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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
5-1-1915 Volume 33, Number 05 (May 1915) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 33, Number 05 (May 1915)." , (1915). https://digitalcommons.gardner-webb.edu/etude/613
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The grandest cathedrals, the largest buildings, the Liberal premiums and cash deductions are \ obtaining subscriptions. greatest engineering structures in the world, depend for ni Y'.^!ate M- T- A- on Vooal Teaching; Conductor Boston OBLONG RUBBER BUTTON Unoral Union, 400 voioe*, Oratorio Concerts, Symphony Hall). their strength first of all upon their foundations. July 6-16, inclusive HOSE SUPPORTER 10 Daily Private Leisona-Voice-Singing. At Camp Q With dynamite and steam shovels, corporations FOR WOMEN AND CHILDREN 10 Daily Class Lessons-How to Stud? and Deliver Recitative, Songs and Arias. that-build foundations and nothing else, dig deep sockets 101 Daily Normal Class Lessons-How to Teach For Further Partic in our planet, Earth. Then they fill these holes with stone, ate fee for ell. DO IT NOW I_Iealthy kiddies are active from L steel and concrete so that millions of pounds of super¬ morning till night at hard play structure may be safely built above them until the very that is good for their little bodies. COURTRIG They exercise more muscles than do clouds are punctured. grown-ups and the things they wear PIANO TUNING EMER50N PW®-PIANO STYLE H must stand great strain and rough REGULATING and REPAIRING SAN FRA] The foundations of your Musical Success depend A Complete Course of Self-instruction for upon your own preparedness and the interest, enthusiasm DEALERS IN PRINCIPAL CITIES AND TOWNS MRS. LILLIAN COl By J. CREE FISCHER PRICE, $1.75 which your friends and patrons take in music. WRITE FOR CATALOG A work of great practical value. Arranged systematically in lessons and thoroughly illus¬ trated, making a book that can be used for self- Every time you secure a new ETUDE subscriber in instruction, correspondence courses or text EMERSON PIANO COMPANY OBLONG RUBBER BUTTON book in schools and conservatories A valu- Summer S your community you put down a new and strong founda¬ tion of musical interest, enthusiasm and progress. • • ESTABLISHED • • 1849 - HOSE SUPPORTER BOSTON -MASS Child’s sample pair (five i|e 15c. posted musicians'who^veln10 teachers and TO TEACH Sold Everywhere rural districts rarely visited by professional Every new Musical foundation you lay through tuners, and then not oftener than one** * MAKERS. BOSTON It will also be a valuable work for securing a new ETUDE subscriber fortifies your own musical come from teaching by keeping pupi work a hundred fold. Many friends lay dozens of these mmence his ETUDE foundations every year. THEO. PRESSER CO. os, and opeij
STUDY HARMONY and COMPOSITION A RARE SUBSCRIPTION Important 12 All Pianists ^ Students by MAIL wlthDr^Woolef. Shepard School of 1 gives all Instruction and corrects all Piano Teachers* Course! OPPORTUNITY lessons. Number of pupils limited. Frank H. Shepard, Aut-hoi A simple, concise and practical “Key”, “Graded Lessons A Genuine Addition to the Literature rates. Composenrfflfoofrected! ALFRED W00LER, Mu,. Doc. To assist our readers in laying these helpful founda¬ of Pianoforte Technic 322 W. Utic. St., Buffalo, N. Y. A. AGNES SHEPAl tions of musical interest and enthusiasm we make a special rate of Combs Broad Street Conse THE NEW GRADUS FIFTY CENTS tolttY°m needs are “loidered. O. ?ap nd f?r dev'l°P™Z the best myou. Daily reports l with the entire School. Daily supervision shows you how to ororlc F™. ample opportunity for Public Performance. * FOR THE ETUDE AD PARNASSUM , YOU MUST SUCCEED tafe, sound, sure foundation. We develop your latent FOR SIX SPLENDID MONTHS In Eight Books Price, $1.00 each
By ISIDOR PHILIPP Instruction Throughout the Entire This, the lowest ETUDE rate ever made, applies by itself, all^the^tudies henr' separate department of technic is considered GILBERT RAYNOLDS COMBS, Director 1327-29-31 S, only to those not now receiving The Etude regularly as classified togetC and L- /• UP°'1 any P!'rt^ular technical point being subscribers. in this manner each'mfifieet°5icaI a"d progressive order. Proceeding main points thus covered are exhaustively in a separate part. The No special subscription blank is needed. Just send Left Hand Technic BROOKFIELD SUMMER S 5. Double Notes all the names and addresses enclosing fifty cents (stamps, R^ht Hand Technic 6. Octaves and Chords cash, money order or check) for each new subscriber. Foreign Hands Together OF SINGING Arpeggios 7. The Trill addresses add 36 cents; Canadian, 10 cents. Address The ^ 8. Various Difficulties BROOKFIELD CENTER, CONN. H.rWt Wilber J your letter to The Etude, Philadelphia, Pa. to eelect the bestepossfble stndf^ L°^na,.Pi?no music has been ransacked in ord Monsieur I. Philipp lPariin» n a'fted to each of the above classificatioi 701 Carnegie Hall, NEWY Could you see the many fine features we have in servatory, ig admirably eaninnld k ri°fe8‘Sor of Pi“n<)forte in the Paris Co reserve for these important issues you would not rest until for the compilation and preparation „liIOwledf’ experience and natural tale reparation of a work of this type. you had shown at least a dozen friends how The Etude helps all music lovers. on inspection a set these works. Sent and subject to our usual liberal discount.
BURROWES COURSE “While we stop to think, we often Kindergarten and Primary—Correspondence or Pers miss our opportunity” .mCHElSsTREETSSER C0MPANY Happy Pupils—Satisfied Parents-Prosperou, Teachers Classes are doubled by - PHILADELPHIA OLD ROMAN MAXIM appiication^to KATHARINE . D. 502 CARNEGIE HALL, NEW YORK CITY " * especially for people of high artistic discriminat Dept. D. 246 HIGHLAND AVE., HIGHLAND PARK, Di io appreciate the difference between good and be, i ouuulck PIANOS Correspondence solic" Flease i __and PLAYER-PIANOS Please mentIon the etude when addressing ^ advertisers. THE ETUDE 323 322 THE ETUDE DIRECTORY OF SUMMER SCHOOLS DIRECTORY OF SUMMER SCHOOLS
Hugh A. Clarke, M“s- D<>c. The Commonwealth LESSONS BY MAIL NEW YORK SCHOOL OF MUSIC AND ARTS In Harmony, Counterpoint MARK HAMBOURG School of Music RALFE LEECH STERNER, Director and Composition ANNOUNCES Central Park West, cor. 95th St., New York City 4618 CHESTER AVE., PHILADELPHIA, PA. We will move into our new building, A is-caiReal nomvHome for Music Students. New Summer Session, July 5 to August 14 overlooking Central Park, on April 1st. ! York’s modern, up-to-da e usi • Courses leading to Teacher’s Certificates in Piano, MASTER PIANO COURSE Voice, Violin^, Public^SchooI Music and Special Summer Courses of six and ten weeks, for Amateurs, Teachers and Professionals, from May 1st to September 1 t Summer Vocal School July 1st to September 15th, 1915 Connected with the Commonwealth Write FREDERICK W. WODELL All Branches of Music and the Arts taught from the beginning to the higHest artistic finish by a faculty composed of PIERCE BLDG., BOSTON, MASS, School of Arts and Crafts (Author C. * C, Volos Book; Loctursr before M T. N. A. and Send for lull catalog to the Director, N A. Stote >1. T. A. on Voool Touching: Conductor Boston FOR PIANISTS AND TEACHERS America’s Most Eminent Teachers Dormitories in Choral Union, 400 voices, Oratorio Concerts, Symphony Hall). CLARENCE G. HAMILTON July 6-16, inclusive 18 Cottage Street Wellesley, Mass. OBLONG RUBBER BUTTON [ OPEN THE ENTIRE YEAR | JO Rai!y £ri™“ Lessons—Voice—Singing. At Camp Quisisana, on Lake Kezar, Center Lovell, Maine 10 Daily Class Lessons—How to Study and Deliver HOSE SUPPORTER Recitative, Songs and Ariaa. FOR WOMEN AND CHILDREN 10 Daily Normal C How to Teach For Further Particulars A is C. A. Murray, Secretary, 46 East 75th Street, New York City Singing. FAUST SCHOOL Of TUNING One moderate fei all. DO IT NOW Piano, Player-Piano, Pipe Organ & Reed Organ Courses MR. SERGEI KLIBANSKY TEACHER OF SINGING It ealthy kiddies are active from wasted hours become a your income, become a For Eight Years Leading Teacher at the Sterr SIX WEEKS FACULTY INCl morning till night at hard play source of profit. pianoforte tuner. Conservatory, Berlin, Germany. For Three Year, COURTRIGHT SYSTEM OF MUSICAL KINDERGARTEN Send for FREE Year Book giving full information SUMMER SESSION FOR THE Albert Ross Parsons, I that is good for their little bodies. at the Institute of Musical Art, New York. They exercise more muscles than do PIANO TUNING SPECIAL SUMMER SESSIONS OliverC. Faust .Principal,27 Gainsboro St., Boston,Ma ss. Announces two Special Summer Coursea TEACHER and VIRTUOSO Burg, Sigismond Stoj< BEGINNING JUNE 1st and JUNE 15th grown-ups and the things they wear REGULATING and REPAIRING SAN FRANCISCO EXPOSITION and NORTH CAROLINA Witek and Adrien: mist stand great strain and rough Studio, 212 Weat 59th St. - New Yorl A Complete Course of Self-instruction for Write for further particulars service. the Professional or Amateur By J. CREE FISCHER PRICE, $1.75 MRS. LILLIAN COURTRIGHT CARD 116 EDNA AVE., BRIDGEPORT, CONN. A work of great practical value. Arranged SUMMER SESSION systematically in lessons and thoroughly illus¬ For teachers and advanced students trated, making a book that can be used forself- nistruction, correspondence courses or text PIANO, ORGAN, VOICE, VIOLIN Public School Music. Normal Classes uHtd mm iEitfip Brlrmil OBLONG RUBBER BUTTON able lesson:s that on the tuning, regulating MARKS’ CONSERVATORY OF MUSIC HERWEGH von ENDE, DIREC HOSE SUPPORTER 2 WEST 121ST STREET :: NEW YORK Child’s sample pair (give age) 15c. postpaid. musicians who live in the smaller towns and TO TEACHERS AND STUDENTS £ r °nly ,ray““d°f 44 WEST 85th ST., NEW Y< Sold Everywhere tunereandCtheiianotoftiS‘ted by professional It will’ also be'avlluaWe'work foT a “youne CONDENSED SUMMER COURSE GEORGE FROST CO., MAKERS. BOSTON man or woman who wishes to add to the in- for PIANISTS AND TEACHERS fnorder°m teaching by keePinK pupils’ pianos DUDLEY BUCK Students may enter at any time. will commence his Summer Class on June 1st. Special attention given to modern songs THEO. PRESSER CO., Philadelphia, Pa. Catalogue sent upon application. oratorios, and opera. AE0LIAN HALL, 33 WEST 42d ST., NEW YORK CITY
