knSiiSrSJS?3" “ "‘.if ‘ ...^0 hr k v or UAH AT CURATELY—AN UNEQUALLED STOCK ( *5*L0X!Pf the above with a $3.00 ORDER. Page 676 SEPTEMBER 1926 SEPTEMBER 1926 Pago 617 ETUDE Pre-Season Cut Prices World of Music on Magazines (Continued from pane 603) Our advertisement on the inside back A New “Mli/.ilrl”* UiKcoverv i. cover is your opportunity to secure your ported. A manuscript “Requiem i„ jo has been discovered by 1), Roderick y. Moksi mmmMh favorite fiction combined with Etude sowics, director of the Graz Music He’,' Music Magazine at a substantial reduc¬ among some old papers, and bearing the • tion in price. These prices are good only of Mozart on the wrapper. It is being subild New Music Works until the 10th of November and no order ted to the severest tests as to its genuffieuess! will be accepted after that date at tiie The War Memorial Opera House, bargain rates. Now is the time to place Han Francisco, is to have one of the most mo l AND OTHER MATTERS OF INTEREST ernly equipped stages of the world Peri?, your orders. Ansaldo, stage director of La Scala’of Mil;,,,' TO MUSIC BUYERS If you contemplate giving magazines has been brought over to desigu it Ii,, ’ as Christmas gifts, a mighty acceptable the designer of the stages- of tin, Buenos i TJP “JUNIOR- present, we will be glad to book the order Opera and of the Grand Opera of Rio Janeiro at the bargain rate and begin the sub¬ The Scottish Music Merchants’ Vs. scription with the December issue. We elation is organizing a National Music Week have in preparation a very attractive “with the object of focusing public attentwf etude; Annual Fall Bargain teachers living in the larger cities who in¬ Christmas gift card, advising that the sub¬ peop?ee”neCeSSity °f mUSlc 'n the iivea “f the scription is a gift and on request, one of Offers sist upon sending their orders for music supplies to Philadelphia in order to save these fine cards, with your name filled in, will be sent. On other pages in this issue space has themselves the time necessary to make a ue announced. It has been incorporated'under been utilized by the Theo. Presser Co. to trip to the business centers of their cities. the State laws : and, after a seas,, R CONDUCTED BY ELIZABETH A.GEST present final introductory offers on pub¬ beginning in the early fall, there will be a Every clerk is imbued with the idea of The Following Premiums tour as far west as Denver. lications issued during the past year and handling every order with the same care Sharp Keys in the Major for advance of publication offers on new and giving to each transaction the cour¬ Have Been Selected From , S Prize of $100 is offered by tho Riihin Betty's Ride Little Girl’s Company works to be issued in the near future. As Our Catalog, all of Which Stein Club, of Washington, D. C\ for a conu teous attention that would be necessary in By Gertrude Greenhalgh Walker thousands of music buyers know from a person to person transaction over the Can be Heartily Endorsed By Agusta L. Catalano By Hazel McElhany-Greer Fall Bargain purchases made in past retail store counter. by us as Being of First-Class Betty came home from Miss Brown’s trumpet vines when, bumpety, bumpety, years, there are genuine bargains in this Presser Service means not only the fill¬ Annual Fall Offer. Special low prices Manufacture Pnlifmmi-iThe Lodi Oratorio. Societv ofOf 1rjOr'Sw edenof thewith nni,.,. the Insignia,.«• «it, Scherzo, by Mendelssohn, plays it fast, fast, o’Clock. Fall Offers at such low prices. This spe¬ Descriptive Catalog smile came instead, as Little Girl clapped use in the early fall evenings; old rose Thlfr honor in that country. just like little fairies dancing in the wood- cial note on the Bargain offers is to ac¬ of Piano Music her hands and said, “Oh, goodie, goodie, quaint those who have never made any silk shade with an old rose metal base. Mamma! What is it? How do we play purchases from these Fall Offers, with for Teachers’ Use Eight subscriptions. “Well,” said mother, “I am sure Shura it?” the value of looking them over. Those