STUDY HARMONY Training School for Piano Teachera and COMPOSITION and Public Performance. by MAIL wj“iDr.WooIer, HEINZE SCHOOL OF MUSIC ant it All Pianists ini Students Shepard School of Music, Orange, N. J. 1714 Chestnut Street, Philadelphia, Pa. Crane Normal Institute of Music Piano Teachers’ Course also by Mail-prepared by Piano students and teachers should not fail Training School for Supervisors of Music OF THE CITY OF S? nk,fI’.Scpar?’ Auth°r °f “HarmonySimplifled”, to take up the Special Summer Course. Valua¬ BOTH SEXES NEW YORK NEW’ “Key”, “Graded Lessons in Harmony”, etc. Even Voice culture, sight-singing, ear-training, harmony, INSTITUTE OF MUSICAL ART Frank Damrosch, Director ble points and helps for successful piano teaching, lenuine Addition to the Literature ALFRED WOOLER, Mua. Doc. learn, or learn by correspondence. C°me and AN ENDOWED SCHOOL C We close August 1, re-open September 1 ALL BRj 322 W. Utic, St„ Buffalo, N, Y. Director Louis G. Heinze gives all instruction The opportunities of the Institute are intended only for students of natural ability of Pianoforte Technic I A. AGNES SHEPARD, Artist Teacher. with an earnest purpose to do serious work, and no others will be accepted. For catalogue Bo and full information address SECRETARY, 120 Claremont Avenue, New York VICTOR KUZD NEW GRADUS Combs Broad Street Conservatory Ask About Special Rate—SUMMER SCHOOL ANNOf* Gives you individual am Your needs are considered. On ei FLETCHER MUSIC METHOD PARNASSUM ample opportunity for Public Performance. V wort Four Recltal* a w«k Stve YOU MUST SUCCEED The Normal Summer School will be opened by Mrs. Fletcher- ght Books Price, $1.00 each :i£m< \mur'etoUrd’SUrefOUn1ali°n- We **”'*> your , ities. Modern and Copp in ban Francisco, in June. THE NEW VIRGIL TORIES CKK'*!r Jla chers, ablic”Schoo 1*”music”super vision is with the U. of Pa. TORIES. A School of Inspiration, Enthusiasm, SuccIslaniLoycUty LADIES’ DORMI- By ISIDOR PHILIPP Mrs Copp’s sisters the Misses Fletcher, will open Mrs. Copp’s PRACTICE CLAVIER Instruction Throughout the Entire Year Boston Summer Class the 1st of August, in Brookline, as usual in lique work each separate department of technic is considered Far superior in its latest construction to any GILBERT RAYNOLDS COMBS, Director_1327-29-31 S. Broad St., Philadelphia ;he studies bearing upon any particular technical point being Mrs'rCoppheerseaif “ be given this Sch°o1 V other instrument for teaching and practice. :ther and arranged in logical and progressive order. Proceeding ;r each subject is treated exhaustively in a separate part. The WHAT IS THIS METHOD ? VIRGIL SCHOOL OF MUSIC Ihus covered are: SUMMER SESSION begins Monday, June 28th At the cost of over $75,000, Mrs. Copp Fletcher Music Method, finding in it an land Technic Double Notes BROOKFIELD SUMMER SCHOOL has originated, developed and introduced ideal, democratic and rational system of A* ^ Enrollment Saturday, June 26th a radically new. system, psychologically Hand Technic Octaves and Chords teaching music to little children. IRvjIL For prospectus address Secretary sound, of teaching music, which, in the Together The Trill OF SINGING A large field of happy, successful K. ▼ 185 Madison Ave., New York City past fifteen years, has been adopted by occupation is open for those ready to fios Various Difficulties BROOKFIELD CENTER, CONN. seven hundred music teachers and has grasp the opportunity. Herbert Wilber Greene, Director been introduced into England, Ger¬ MASTERFUiIP lit
328 THE ETUDE Little Problems in Human Nature emotional, especially in orchestral music, usly that Connected with Music Teaching The Vagaries of Modern Harmony extremists dab on the flaring colors ^ lacking, the charm of repose and contentment J <1 By ALEXANDER HENNEMAN By A. W. BORST After being in a chemical laboratory far ajhde^.^ is a fascination in experimenting nroceeding is tions, difficult to resist. Sometimes the proceed.ng ^ In the first hard years of teaching 1 had fallen at, The time is surely not far off when all teachers of the habit of looking upon an unsatisfactory class„ the pianoforte will be expected to know at least the apt to be dangerous. In composing, th P _ rudiments of the grammar of their art—of which Har¬ analogous. A young enthusiast Teturarngi one of the vicissitudes sent by heaven. My attitu® Music A Human Necessity In Modern Life— mony, Counterpoint and Form are the bases. As they formance of that charming opera, The of was “What can anyone do with these students?” j advance in their researches, they will stumble across Madonna, could not fail to retain t P resuit found that I, like many other discontented teacher^ some of Wolf-Ferrari’s weird harmonies with the result many innovations which their text-book would not have had pupils the general run of whom were “indolent,” that his taste for what is bizarre may be devdoped^t countenanced. In fact, to the thoughtful student, the “careless,” “lazy” and what not. In fact, they wtr( Not A Needless Accomplishment old guide-posts, recommended by a teacher, would the expense of -his taste for what is sane . not everything but what the Lord should have made them The moral for the young struggling aspirant is n almost appear unreliable. Assertions like the following, (I did not realize then that, besides the Lord, I too which were formerly as positive as an axiom of Euclid, far to seek: he should not follow the newest fashions until he be thoroughly conversant with the metho had an important part to play in the shaping of a, seem to him of little account: that every musical com¬ pupils.) I felt the class was small because people Wi A LETTER FROM ANDREW CARNEGIE position, in order to conform to one of the first re¬ established after centuries of gradual development by not up to my standard of instruction. What the pi quirements of art, Unity, should close in the key in our great classical composers. How far he may P “Music, the harmony of sweet sounds, stands foremost as a means of which it is written; that there exists an intimate rela¬ from these later on may be safely left to his good lie wanted was to be hood-winked and I was abo* tionship between certain keys, from which too many taste and judgment. He will at least have learned to such methods, therefore my classes were smaller th® drawing us heavenward. The greatest tribute ever paid to it is that outburst departures are not advisable; that bare fourths and set a true value on some of the latest contributions to those of others, who, I felt, must lend themselves to of Confucius, five hundred years before the Christian Era: fifths—the delight of the original experimenters of a hoodwinking methods. But underneath it all there was code to combine sounds—have been tabooed for a long a “still small voice.” It kept up an irritating state o: “Music, sacred tongue of God, I hear thee calling, and I come.'” time; that suspensions are not allowed to come and doubt within me and my accusations against the public go as they please; that the effect is not agreeable when Instead of “Recitals” sounded a little lame with that still small voice quietly “His enchanter was the Lute, then first of all instruments, but what words they are struck at the same time as the note suspended, making itself heard. Fortunately for me, though I etc. Instead of Unity and fixed design, he will meet By LESLIE B. DANA was too “set” to accept the self-accusation, I was real; could have given proper expression to his rapture had the resounding organ, with constant intentional ambiguity. The relations of to question my adverse criticism against those whom the original key have hardly a speaking acquaintance¬ grandest of all, vibrated thru his heart, carrying him upward to the celestial The annual, or semi-annual, “recital 1” To Charles, ship, and Webster’s definition of Harmony as “pleasing I had to serve. who is strictly an average pupil, of the masculine choir. to the ear,” becomes quite a misnomer. gender, it is an insufferable bore. “Get all- dolled up Everyone is willing to admit that music, like any of Problem No. 1—The Careless Pupil and forget everything you ever knew,” is his comment. “Shakespeare has paid his tribute to music: the other arts, cannot remain stationary. So that com¬ To Blanche, whose parents are well-to-do, it is the Just as an experiment I decided to take all the blame posers have full license -to leave the beaten paths and “The man that hath no music in himself occasion of a most favorable comparison of herself on myself, and see what would come of it. Here was seek new ones—should these appeal to them as more Miss A, an indolent pupil. Why was she indolent? I Nor is not moved with concord of sweet sounds, adapted to the expression of their inmost feelings. with the other children—as to dress, coiffure and the flowers she receives. To little Sonia a “recital” means decided then and there that perhaps I was partly to Is fit for treason, strategems and spoils, Evolution, however, ought not to be read—revolution. blame and that I should be the first to make a change. The motions of his spirit are dull as night, And it is only against this that we utter a protest. If the worst of all her troubles; it also entails weeks of worry and deprivation on the part of her whole I said to myself “Perhaps you are careless, or yea And his affections dark as Erebus: we examine the modern school of Russian music, we fail to interest her in her work. Experiment with are usually delighted with the moderate expansion of family, for “our girl'must have what the others have,” Let no such man be trusted.” her and see if she cannot be roused into interest.” the laws of harmony and counterpoint. But when the and it is sometimes difficult even to pay for her regu¬ The experiment proved signally successful when once ear is assailed by incessant combinations which are too lar lessons. And somehow it always happens that the “Is there ever to be an instrument transcending, or even competing with I went at it in earnest. As a scientist treats a subject far-fetched and often really painful, it would seem as Sonias are the embryo musicians, and it is trying under observation, so, from then on, 1 made every the organ? We doubt it. Even angels with their harps before the throne if all the solid foundations of what we understand by enough to the teacher to have his best pupil upset and well-written music had been undermined. Unless in¬ nervous at the very time she is on exhibition. student a subject for the study of human nature. are not entirely satisfactory. Let us indulge the hope that these are used deed the gospels according to Strauss, Schoenberg, A certain school with which I am familiar has untied Ravel, Debussy, etc., were to be accepted. A few quo¬ the Gordian knot—in the proper way—by cutting it. Problem No. 2—The Obstreperous Pupil merely as accompanists for ordinary entertainments, and that the solemn A “recital” as such has no place in the ■school work. tations will serve to illustrate our case. As a mild ex¬ Problem number 2 was the “obstreperous pupil.” She organ alone peals forth its holy strains and carries our souls upward to the Every Friday afterno.on, from four to six, there is a ample of a disregard for old rules, we need only to was always ready to contradict. Stubbornly she would most informal musicale (I have heard them referred turn to a movement like the Doll’s Serenade by hold to her opinion. I thought perhaps my manner throne.’’ Debussy. After a series of major ninths, the climax is to as spiels) in the big studio, and the programs are so arranged that each pupil ti.kes part once a month. made her stubborn and I decided to adopt a different reached by that on C springing to that on F sharp. style of address. I soon learnt how to reach her and The result is problematic. Per contra—the student will It is expressly stipulated that school clothes are to be worn, and flowers and bracelets are equally taboo. she became one of my most docile and interested stu¬ do well to examine the Ballade in F by the same com¬ dents. She had been wrong, but so had I, and it was New York poser, where his free treatment of secondary sevenths The audience has comfortable chairs—not in rows, but in groups, as suits them best—and each child up to me to display the greater intelligence and win I January pth, 1915. produce a very beautiful effect. her over. Much harsher are the progressions in works by M. taking part has the privilege of three guest cards. Ravel. In one of his Pieces EnfOntines the theme has Any pupil of the school may attend any musicale— an accompanying dissonance for a whole page, and the provided only that he may be suddenly called from the Problem No. 3—The Pupil Who Missed piece closes with each hand holding down the five black audience to the piano! It is by no means unusual for Lessons keys. a Big Sister, who is also a pupil at the school, to be Problem number 3 was "missed lessons.” I studied The following excerpts from an Album by the same summoned from her inconspicuous corner with, “Miss the case and decided the fault was mine for two j AN IMPORTANT SYMPOSIUM writer will give an idea of ultra-effects in the most F, I have here the Toccata you played so well at yes¬ reasons. The first and most important one was that terday morning’s lesson. I am sure the children and modern school of harmony. No. 1 is taken from a my lessons were not interesting enough to draw the The Etude is presenting, from month to all of us would enjoy it.” Or perhaps it is Little Last month Edward Bok, Editor of The little prelude. The movement terminates with a major pupil from other interests. The second, my book-keep¬ Sister, whom Big Brother leads proudly to a seat at month, what it feels is the most important Ladies’ Home Journal, contributed a most in¬ ninth as a melody-note. To some this may possibly ing methods were slovenly and my business was con¬ the piano. Such a thing as stage-fright is seldom met appeal as a gem 1 ducted on a hit-and-miss method. All changed for the symposium upon music yet published. These teresting opinion. In succeeding issues The in small children, and in this school “playing before people” has become second nature to all. better by putting more interest in my work, by meeting opinions from foremost American thinkers in Etude will print opinions from Russell H. my students more cordially and by giving them ®ore The names of the players (with a few exceptions, Conwell, Clergyman; Daniel Frohman, Man¬ for their money than they had bargained for. I ague varied occupations all point to the great truth, as above) are posted in the hall just a week ahead, with Liebling: “The missed lesson problem is easily , ager; G. Stanley Hall, Psychologist; Thomas so there is no time for elaborate preparation, and that men of large breadth of view see in music solved. Give such lessons that your pupils do not sometimes the name of the composition is known be¬ Edison, Inventor; Hon. Richmond P. Hobson, want to miss.” By attending to my accounts promptly'' | and musical education one of the greatest forehand, and sometimes it is not. Often a kind hint Statesman; Eldridge R. Johnson, Manufac¬ by informing the pupils that, taken or not. their les¬ of all forces for world betterment—a practical is given, “You play that well enough for a Friday turer; David Starr Jordan, Educator; John afternoon, Frederic,” or “Don’t drop your practice on sons were charged, completely eradicated the irregular daily need, not a dispensable, frivolous pas¬ that, Miss L.” habit. All my students are expected to pay in advance. Luther Long, Author, and many others. time. Sometimes simple refreshments are served at the I gladly make up lessons, but all lessons are chargea In this issue The Etude has the honor to end, very rarely a special treat is provided in the way and must be paid for. There is no trouble about it Etude readers themselves require no con¬ present the opinion of Mr. Andrew Carnegie, of a recitation on some suitable subject, or a poem is if one decides on a business system and sticks to b vincing upon this point, but the enthusiastic read with a musical accompaniment. One never knows This experience was one of the best I ever had. An who has manifested a life-long interest in music All .expenses incurred are charged up by the business since, when anything goes wrong in the class, 1 tap music lover will rejoice in finding in this sym- and has given richly of his great fortune to the manager to advertising—and rightly so. it for granted that it will come out right I kx* • posium powerful propaganda with which to cause. Thousands of Church Organs in all the bright side of things and have faith in the goo ness of human nature. And human nature is goo > command higher respect for the real signifi¬ parts of America exist because of Mr. Car¬ and if met half-way will always turn about on tw cance of music. . The co-operation of parents is a matter of unze negie’s generosity in that direction. importance to music teachers. Apart from aesthei right side of the question. matters, music is of enormous importance to the w, Since that time, I never accuse the public or my fare of the home, where it acts as a tie for b pupils for any deficiencies. If I find any cause ° parents and children. Dr. Pyle has well said in dissatisfaction on any point in a pupil I say to myse Outlines of Educational Psychology, “the mode ‘It is up to you to change it.” And I change ®- parent does not live with his children nearly so mu methods at once. To the young teacher I say While admitting that many of the surprises in modern as he should and can. The family fireside must thou and do likewise, and your class will increase an harmony and chromatic counterpoint are exceedingly revived, although around the radiator.” the world in which you move will be a lovelier ph« to live in.” 330 THE ETUDE THE ETUDE 331 Is Music Always Inspired? thought of 'going under' where they hJ,jntted_ h ^ After the Musicale • It is always interesting to reflect upon wfc,, which could not slant in the proper direction, the music we hear is the result of wh*, js ^ By HARR1ETTE BROWER results were uneven scales and choppy arpeggios, this, as well as most of the unlooked for errors 1 inspiration and what part is the outcome of 4. poser’s craftsmanship m fashioning his nk* lr. The"pupils had all gone home; the last guest had to-night, were due to fear. tended periods. W hat musicians term “KapeUe, departed; the lights were extinguished. Only an opal¬ "Oh, if I could only destroy the spirit of fear— Musik” or music worked out upon a mecha^; escent globe on the low table near the fireplace shed vanquish it for the whole world—what a boon ! ow a soft glow over the artistic studio with its two happy I should be! Every music pupil, every player with little thought of anything but that pbB pianos its pictures, its flowers. The studio looked should belong to the "‘No Fear . Society,’ I was rea ing abhorrence <>f all who love the art I„ a recent J unusually festive to-night, for Miss Barnard had just about the other day. I think I shall have to start a The Musical Times Mr. Ernest Newman diico,* given a student’s musicale. With a little sigh of relief branch of that society in this town. If I could blot out very interesting subject. Among other things j*- she threw herself into an easy chair to think it all forever the nerve-racking fear that players and singers “Tchaikovsky has an interesting pa«sa*e on l* over; to balance the pros and cons of the last two seem afflicted with when they ' come before an audi¬ method of writing. The germ of the work con*,* hours. With varied emotions she went over in mind ence, I should not have lived in vain. It is all so fool¬ says, suddenly and unexpectedly. If the jofl js; each incident of the evening; the nervous slips of some ish and senseless to be afraid of such a ghost. I say _that is to say, if the disposition for work ijtL of the pupils, the unexpected mistakes; the traces of it takes root with extraordinary force and nervousness and fear. Against these she balanced the to the pupils, ‘You fear only because you think of many kind and pleasant things said by fathers, mothers yourself, and what your sensations are. Why not shoots up through the earth, puts forth branches and admiring friends; she treasured every little encour¬ think of the listeners and see what effect you can make finally blossoms. His somnambulistic dream is b ; aging word. on them? Get the message you have to them; make in upon by domestic and other disturhano. “\es,” she mused, “they all seemed to think it the the music speak to them! You cannot do this unless indeed, are such interruptions. Sometimes ther C1 best musicale I have ever given, though people are apt your mind is filled with the meaning of the music— the thread of inspiration for a considerable tjn ' I to tell you the last is the best. Well, it ought to be— unless you are striving to play everything with abso¬ that I have to seek it again, often in vain, foyl if the teacher is doing her utmost—the work ought con¬ lute correctness and beauty. These thoughts, together cases cool head work and technical knowledge 1 I ‘‘In these days of Dreadnaught technique, when the as it is, sometimes results in excesses altogether un¬ there has not been time for an enormous amount of stantly to improve. Affairs of this kind mean lots of with the constant effort to keep loose and flexible in come to my aid. Even in the works of the ,ra. I modern pianist must have an equipment as powerful warranted. Please do not think that I am trying to practice yet there are continually brought before the work for the teacher, truly enough. How carefully we hands and arms, will take away the stiffness and angu¬ masters we find such moments, when the organic and as invulnerable as a battleship to ward off the say anything so stupid as declaring that' keyboard prac¬ public children of ten, eleven and twelve with astonish¬ rehearsed everything, especially the two quartettes and 11 larity caused by fear.’ Matthay says so many fine quence fails and a skillful joint has to be tat- I projectiles of the critical public and press, there is so tice and lots of it is not necessary. Quite the con¬ ing technical ability. In my own case I remember the duo, which the older girls played. They do love trary is true. What I am trying to point out is that and helpful things on this very point.” She picked up that the parts appear to be a perfectly welded vK L very much to be accomplished that not a moment’s very well that my father, a very busy man, let me have the ensemble work. it is not the time that one spends at the keyboard a new book from the table and opened to this para¬ But it cannot he avoided. If that condinon oir [ time must be lost if the career of the virtuoso is as a first teacher one of his own pupils who was There is no lesson to the teacher to compare with that counts but what is brought to the keyboard by graph : and soul which we call inspiration lasted kn; j chosen as a life work. The standard of playing has gifted in playing rather than teaching. This was a giving a pupils’ musicale. It is like holding a mirror the brain of the pupil, and how the time is spent at become high because one part of the public has been well meaning person of eighteen or twenty who took up to her work-bringing it out into the glare of the intermission, no artist could survive it The srar. I the keyboard. I do my best practice away from the bright sunlight. Every weakness and every fault seems would break and the instrument be shattered into bl educated to expect perfection and because another part a perfunctory interest in teaching, but did not do magnified on such occasions. Such illumination must “To be afraid ,of failure does not constitute a care merits. Once more we find the rmorion being [ has a really well developed appreciation of what is everything possible to advance me. Consequently, I be of the greatest benefit to the teacher; she can stand for music at all; on the contrary, it is a form of selfish¬ and consciously manipulated by the artist Uiihotr- and what is not good taste in interpretation. There¬ came to hate my music lessons and detested practice. off and get the perspective, as it were; can see what ness, and as such must therefore cause failure. To double consciousness there can lie no art \. , fore it may easily be seen that the career of the vir¬ This hate became so violent, that I remember as a she has done and what she ought to do. It is true that succeed in art, as in anything else, we must be ‘unsel¬ artist who ever lived, no artist whom ween tuoso is becoming more and more exacting as time very little tot running splinters into my fingers to at these times, through nervousness and fear, faults fish’—so far as that is possible to us humans—we could keep inspiration going continuously from thr- goes on. Think for a moment of the immense nujnber prevent taking a music lesson. My father was quick seem to crop up that I never dreamed of; some of the must throw self overboard, and really caring for art, liar of a big work to the last The compositiai of pieces with which the successful pianist must be to note my attitude and soon took me in hand himself. girls did things to-night I never knew they could do. we •must wish to do well because art is so beautiful, so Tristan is necessarily the work of many mowkpe familiar to say nothing of those which he must have He was a natural born teacher who loved children For instance, there.was Lillian, who clung to the pedal worthy, that any service we can bring to its shrine haps years. The composer must often havr to h> ‘ .• at his finger’s ends—his repertoire. Nowadays one and inside of a few weeks1 my enthusiasm was so as though she never would let it up. I must look after is as nothing. Thus we shall indeed take trouble, we the pen in the middle of a piece of emotioml'dni'l ' must have a veritable library not on one’s bookshelves great that it was difficult to keep me away from the this, for she has never done so before. Then Margaret shall be as keenly alert as lies within our power, not ment, and take it up again after an interval r,f snr; but in one’s head. In what other profession are such piano. In a little more than a year I acquired a technic forgot all about the phrasing in her Haydn Sonata, so for the sake of our own aggrandizement, but for the which seems surprising to me at this day. In a very that some measures were hopelessly awrv. And, oh, days or weeks. How MIC* be re establish thr aw enormous demands made upon the memory alone? sake of making the beautiful attain its highest possible short time I was considered ready to make a public the breakneck tempo at which Alma took the Reinhold tion here ; how does he set the emotional engineanir. I The work before the student, then, is staggering in perfection; and our ‘carefulness’ will thus, so far from ing on again from the very point at which ■ its aspects. No wonder many are discouraged before appearance and soon found myself before the public Impromptu! I am glad no great critic was present— playing in many cities with success. Obviously, it was how could I foresee these things? chilling us, stimulate us musically to ever increasingly stopped and at the same pace as before’ Otmori V they have traveled more than a short distance along effective efforts. a sort of ‘head work.' though not precisely of the r the road. If real progress is to be insured no time at not years that gave me that technic hut a well planned course carefully worked out and filled full of that I follow all my admonitions to the pupils with prac¬ that Tchaikovsky means. The composer upos fa 1 all can be wasted. _ The need for expert instruction Lessons from the Musicale priceless enthusiasm without which musical success is tical help in memorizing their pieces, so that really occasions must sit down at his desk in companlirtly in the case of the student expecting to become a vir¬ unthinkable. My father’s logical explanations instead “What was the most glaring technical fault my pupils my pupils play with commendable accuracy and assur- cold blood; but the mere art of setting his braina> tuoso is really very great. A poor teacher wastes not of dogmatic directions gave me delight in everything showed to-night?’’ Miss Barnard pondered the ques¬ ance, in spite of a few minor failings. They are really work coolly soon generates the needed heat" only time but that more scarce if not more valuable tion thoughtfully. “Perhaps the one that struck me commodity, money. The good teacher uses only what I did. In no other way could I have been enabled to most forcibly was a high wrist. Now, I constantly tZf T ,umu B*™'d'S soft ‘and is needed in each particular case and thus the pupil play with orchestra at the age of eight. Ordinary tender as she thought of each member of her little instruction was carrying me farther and farther away inculcate the principle of low wrist for passage work • flock, especially of the younger ones. Uniformly Well-Trained Pupils is not weighted down with a vast amount of unneces¬ by precept and example I insist on this point almost sary luggage. from the right path. Moral : Have as good a teacher more than on any other. I give plenty of wrist exer¬ theb ,try t0 do weI1> to Please me- By HERBERT WILLIAM REED as you can possibly secure and afford. It always pays cises,. in chords and octaves, and insist that the wrist fliose little lads and lassies! Through the winter days Essentials that Count in the end. shall always be flexible. Yet in times of the least ex¬ when the parlor ,s sometimes cold and cheerless, and Try to be one of those snee “Great erudition and great keyboard skill never make citement, up goes the wrist; the tendency seems to the little weak fingers apt to be stiff and chill • yet the rssful teachers a successful teacher unless there is that precious gift it is said. “Her pupils are uniformlv good ono" How Reflection Saves Time be to stiffen at this point. Well, I must be more ex¬ practice hour must be faithfully kept, and the lesson for divining just what is right at the right time. not feel proud that your teaching is represent*! “In studying a new piece, experience has shown me plicit yet; I must not only talk and demonstrate loose¬ learned for teacher—and for mother’s sake And in Common sense in little things in teaching is far better that it is possible to save a great deal of time through ness, but I must go over every phrase of the piece the long, bright summer hours, when it is far pleasanter tl, T ,Wo Persons in your communitv. but rrjoict than a complicated view of musical complexities. For the happy feeling which comes when pmple sav. V ' reflection. First I play the piece through carefully to and see that the hand is always lifted for phrases, to chase gay butterflies over the lawn, go sailimr n instance, the pupil should learn at the outstart that he hear how it sounds. Then I analyze it carefully down that the wrist is always pliable. I must go over these iueccTIS P'ay. wdI ” You can accomplish *ha, I has four main channels through which his musical the lake or do a hundred other delightful thimf ^ to its finest points. This serves to fix the piece in the things until the pupil has no alternative but to do them 1,1 do'nR. hut onlv when those latent pox"- training may be brought to him, namely the promise to teacher must not be broken. So £ W h,n y°u assm t,,cmscK.cs Thc tack- ; mind and saves hours of practice drudgery. Then correctly. But after they are done correctly in one little warm, moist fingers toil over the kevs in c • Visual piece, can I trust that true principles will be applied in comes the practice itself which is followed by a period of the sultry heat. Dear little fingers I Their bf 6 the «t ?VC a< *1Cr command the tact of a politician Aural other pieces? Yes, I can hope for some of this care the s rategy of a general, the constructive ability oi r keyboard. That is, I work out the musical problems of reflection. During this period of reflection the efforts and struggles to master the mysteries of tTme Harmonic and get them straight in my mind so that ho time is and attention if I have taught the pupil to think the Ltdi' ,Iu fesourceftiiness of a civil engineer, ar piece is, as it were, digested musically. It is only by Mechanical" lost in fumbling over keys. some such process that' the.student can really be said that is tjje first and greatest problem for the teacher ice ^ eVangd °f pat:ence and loving serv- —~■>< Another point which is vital is the weakness of !!o„ 7,; ™~< «* >t* - That is, he must use his eyes to fix in his mind every¬ to master a work. The great trouble is that the fingers them father "1°" thing that can be determined by the eye. Nothing on are _ magnified in their importance and the brain is third joints of the fingers. How I work over this— ommrTf KnU 3 sclSatisfied pupil? Then it is your A Convincing Illustration give special exercises to correct it. Weak, waverin® beautiful instrument and the necessary * Pfr°Vlde a the printed page must escape him—nothing in hand, minimized. • falterinor'*?, lmProve her taste. Have you a timid. “In order to point out very clearly what I mean finger joints I cannot abide; fingers must be made Mother loves to hear the simple pieces her dTr ^ vi'hs'nig j.np’L SI„. js v,.