One of the most difficult problems for Indispensable to the Motorist or in the had to practice it slowly at first, just as who have previously purchased on the Fall Home—six teaspoons, six tablespoons, six With three sharps in thc signature. you have to do.” “We are going to play that your five the piano, teacher is tiie judicious selec¬ forks, six knives, one sugar shell, one but¬ Offers are awaiting this year’s as has been tion of interesting supplementary ma¬ You see it every day; little cousins are coming to see you; and ter knife, finely nickeled on steel. Will Betty was still disgruntled when she went attested by the many requests already re¬ terial to accompany tiie regular course < i sharp is placed above thc staff to bad. She took Villa, her best comfort¬ after they all get here you will have such ceived for a copy of this year’s offers. not tarnish or discolor; pattern attrac¬ ot study. Frequently the proper selec¬ tive. Three new subscriptions. That makes it key of A. ing dolly, to bed with her and then the a jolly time.” Then taking one little “fat tion is a matter of vital importance as a beautiful coiuposit'ion^'ft?,:V m,""" .i1'8 hand in her own mother said, “Now, this student’s ambition often may he aroused AdjustoUte- brass finish, fit anywhere, dream fairies came and invited Betty and “On Sale” Music a Great Help splendid for bedtime reading. Six sub¬ little wee finger will he Baby John, and the by the assignment of a pleasing and h!!T' hr, \, 1 Villa for a ride through Melody Land. to Teachers scriptions. -C ISDN, he was educated at Vienna :nnl be one next will be Winkie. Then this tallest melodious piece of uiusic. This need not came enroctor of school music there’ as w,.i| Betty asked permission to drive the finger will be Buddie, for he is so straight The teacher need not expend money for be a piece of “trash” as there is a wealth ScbooirSoprtetors!h,! A8Sodatio" ”r M»sic golden automobile that the fairies brought music publications blindly. Teachers can and tall; and the one next to Buddie we ot good material available. There are An Opportunity for and the fairy mother said, “Yes, if you be secure music from the Theo. Presser Co. many pieces of the better type that, with¬ Four sharps will change the key again, shall call Junior. And this cunning, fat Flower Lovers careful and go slowly.” for the purpose of examining it in the out sacrificing anything in the way of Another’s placed on D; Betty promised, and away they went, past thumb will be Tootsie, for she is really so convenience of their own studios. musical interest, contain particular tech¬ A favorable arrangement with a grower The sharps are now F-C-G-D brooks, then fields of nodding daisies. short and fat.” With few exceptions, such as popular nical devises the practice of which will suburbs), lias Just'^nsSl’led a enables us to offer three grand peonies to S?'ral1?* 1,lant’ ample for the needs of Which makes the key of E. Happy bluebells rang out merry tunes for Little Girl was laughing by this time music and individual cases, Theo. Presser prove of incalculable value to the stu¬ our subscribers in exchange for from one dent. es tlleml'!"1"/ yetu'8 to come. This i„- them. Betty began to think she was a “My,” thought Betty, “I must hurry and wondering what was coming next; so Co. will give teachers the opportunity to to three new subscriptions. These three t rs t, it , modern care of all foods. Visi- examine any music publication, or in As an aid to teachers in the selection often mmm h“ct the kilehen great chauffeur and began an Accellerando through Harmony Land to reach home be¬ Mother said, “Now close your hand up peonies are red, pink and white. Roots tionaI“Tr eii/'P,?'1 «>* ,ack the "instil, place of specifying certain numbers that ot .such material we have recently issued planted this fall will bloom next spring. tionai or hotel’’ odor. The very enlist because she was sure it was along a fore dark;” and she began to go Allegro, tight and every time you play the treble are desired for examination, teachers