„rv , arm and body position must elude the close scrutiny “Teachers seem to fail to realize that pupils have when I say that it is what is done at the keyboard strong and dependable. Does not Leschetizky say he learn to play, and brother early feels the refin" d ^’"gS of his eyes. His eyes must be like two ever present brains and that these brains must be directed as care¬ those nTT PU.p,1? 11 is y°ur privilege to draw font rather than how much time is spent there that really has but two great principles—loose wrists and firm ence of the little home pianist. What woiilTg ' teachers making every hour of practice an instructive fully in music as in any educational work. More pupil a P T ."P 'deas. Have you a careless, indifferent counts, one need not go any further than the case without these same dear musicians l” WC do hour and nothing but an instructive hour. His ears ’talents’ have been ruined by failing to consider the 1 !°,?'uaVe tHed m0St patient'y an(1 thor¬ disroot* Js yo,lr duty to interest such. Have you > of the child prodigy. Here we have an instance where oughly to instill these two points into the consciousness Miss Barnard rose and mbved to the nL are likewise teachers, and when the aural sense is s8 brain side of the work than in any other way. In no ance tT P"pi,? YoiIr P'-.cc is to incite persever- developed that when he sees music he can hear it, as of my pupils, and thought I had done so to a respect¬ touched the keys softly, tenderly, lovingly TV T other art but music is anybody and everybody permitted though it was being played and enjoy it with the same able degree. But did I not see Jane playing her chord vour ct-edT ,rU r pUpi,? U wi" bf *1! to teach. To preserve the talent of the child and in¬ Have v 1 <0 make •of her an enthusiastic worker ease with which he reads a book, he is to be congratu¬ passages with fingers that bent and wobbled in a sure regular progress by all means secure a good teacher some Vf r 3 conce'ted pupil? It is your duty to pm»' lated. By synchronizing as it were the visual sense noticeable way; some of the others had a tendency at the start. Forget about the method that the teacher >r-S and the aural sense a vast amount of waste time may at times, to do the same. Well, I shall have to be more Ess pupi1per^,,perflu.ous no,i0 ” .. Mark is thee brilliant violinist,v Jan Hambourg. Mark teaches and see that you get the right indivual. Of vigilant in future. > tfach calmness a" be saved. Yet, thousands struggle with the keyboard repose ' °Ur missio" » Hambourg was born— att Bogutchar,JJonutahar, (J1HSouthern Russia, course, the work must be methodical but it need not for years and never acquire this sense. June 1st, 1819. At first the pupil of Ms father, he .. “Tbe" theaC are the, sca,es and arpeggios, especially became- -the- pupil- of 'Leschetizky ‘at the c-t-, 0f twelve. be somebody’s patent plan that is supposed to apply case, The'Ste‘r,nR du> *,roPer measure for the particular “Next the student must' understand the family of the backward ones-where the thumb is turned under As a prodigy he made numerous...... successful in all cases with magic precision. With all other think¬ cording to In Europe, a conquer ” teac,,cr goes forth “conquering and t' chords and know how they are related. Practice in appearances t " wisely foresaw the the hand. How easy and simple they are when done cssity o ing^ pianists, Leschetizky included, I am emphatically is the Hibernian Catch Club ^ 5iWlri'”' season ,prcs,"’c increasing with each successive harmony should be as regular as practice in keyboard ... ■■ ■eloping his general correctly—and yet it takes some girls a long time he became a mature artist. Accordingly he was with- against the proprietary method idea in music study. A Vicars Choral of St. Patrick’s ami ^““ded by tl and a 'ltiro-.1- S 1e. ^nds bcr teaching periods always fn exercises. The brain must have a kind of harmonic J ". ' public work for many nears, but since before they can do these things fluently—especially if poor teacher with the best method in the world could Cathedrals, Dublin, in the winter c Christ Chun resulto ' ' ,,n? hst in reserve. She produces tinifon” technic. The reason why I emphasize this is simply then he they have studied with other teachers who have al¬ meeting u __... |_ not produce' good results. To paraphrase a line of for the cultivation of “catches” and °f 1679'8 in &anHd thTCrefor<‘ services are appreciated and because with such a technic the student can save hours his one. thousandth appearance as a pianist. In lowed them to form careless, incorrect habits. I saw Shakespeare ‘The teacher’s the thing’ and by this I some forgetful fingers to-night; thumbs which never recoiSVtrS T,UiC finds a nlro Inst.ead of exploiting a few pupils, s1 of silly finger dawdling at the keys—hours that never 1907 he married Dorothea, daughter of Mr Kenneth Muir Mackenzie, 0. C. B., Permanent Clerk to the mean the individual. To hold to a weak teacher with ..!■« .1 tor f.vori* etch1,, wSyb„S'i„“,b the manv sure in all her work, and rare indeed are produce- anythin® but calloused finger tips. a much advertised method would be like retaining an uPon with desson Periods which other teachers “Finally we have the mechanical, which, indispensable incompetent doctor in a dangerous case just because 333 332 THE ETUDE THE ETUDE <»asv wap « - exaggerate his personal opinion of thinking people. he was a Homeopathist, an Allopath or a Christian e his whims < I_ have every Scientist. The main thing is to get the right individual but with all good sense he should strive t who has repeatedly shown his efficiency so that there program he presents be him in person and not som The Teacher’s Opportunity model after whom all others are foolishly copying- can be no mistaking his claims. Let proprietary “Those who have realized their hopes of 1*^ “Program making is a distinctive art. It is c methods go to the wind. All really good teachers use great virtuosos often find at the end of the j«J ceivable that an artist who makes no effort to ave much from many, many different methods. that their goal was by no means what they had ^ personal taste represented in his programs but w pated. The work is hard, unceasingly hard, and thoa!i simply follows the conventions of another day may so Up the Slippery Slopes of Parnassus Advanced Work the emoluments are frequently great, all human han stultify his work that progress would be impossible. “Naturally the pupil must expect to work with a ness is largely a matter of comparative degrees!j By JAMES HUNEKER In the olden days at the Leipsic Conservatory con¬ teacher who will criticise his efforts with relentless satisfaction. The teacher who has not the fan, J ventions were so strictly defined that Liszt and Chopin severity if he expects his advanced work to be profit¬ the income of the virtuoso also does not have ti In which the distinguished critic calls special attention to studies about which all ambitious able. Anyone who has faced the fire of Leschetizky were practically debarred from many programs, and terrific strain, the disappointments, the gruelling cm Liszt, to this day from the Hochschule in Berlin. students are eager to obtain expert information has always realized that after this experience one cism. Whether it is better to be the oak battling win Conventions, then, should not be the main factor in was ready to face almost anything. Nothing could have the hurricane or the lovely rose in a pleasant sheltered making a good program. There are certain intellectual been more exacting than the demands of Leschetizky. garden must be decided by the individual starting w. Last March I dealt with studies that are the founda¬ ventional picture of a horse in full flight. Muybridge The best way to study Chopin is to pick out the vari¬ Yet everything he said was tempered with such good needs of a musical kind as well as emotional demands upon a career. To my mind it is far better to be cm tion of the art of playing the piano : Czerny, dementi, it was who first analyzed the various movements of ous technical problems from his music. This Philipp common sense and often with biting wit that part of and these should be considered above all things. For live, active, helpful teacher than two struggling, i„, Cramer, the three church fathers—De Lenz calls the horse by a series of instantaneous photographs, and has done in two volumes. Before attacking, say, the the sting was taken away. While with him I always instance, in considering variety the performer is often potent, unsuccessful virtuosi. The teaching fieid ls Cramer the Venerable Bede of the Etude. We had to our surprise we are shown the legs bunched and last four pages of the F minor Ballade you first con¬ tried to create opportunities to play. Every week I inclined to let it go with a variety of different names enormous. The virtuoso field is very small. Do not slowly mounted the slippery slopes of Parnassus as not outstretched. But there are a myriad number of quer the various finger-breakers set before you in con¬ learned a new piece and it seemed as though Lesche¬ upon the program whereas the main consideration is densed form. When you take the piece in question, belittle the work of the teacher. It is upon the teacher’s far as the Chopin studies, though not quite. But the minute movements that go to making the synthesis. A tizky was equally caustic with each one. There is no the variety which should come to the ear of the audi¬ that left hand scale in D flat, or those formidable dou¬ shoulders that civilization advances. If yon are a peak was not yet achieved, there are remoter roads still great pianist has arrived at his effortless muscular way in which the aspiring young student who hopes ence. Even leaving out of consideration those mem¬ ble-notes in the coda, are at your finger tips. This is to become a virtuoso can go ahead faster than by teacher be proud of it—rejoice in it. for there is n0 to be traversed. However, I should like to return to motions only after years of painstaking analysis, thus bers of the audience who are ignorant of the significance the best preparation for Chopin that has yet appeared. playing a great deal for different people who are frank nobler occupation.” the subject of finger equality, as I forgot to quote illustrating the formula of Herbert Spencer as to the of the names of great masters there are still those Among other works M. Philipp has written A Prepara¬ enough to speak out their minds and who are intelligent advance from the heterogeneous to the homogeneous. Chopin’s original views. He once began, as you may tory School of Technic, a complete School of Technic, and experienced enough to give criticisms of value. musically trained people who are quite as human in Not so long ago Alexander Lambert told me that he remember, a method hut did not complete it; he was Exercises in Extension, and also an Octave School, In other words these beneficent critics by their con¬ their aural appetites and who will respond to a well had closely observed Leopold Godowsky at the key¬ Time for Practice an admirable preceptor, taking the deepest interest in containing a vast variety of examples, chiefly modern. stant pounding enable the student to get new angles ordered program and reject a poorly arranged program. board and failed to detect the slightest finger move¬ the elements of his art; but, after all, a poet, not a Or, if you desire more homeopathic treatment there is of vision upon his own work. Of course the virtuoso has to play a certain number of ment, even when he was performing such colossal feats pedagogue. His sister gave the manuscript of this C. L. Hanon’s The Virtuoso Pianist, edited by W. works which a certain portion of the musical public By WILBUR FOLLKTT UNCER as the playing of two etudes of Chopin simultaneously. method to the Princess M. Czartoryska, and the Polish Safonoff. Arnold Sartorio has a Course in Octave Critics Who Help wants to hear. As a rule such works are those with The fact that Tausig, Von Biilow and Joseffy had, and pianist, Natalie Janotha, has translated the fragment. Playing—the study pieces are melodious and graded; which the public already has some familiarity or those have very small hands ought to prove the fallacy of “No one is a better critic than the fellow pupil. “I know I should practice, and I do try to practice. [ Here is the part that alludes to our theme. Chopin and my old friend, James H. Rogers, poses in his by composers sufficiently discussed in print to have fanatical finger culture. Which brings us back to my Often he sees things which the teacher does, not. I but somehow the time slips by and other things come I wrote; Octave Velocity—24 exercises and ftudes—the problem aroused a real curiosity to become acquainted with the original question: Why should any one trill with any value the criticisms of my fellow artists very highly. up to do, and I don’t get in my practice.” “No one notices inequality in the power of the notes and solves it for you satisfactorily. He does the compositions. After these, considerations the next particular pair of fingers if the trill can be achieved In an assembly of pupils, however, where rivalry runs This kind of pupil needs intelligent management The of a scale when it is played very fast and equally, as same with his Double-Note Velocity, excellently de¬ would be variety in keys and modes and then variety by wobbling the whole hand? The truth is that a high and tongues are loosened by good-natured familiar¬ following case came up the other day. and will speak regards time. In a good mechanism the aim is not to vised studies. If your left hand is recalcitrant Ernest in forms. Who in the world would want to listen to flexible muscular organization is at the bottom of all ity, criticisms of real worth are bound to be received. for itself : play everything with an equal touch, but to acquire a R. Kroeger has in the Fifteen Studies for the Cultiva¬ three symphonies in G Major one right after the other? great technical feats. It is next to useless for the pianist to play before his “Jack,” said I, “How many hours are there in a day?" I beautiful quality of touch and a perfect shading. For tion of the Left Hand, which I heartily commend, and so-called friends. The -pupils’ recital before smiling Variety may be obtained from pieces in markedly “Twenty-four,” he answered promptly; “but I have a long time players have acted against nature in seek¬ different rhythms and metres. Certain pianists have, hot off the publisher’s griddle, is a very thorough perfumed- audiences of parents, aunts, brothers and ad¬ to sleep and go to school and eat some time” ing to give equal power to each finger. On the con¬ “Deboneles sizing” , of course, given- historical ..recitals at which, for treatment of all the difficulties in octave playing, en¬ mirers are usually misleading as far as their educa¬ “Very true.” I acquiesced; “but tell me, howlongdo j trary, each finger should have an appropriate part as¬ What is now called—with Delsartian emphasis- instance, have been performed a long series of Beet¬ titled The Art of Octave Playing, in SO progressive tional effect is concerned. They may have some value you sleep?” signed it. The thumb has the greatest power, being decomposition, is the real root of the matter. I wish hoven Sonatas. These have an educational value for studies, compiled, classified and edited by Sigmund in accustoming the pupil to public appearance and “Oh, from ten at night, until six or seven in (be | the thickest finger and the freest. Then comes the little we had a satisfactory English equivalent of the French the student and the professional, but with the general Herzog and Andor Pinter. When you have mastered exhibiting the teacher’s work but they are likely to morning.” finger, at the other extremity of the hand. The mid¬ word, desossement—boning is the precise word, but de- public six Beethoven Sonatas one right after the other its pages octaves in the most complicated figures need be wholly misleading to the pupil. The studios are “Well. we’ll say nine hours. Now how longareyou : dle finger is the main support of the hand, and is as¬ bonelessizing is a better, if not exactly defensible. would be like eating six big beefsteaks at one meal! no longer terrify. And yet the old Kullak School of filled with somewhat ghastly examples of young peo¬ in school ?” sisted by the first. Finally comes the third, the weak¬ That complete relaxation, that absolute unstarching of The following would in many ways comply with the Octaves is not dead, nor, I may say en passant, is ple who have been cajoled into believing that they “Why, from nine until three." est one. As to this Siamese twin of the middle finger, the muscles, yes, and nerves also, is the key to the conditions which go together to make a varied high Carl Czerny, either. The more I see of that extra¬ have already made quite a respectable climb up Par¬ some players try to force it to become independent. limpid technique of a De Pachmann. Go to the circus class program of the present day. Note the constant “All right; that's six hours. How much time shall ordinary pedagogue’s work the more I wonder. He nassus when they have really not touched the foot we give to eating?” A thing impossible, and unnecessary. There are, then, thou pianistic sluggard, and study the tumbling clowns hills. Flattery is the bomb that demolishes more honest change of key as represented. It is neither the con¬ has forestalled every modern composer for the piano “Well, say a half hour at each meal, although father many different qualities of sound, just as there are in the sawdust. They hound like india-rubber when effort than anything else. ventional ‘historical’ program, nor is it eccentric.” in the matter of figuration. ‘ He is simply the inex¬ likes to talk to us after dinner sometimes.” several fingers. The point is to utilize the differences; dropped from heights and smile over it; other men “Criticism that is well meant is easily detected from haustible bottle in the conjurer’s trick. and this, in other words, is the art of fingering.” would break their bones in the attempt. It is the art that which is merely empty praise or on the other “Good! Let us put down two hours altogether for Specimen Program meals.” of decomposing in its broadest aspects, or the difficult hand stupid fault-finding. During all the time I was Tappert at the Table art of holding on and letting go—in a word, the art with Leschetizky standing up under a bombardment “Yes, but I have to get some play, and fresh air, and The Wilderness In Volume I of Philipp’s New Gradus ad Parnassum of living. of criticisms T knew that he had only my good at I have errands to do after school for my mother." What a wilderness of piano studies would have re¬ there is a study for the left hand alone by the late F Major J. S. Bach Italian Concerto I read somewhere a story De Lenz tells about Liszt. heart. When he came to me as I was about to start Of course! Well, if you played outside in the air. mained unwritten if this advice .of Chopin had been Wilhelm Tappert, once a well-known Berlin music The gossiping Russian had begun the first movement upon my career as an artist he had a box in his fhat would be both exercise and recreation, wouldn’t followed. How many dull hours could have been critic and an exponent of Wagner at a time when, to Sonata, Op. 106 or 111 * of the C sharp minor sonata of Beethoven, the so- hand. In that box he had deposited every coin I had spared us! All instinctive artists know it. Harold call a man a Wagnerian, was a matter of duelling, “Certainly!” called Moonlight, when Liszt seized his little finger of paid him for my lessons. Not one was missing. He II Bauer has been preaching the doctrine for years. either with pen or tongue. Well, I had no sooner the right hand with “a grip like a June bug” and knew that I had a struggle ahead of me to get a Well then, let us say two hours for that.” Leschetizky built his system—he really has no hard and dapped eyes on that F minor study (where the inde¬ Brilliant, pressed it “into” the key. The cantilena was improved start and he offered me back every Heller I had ever Etude (No. 10) Slow Melod Yes, but I have to do two hours of homework at fast system—on the idea, a purely anatomical one. fatigable Philipp came across it I should like to know) Etude (No. 2) night.” at once. Here Ljszt was only demonstrating the in¬ given him. Such'a man is Leschetizky! C ft Minor Mr. Theodore Presser may recall the time when Dr. when certain association of ideas began to operate. I Etude (No. 4) £Sl£t junction of modem teachers, from Deppe to our days— Prelude “Very well; we'll count that, too. Anythin’ else?" Forbes, of Philadelphia, performed an operation on was hack at Bayreuth in 1896 where I first saw Tap¬ fife Prelude play with weight. Yet, Thalberg had a beautiful sing¬ Sincerity A Minor Mazurka Yes ; some days I go to the Y. M. C. A. for a swim, the fourth finger—or adhering to the English finger¬ pert, a heavy set man, with a1 bull-dog face, the F# Minor Polonaise ing one would call it the third—of my left hand, ing touch, beautiful, but invariably the same, and there¬ “What is the virtuoso’s most indispensable attribute? a" J , ike to go to the ‘Movies’ one night a week face of the born fighter that he was. We sat at the And then, don’t forget the errands. Oh. yes! and cutting the superciliary tendon without, as might be fore, according to Ehrlich, a touch that would have I should say ‘sincerity.’ If the artist is not sincere he III same table, Otto Floerslieim, then the New York critic, E Major been a drawback in modern methods of interpretation, is nothing more than a showman. Every time he goes Mother makes me take care of my little baby brother supposed, either harming or benefiting my mediocre now a resident of Geneva, making the. third of the some afternoons." which seeks for continuous tonal variety. Liszt has to.the platform he should go with a message. If this technique. This is an extreme case, but equally unlike party. It was he who introduced me to the Berlin been instanced as an artist whose singing touch lacked spirit is cultivated during the student days all the -anged I see; suppose we add another hour in round is the monstrous regiment of piano studies. Some writer. Tappert was not a conversationalist. He oc¬ »_m Wagner. the fat, juicy cantabile quality (the late William better. The public has a right to expect sincerity from gures for either the movies, the swim or your domestic teachers dispense with them altogether. Rosenthal casionally grunted disapproval when the performances Mason told me that his touch was positively hard) ; the artist. If the artist falls before the blandishments uties. for it is certain that you cannot do all at the simply laughed when I asked him if he ever em¬ at the Wagner Theatre were mentioned. He belonged but whose tonal gamut was all comprehensive—tender, of the public, and plays merely to catch pennies, he “Of course this is only one of a great many different same time. Now have we covered everything? Think ployed studies. He admitted, however, that when he to the old guard. To make a short story longer let carefully !” dramatic, poetic and intellectual at will. Color, or. will surely suffer in the long run. The public now is programs which would exhibit equal variety There h had ten minutes free after a hard day’s playing he me tell you that the sight of this study and the name rather, nuance rules. A pianist with a colorless touch too highly educated not to distinguish clap-trap. The so much to choose from that there is no need for „).es, 1 gw ess that’s about all, except practicing.” would limber up with a few exercises. But everyone of its manufacturer evoked an image of the man en¬ will not draw a corporal’s guard be his technique student should be encouraged to approach every piece monotony at any time: Of the new things of the above ery well, then; let’s add it all up: isn’t a Rosenthal. My own experience as a teacher— gaged in the dangerous occupation of swallowing his never so facile. He lacks eloquence, and is the in¬ with all possible sincerity and earnestness. Do not program the \ enusberg arrangement which Moszkow- many years ago—is that I secured quicker results from knife as he ate his peas. I saw the knife and the ferior of the man or woman who says something, think that anything that Beethoven, Mendelssohn. Schu¬ ski has bee" good enough to dedicate to me is one oi ?,eeP . 9 hours the snapping fingers in William Mason’s valuable Touch peas perilously balanced thereon, and in the key of though his or her mechanism may not he remarkable. mann or Chopin has seen fit to write is too little to !he ™,St dfeult. pieces ever written for the piano. I, Meals . 2 “ and Technic—fiat is, alternate staccato and legato in F minor. Why? I can’t say. The picture came hack But hack to the technical trenches! There are a dozen deserve vour very best. Be sincere in all you do and s fiffed with the gen,us and fire of the original orches¬ School . 6 " one key, the hand being rapidly withdrawn, hence the as vividly as the day I witnessed the fell deed—a man finger battles still ahead of us to-day. your art will advance finely. tral score and makes a fine number for the antepenult “snapping;” and also in attacking every figure imagin¬ may be a great music critic and yet a sword-swallower. able with the hand stroke—slowly, of course, and one position on the program. Also it will be noticed to J Homework . 2 * So even a dull finger study hath its uses to arouse the Taste in the Artist’s Work I finish the program with the Debussy suite. Time 1 Errands . j “ hand at a time—scales, arpeggios, chords, double-notes. What Philipp Has Done dead. when ,t seemed the custom to end the program with Mr. Joseffy pointed this out to me, and I noted that “The artist should unceasingly strive to get down to I have been asked about special studies. They are Don’t forget the custom of Chopin who, when about a kind of musical shock which consisted of hri™- clarity, precision and speed were quickly attained. An¬ his own ideas—find out what he himself really thinks. Total .22. hours to be had in abundance. Dr. Mason’s work alluded to appear in concert, shut himself up and played Bach; forward the player’s most brilliant exhStion 0Tbr? other thing: observe any great artist as he plays— Someone has said that we continually think the to above; the Isidor Philipp (of Paris) piano litera¬ no doubt the ill-tempered clavichord, in this case, for vura work, his tour de force as it were Tbi= i, * " Josef Hofmann, De Pachmann, Joseffy, Godowsky— thoughts of other people because we are too lazy to ture, the most satisfying of its kind—his new Gradus the Polish composer was often given to irritable humors. is», ,m,g,mentTh“- and you will fail to see any finger movement. The think our own. Of course the public has certain ” y_ our- with which you can practice, and you ad Parnassum—is a complete course, full of good (I wish the Editor of The Etude would get up a drama the climax ,s not reserved for the last curtato hand seems balled-up, as if to pinch ; the controlling natural and human appetites which no virtuoso is must remember I only required you to give ONE little things, selected by a sympathetic teacher and a fin¬ symposium of pianists and teachers of piano to con¬ but usually comes at some previous moment Co‘se movements apparently come from the fore and upper foolish enoueh altogether to disregard yet every pro¬ vn.,rv,°Ut °f ,lle twcnty-four, and vet you claim that ished pianist. M. Philipp has also culled from the sider the question: Why are musicians as a rule an quently such a number as the Dehussy number after you have no time!! !” arm. This is only in appearance, and, like the con¬ gram should be representative of the artist’s individual Chopin works a system of study which is admirable. irritable tribe? The answers might be of interest. the gorgeous Moszkowski-Wagner number makes * character. This does not mean that he should empha- for w,d th’S °ver’ y°u young pupils, and study it out better program. The artist who barters his art f your owSelVtS- See if !t does not tally pretty well w.th your own schedule!
J 335 334 THE ETUDE THE ETUDE favorite, Die Loreley, by Hans Seeling, a talent^ Naturally, the wives and sisters should be invited to followed by minor accompaniment figures, while the voung Bohemian pianist, who died young (1828-1862) contribute their experiences.) right hand flashed all over the keyboard. This may His set of twelve studies contain good things, such ai This is an eminently realistic period in piano litera¬ be found in the Gottscbalk technique, which is only the Gnomes’ Dance. Dreyschock’s Campanula study is ture. The brutal directness of the epoch is mirrored a repetition of the fulminating brilliancies of the French as dry as his name and reputation. Xaver Schar- in contemporary music and with the widespread intro¬ wenka’s preludes and studies are among the bes Dramatic Scenes from the Operas duction of national color the art is losing a moiety of things he has composed. The Staccato Etude is * Notable Studies . its former well-bred grace, elegance and aristocratic servedly popular, and the E flat minor Prelude an„ repose. Norwegian, Russian, Bohemian, Finnish, Dan¬ Single studies are now in order. Joseff/s crystalline p sharp minor Etude are models of their kind. The ish, Hungarian peasant themes have all the vitality of etude, At the Spring, is delightful in color and replete last name is evidently suggested by a figure in the the peasantry, and much of their clumsiness, too. with exquisite nuances. To play it pianissimo and first movement—the working-out section of Chopin’s E When I listen to this species of music I sec two stout, prestissimo, and, at the same time, in a cool, liquid Minor Concerto. Moszkowski’s three concert studies apple-cheeked rustics jigging furiously after the hearty ca'ressing manner is to have achieved distinction. Carl are difficult; the one in G flat is a rather faded favorite manner of “Toil-tillers.” Turgenev reproached Zola Heyman has in his Elfinspiel given us a taste of his Nicode’s two studies are well made, and Dupont’s for describing the perspiration that coursed down the wonderful technique and unfailing charm. Max workman’s back in so many of his naturalistic novels, Vogrich’s Staccato Study is brilliantly effective, though Toccata in B is a grateful concert piece. Sgambati has written some interesting studies, though as a whole and there is a realism that is equally as disagreeable in I think he found his figure first in a Henselt study. this national music. Such company is odd and out of The rhythmic studies of Ferdinand Hiller are excel¬ they lack individual profile. The two most likely to place when brought into the drawing-room. With lent, and the late Carl Baermann’s are solid, satisfy¬ last are II Combattimenti and l 'ox Populi. The six Adolf Henselt the case is different, he is quite at home ing and sincerely musical. Golinelli, a Milanese vir¬ studies of Saint-Saens are difficu't. One for double¬ in the palace. His refined polished speech is never tuoso, has left twelve studies which are now practically notes in repetition is valuable. The Valse in form of conventional, nor does he tear passion to tatters in the obsolete, though the octave study was often played by a study is graceful, though the theme is trivial. His approved modern manner. A man of the world, a bit William Sherwood. In the set is one in C sharp minor Toccata is his best in the. form. If you demand veloc¬ blase, but true at the core, he is a poet and a musician. with a rolling bass which is effective. Speidel has ity, coupled with lightness and suppleness of wrist, go His two volumes of studies for the piano could be written an octave study, and then there is that perennial back to old Scarlatti. ill-spared. There is no one who could replace him. The Bird Study is a classic. His gentle, elegiac na¬ ture, his chivalry, his devotion to the loved one are distinctively individual. His nights are moonlit, his Some Pitfalls in Sight-Reading nightingales sing, though not in the morbid, sultry fashion of Chopin; even the despair in his study Ver- By LEONORA SILL ASHTON lorne Heimath is subdued. It is the despair of a man who eats truffles copiously washed down with choice Foe the pianist who plays pretty well, quite a good the left hand, or vice