may a ‘Descriptuve Catalog of Piano Music” \Vc will send your choice of one to any chase'of'food's.Wit^ the Preparation and pur- straight road. She did not see the sign then Pin Allegro, then Presto, when sud¬ clef of your Czerny exercise over once, tell the type of material they are seeking m which about 800 pieces are listed. “Rit” (sharp curve ahead)', but rushed on denly something flashed across her eyes. It one of the little cousins will be here, for address, prepaid, for one new subscrip¬ retTrbeilh,n'or!,I"l"' accommodates some fifty-five '■ whether pieces or studies are desired These pieces were selected on their sales’ tion to The Etude. All three will be sent In key of B the sharps are five, at full speed, nearly knocking down Jack looked like a new “key” and a warning you may then let one finger stand up. and for what grades and for what par¬ records as the most frequently used by for three new subscriptions. Another one you’ll see; to slow up. She put on her brakes sud¬ ticular phases of technic, and clerks, with Barline, the policeman. When you have played it five times, all the teachers. They arc arranged according „ i,nproved iris, bine, purple, white, twCbyea^,tb;;ifjni^,^:;8 for F-C-G-D and A are now denly and crash ! A scream 1 years of experience in caring for special to grades, from one to ten, and each grade Then she heard a minor chord crying, cousins will be here. Then double up the yellow, lavender and pink. Iris is adapted sixty-five and seventy-live sh-,11 he in d What make the key of B. “Be careful of me,” but never heeded it. When Betty awoke mother was bending other hand, and play the bass clef and needs of teachers, will gather together a is subdivided into various classifications, almost to any condition and climate and special selection, which will be sent ac¬ such as, “In Minor Key,” “With Left Soon the road became unfamiliar and, spy¬ over her saying, “There, there, little girl. let each one come to see you again. After IS a sturdy grower. We will send your ffafl pay Mil admission fee. Certahi aged and cording to the “On Sale” plan. Hand Melody,” “Characteristic,” “In choice ot two for one new subscriiitm,, ,r ing a traffic officer, she came to a pause and You are all right. You are in your own they are all here again, you may have a /t'.he Z°n Sale” Plan is the origination Dance Rhythm,” etc. In addition a brief all six for three new subscriptions. to qualify in the foreKoing'mm,mi'lit “limes inquired the way to* Melody Land. He bed. Whatever did you scream for?” party by playing the exercise with both of the Theo. Presser Co., permitting teach¬ descriptive note on the outstanding tech- told her that she was now in “Harmony “Oh, mamma, I was taking Villa for a hands.” ers to obtain music with the privilege of '’"T /f1*ture. "f Pfc** accompanies Land,” but to Da Capo and take the left- ride and did not watch the road signs and And—what do you think ?—Before Little returning all not desired and not used for each title A selected list of (lie very Beware of Fake ssivaraa Mp to Six sharps we must consider now, credit. hand turn and then the next right; then on nearly killed her. You bet when I go to Girl knew it that hard Czerny exercise and best four-hand and ensemble piano pieces Just add a sharp on E; is also given. Magazine Agents f.or a few measures. Miss Brown’s again I will watch all the her scales, and even the cunning little Further detail and “On Sale” order A signature not often used, blanks will be sent any teacher making A Pipe Organ Instructor for Pianists Betty thought he meant miles. She signs in my music.” “Minuet,” with its fairy-like staccato I he booklet, of a most convenient size, . lf *? necessary again to emphasize the F t will be the key. request for them. Pafes, 314 x 6 inches, easily may be importance of warning our musical Graded Materials went to turn around and, becoming con¬ “Go to sleep, dear. You are all mixed notes were all finished, and she did not carried m the handbag or vest pocket, friends against fake magazine subscrip¬ fused, used the wrong “pedal.” However, up with riding and practicing your music.” feel the least bit tired, and all because her A Metropolitan Music Store making it always handy for reference. tion agents. Complaints are received in for the Pipe Organ the policeman blew a sharp blast on his Betty cuddled down, hut she knew all dear little cousins had come to help her. at Your Very Door Every teacher is invited to send for nearly every mail from all parts of the By JAMES ROGERS® whistle and Betty collected her wits before about the mix-up. She was sure‘Miss of tlus valuable booklet which \ country where casli has been paid and no giKe a good n'°rking any harm was done. She was rolling gayly Brown was going to have a good lesson Practically no city in the United States will gladly mail gratis, upon request. value received Beware of the ex-service knowledge of the instrument Letter Box in itself could support a music store with Now we have seven and the last, along, listening to the songs from the man, so-called, the bog working his wan An instruction book of great worth, giv- Dear Junior Etude: the immense stock and large corps of ex¬ Just add a sharp on B; through college, I he man who Is willing to ng explanations and directions so clearly One of the most interesting things perienced music clerks maintained by the Change of Address ■ eu you an Etude' subscription for 'one- CC the key thc seven make, have here in Cuba is the real love for music. WtWe 'have many opera Diana Theo. Presser Co., yet it is almost as good half price. Pay no money to strangers \krvie,d8e °f thc pia*° Though seldom used, you see. The Three Essentials as locating this kind of a music store at Please advise us promptly where an could use this work for the study of the . ring us every year big enteruuuuieuis address is changed from summer resi¬ unless you. are satisfied a/.to theirTn- —.1 musical affairs of importance. the very door of teachers everywhere, in e-s y It is not fair that we should be ZnYv '°Ut the- aid of a teacher, even By Marion Benson Matthews I love to hear good pianists, because from the prompt and accurate service rendered dence to winter, giving us both the old though it is not so intended by the author bearing them one learns more about music; called upon to make good subscriptions and I never miss an opportunity. on orders sent to Philadelphia from all and new addresses. Do not advise the Prt'™,ariJ’ Naturally a teacher should The three essentials of music are we,- Rhythm the “metre of music" we call, postmaster regarding your change of ad¬ taken by unscrupulous men and women are ®““red whenever possible, but there In past seasons we have heard Paderewski. parts of the country. who have no connection with this or any Melody, Rhythm and Harmony. For it indicates where the accents fall. Hofmann, Godowsky. Bachaus and many dress on magazines because second-class are cases when a teacher is not available or other pianists; and that certainly means a Many teachers do not have convenient, other magazine publisher or subscription cannot be afforded. e or lot for our musical culture. I hope to hear a music dealer with even a fair repre¬ mail matter will not be forwarded. It is necessary to notify us direct and we agency. If you are in the least doubt, Price §1.25 Just memorize these rhythmic lines A succession of tones is Melody, many more musicians when they visit us, too sentative stock and such teachers can real¬ send the money direct to us with the name In one voice or instrument, as you’ll agree; When you practice your brand-new piece From your friend, should have not less than three weeks’ no- And I will guarantee Grace Lewenhaupt (Age 13), ize what the Theo. Presser Co. offers in ticc to insure next copy coming to you and address of the agent and we will THEODORE PRESSER CO. While a combination of pleasing tones to-day, That you will ne’er forget the sharps, Gervusio 35, service in noting that there are many Ht your new address. cheerfully give him credit for the sub- 1710-1712-1714 CHESTNUT ST The third of the trio, Harmony, owns Don’t slight any one of us three we pray! •seription. - PHILADELPHIA. PA. , In any Major Key. Page 678 SEPTEMBER 1925 THE ETUDE The Choir Master JUNIOR ETUDE-Continued Each Month Under This Heading We Shall Give a List of Anthems, Solos and Voluntaries Appropriate for Morning and Evening ORDER MAGAZINES Services Throughout the Year. Junior Etude Contest Hidden Musical Terms FALL! NOW! SAVE MONEY! Opposite "a" are anthems of moderate difficulty, opposite "b" those of a simple type. By Florence Romaine Any of the works named may be had for examination. Our retail prices are always reason- PRE-SEASON PRICE REDUCTIONS ON STANDARD MAGAZINES Each sentence contains a word used in SUNDAY MORNING, November 1st SUNDAY EVENING, November 15th ORGAN ORGAN rect order. Autumn Glory .Preston Twilight in Autumn.Felton WHEN BOUGHT WITH “ETUDE” ANTHEM ANTHEM THESE PRICES GOOD ONLY UNTIL NOVEMBER 10th, 1925 I j^case g've my son a table to write on. (a) What Are These Arrayed (а) Thou Wilt Keep Him in her work “ "0t energet'° e"°Ugh aboUt in White Robes?.Stainer Perfect Peace .Matthews (b) Hear, O Lord.IVatson (б) Lead On, O King Eternal..Mar-n 3. An apple’s core is too hard to eat. OFFERTORY OFFERTORY 4. We travelled far on down the road. I Am Trusting Thee (Solo, S.) Blessed is the Man (Duet, T. 5. Do not talk so loudly in this room Hosmer ORGAN ORGAN a'ld B ).H°Smer 6. Of all my books, that one is my Spirit of the Hour....Johnson Duke Street .Hat ton- W kiting

7. Come home, Bob, as soon as possible SUNDAY EVENING, November 1st SUNDAY MORNING, November 22ndk 8. At Hope Dale Farm the roses are ill ORGAN ORGAN Moon Magic .Cummings In Remembrance.Von Bloit anthem ANTHEM (a) The Sun .Shall Be No More (o) O Come Before His Pres- Thy Light .Woodward ence with Singing.Martin (b) The Sands of Time Area (6) O Lord of Heaven and Earth Sinking .Urham-Spence Marks r -L OFFERTORY OFFERTORY One Sweetly Solemn Thought Some Morning, Oh Some Morn¬ (Duet, S. and A.) ing (Solo, A.).l-orman Ambrose-Bliss ORGAN ORGAN Piece Heroique .Giggle■ U. Petite Marche .DuBois-Rogers SUNDAY EVENING, November 2; [AY MORNING, November 8th ORGAN Tender Thoughts .liii-.rlmi ’bath Calm ..Christiani ANTHEM -1 EM (a) How Sweet the Name of (a) O Gladsome Light_..Sullivan Jesus Sounds .. .. ' ') Break Forth Into Toy_Simper :rtory (b) Now Thank We All Our (,od r Hue That Dwelleth in the Secret OFFERTORY ORGAN ^ace (S°l°, B.)... .Stoughton Dear Lord and Master h (Solo, S.) . Commemoration March ..Grev ORGAN Danza Compestre. Y EVENING, November 8th SUNDAY MORNING, Not 'k°n .M°

A NEW MUSIC BINDER—“snap post music binder”

Leaders will fl’mfthis0 a grett^on^nien^3?'818 an

Your Sheet Music in "Snap Post Binders» Makes a in Ideal Library j The following magazine, may be added to any club I'‘HERE'HERE is nothing heavy listed above at the prices quoted: and practical, the SATURDAY EVENING POST.$2.00 thickness of music from LADIES* HOME JOURNAL. 1.00 binders are not only conve en open. The j COUNTRY GENTLEMAN (3 yrs.). 1.00 music from becoming dilaj and keep sheet cloth hinged binding strip, gummed Above Prices do not Include Canadian nor Foreign Postage binding posts, which ; rf&S’SSSES-’on the back hinge of the binder The hind' 6 neat1,6 brass by snapping the caps, tached to the front hinge of thebinder , ....V6g ".6 completedCO' posts. It is remarkablele hnw n.oti,. .U- ‘8° °> binder, over‘ the headsheac of the For Everyone Interested in Music Musicians, Attention! Fifteen detachable binding lied this, Write to us for black cloth, stiff sides, in tl Take subscriptions for LARGE SHEET MUSIC SIZE. 11 .14 PH,. prices on any ETUDE MUSIC MAGAZINE ETUDE and add to your Additional Binding Strip,, 50c a do,. Addti^l RZJ-’ 9 V2’ Price $1.0 magazines not Price $2.00 a Year ADD ^^1"“2Sc income. Send postcard listed. for particulars. THEO. PRESSER CO., PUBLISHERS, 1710-12-14 Chestnut Street, Philadelphia THEO. PRESSES CO. JSSX 5SS SeJ " rhila Neu)/ the VENIDA B QMZT-for Bobbed Hell

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BAIR NE