versa. Naturally the filling-in Burgundy, while his heart is breaking. Nevertheless, deal, but has had very little training and that years notes must be such as harmonize with what is in the there is a note of genuineness. Henselt is never a ago, there are always a few pitfalls to catch him un¬ other part. Sometimes the preceding harmony, in tie BIZET’S “CARMEN” GOUNOD’S “FAUST” hypocrite. He dreams with one eye open and Chopin aware, which if he tumble into them, will likely be¬ same measure helps. And if one is acquainted only Don Jose, sweetheart of Carmen, sees in the bull fighter, Escamillo, a dreaded rival Faust, under the influence of Mephistopheles, seeks to win the love of the simple- often disturbs his slumbers. What charming etudes tray his lack of training and stamp him as a mediocre with the three principal chords of any key, the tonic, and determines to kill him hearted Marguerite by presenting her with rich jewels are in his opus 2 and opus 5. What a wealth of performer. If he can avoid a few of these pitfalls, subdominant and dominant, or those chords formed technical figures, what euphony is imperative for their he can ojten rid his playing of much done now that is on the first, fourth and fifth degrees of the scale, this ideal performance. To play Henselt with a hard, dry undesirable. knowledge is of great assistance. touch would be Hamlet with the melancholy Dane One pitfall, into which this type of pianist often The same advice may apply to chords that are al¬ absent front the cast. The Henselt studies should not falls, is filling in open octaves, or chords with, false ready printed in the music, but incorrectly read. Sup¬ precede those of Chopin; in fact, some of Chopin’s harmonies, that is chords that should not be used in pose the chord C—F—A—C is the one in question. could be sandwiched with Clementi, or Moscheles—if this particular place. He does not realize that the fill¬ How many pv:pils will play instead C—E—G-C, you wish him—or with Kessler. Chopin used the Mos¬ ing-in possibilities of different chord combinations thereby making an inartistic dissonance! The reasons cheles preludes in teaching. De Lenz relates that within the compass of any octave can be numbered are plain. The hand falls more naturally onto the Chopin expressed a mild desire to know Henselt, but almost ad infinitum. Here are a few: The octave notes C—E—G—C than onto C—F—A—C, as the first did not say anything about his music. Frederic was C—C may be filled iu thus, C—E—G—C, C—F—A—C, chord position, C—E—G, where the notes are a third always rather exclusive. Henselt will give you romantic both major chords, then their minor forms, C—Eb— apart, producing only intervals of a third, seems more freedom, a capacity for stretching and a sweetness of G—C, C—F—Ab—C, also C—Eb—Gb—C, C—D—F—C ready to the muscles, as well as to the ear, than any style. I don’t believe that all the horde of musical C—Fit—A-C, C—E—G—Bb—C, C—Eb—Gb—Bbb—C,’ other chord position; the notes C—F—A—C being peasants, clumsily footing their rude tunes, have come G—D—F—Ab—C, etc. To one whose ear is not very a fourth at the bottom of the chord, where a third to stay. In the end form will prevail, and as Buffon said keen or who is inclined toward carelessness this gives is more naturally taken. Be accurate in reading, see about style—it is the man. Much of latter-day piano a wide field in which to play unmusically. literature is vulgar, commonplace and inferior to com¬ what the inside notes of a chord are before you play To avoid doing so, study the passage and see what them. Don’t fill in open chords unless you have good positions of the grand classic school. Too often the harmony or chord is needed. The right hand part will reason for it, select the proper harmony. Avoid this old convention of artificial salon spielerei has been re¬ often furnish the cue, if the open octave occurs in placed by a new convention—that of the Volks music. Its all right to put the cart before the horse—when you are backing; not otherwise. Grieg has been called the Northern Chopin, a super¬ ficial simile, but Von Billow's epigram hit the bull’s- Music Standardization in Missouri eye: Grieg is a Mendelssohn in sealskin. The Grieg By NATHAN SACKS VERDI’S “RIGOLETTO” ROSSINI’S “BARBER OF SEVILLE” piano music was once delightfully fresh and it still Rigoletto, and his daughter Gilda, seeking revenge upon the duke, induce Madelena, {Member of St. Louis Examining Committee, Missouri has a quaint ring. But he said all he had to say in c Teacher Figaro, the factotum, to help Count Almaviva win the hand of Rosina, holds back daughter of the Assassin Sparafucile, to decoy the duke to his ruin. his piano sonata, opus 7, in E minor, and in the first her guardian (Dr. Bartolo) by shaving him vigorously For_ several years the Missouri Music Teachers’ This is the scene of the famous Rigoletto Quartet violin and piano sonata, opus 8, in F. The attempt to Association has been urging that there should be a \. Incompetent teachers would eventually disi pad his Scotch-Scandinavian shoulders so as to fit the standard of attainment for music teachers just as pear\ , e Public would soon become aware that cloak of the great Pole is an ineffectual sartorial there is in other professions. standard had been set and would insist that tl scheme. Grieg lacks a distinguished style, despite his Present conditions in regard to music teaching are Sta,ndard 1)e met before employing a teacher. undoubted harmonic originality and mock naivete, and appalling. There are no requirements. Pupils who Z 1 here would result more efficiency in the co while I admire his A minor Concerto with its mosaic have taken lessons one year or less frequently begin munity tor better musical things. As the quality of melodies, I begin to tire of the eternal vodel, the to teach, and many such succeed in forming large musical instruction became better, a better ta: rnolen that always bob up as a sort of musical trade¬ classes. The harm worked by these teachers in ruin¬ would spring up and an increased patronage of cc mark. If you wish to get at the technical scheme of ing musical talent and lowering public taste is :n- certs, and more secure support of orchestras, ope Grieg his G minor Ballade will give it to you; as a calculable. and oratorio societies would lie provided. matter of fact it shows more invention than his Con¬ The leading conservatories of Russia (government ., ' ei[e would be greater honor and respect f certo. What a superb stylist was Chopin, and what endowed) have an eight or nine-year course of studv tne nragiral, Profession. The professions of la may we not say about his preludes and studies—the Progress m technical development is constantly in¬ . •'™(e a"d engmeering are held in high rega Vade Mecum of all good pianists who, after death, go sisted on, as well as a comprehensive guidance through to Parnassus to study with Frederic the fugues of * t0 *le standar
of which are obtained only after the best years of life What to Look For in Scale Playing have been spent studying, listening, playing—not to amuse, but to gain a deeper hold on the realities and By CLARENCE F. S. KOEHLER 1 1. true wealth of life, a more serious knowledge of self and a higher grade of spiritual development. = Weak Fingers. Give the child time to convert the advantages and op¬ Evenness. Never miss an opportunity to use your weak 65, i : portunities of childhood into the bone and fibre of his Look for evenness. Before you can safely trus Devise all sorts of exercises wherein these fingers * being before you ask to see results. Then look for yourself to see that there is variety in note length and be forced to struggle through many difficulties, n . them in what he is of worth to himself and to his in the amount of tone try first of all to get your scales 1 generation, not in what he can do with his hands. absolutely even and, if one may use the word, uni- chromatic scales with just these fingers, always ' Musical Genius and Insanity This knowledge, this “walking with music” in the colored. Scales are largely the colors with which the ing, however, against the stiffening of the wrists I fragrant gardens of individual life cannot be found in pianist paints. Let him be able to play a scale all in thing that is very apt to creep in unawares anH „ ’1 Great Musicians whose Twilight Years have been Darkened by very disastrous. youth, cannot be expected to manifest itself in the one color, that is all piano,, all forte, all staccato, all Mental Breakdown child, except where there is rare genius. It cannot legato, etc., before he attempts to mix up his colors. Velocity. be plucked like an unripe fruit in the sunny play¬ Relaxation. = = ' Among other benefits to be derived from scale stud" By HENRY T. FINCK ground near the nursery walls. It must grow and • Scales played with stiff muscles are like engines run its help in increasing one’s velocity stands out from J ripen gradually, sometime the fruit is not perfect without oil. The main desire of the pianist is to rest, a matter well worthy of consideration to one A until the end is near. The sun and the rain that bring secure a firm touch, which may be made a delicate would be an expert performer. Practice the sc* 1 the fruit to perfection are love and sorrow and the 1: touch at command, always secure and responsive to his slowly at first, gradually increasing the speed as ski gardener is old Father Time himself who from the emotions. = ! mustard-seed of a child’s desire to “play” can raise is acquired, but instead of raising the fingers high fro, up a tree which shall live forever! Equality. the keys keep them close, using a light, soft legato tone. Good scale playing is unthinkable so long as there In playing rapidly one must guard against blurring tb is great inequality in the strength of the muscles of the notes. Make each one to be heard as distinctly ? fingers. Scales seem to make for equality in proportion though they were being played slowly and firmly; A Practical Suggestion for Pupil Efficiency Handel and Bach were blind when they died, while for a score which afterwards brought a fortune to its a youth he was able, after hearing a piece played by to the use of the fingers. That is, in scale playing advised above. Beethoven and Robert Franz were deaf in the last publisher. a brass band, to arrange it from memory for a string the fingers that are used the most in piano playing We do not mean to suggest that scale playing k years of their life; when I called on Franz, a year Is it a wonder that with all this overwork, under¬ quartet. But the opportunities were wanting for utiliz¬ By JAMES WOODWARD KING receive the most attention and the little finger and the only means to the gaining of expert mechanic,! before he died, I was able to communicate with him pay, disappointment, and worry his mind finally gave ing his gifts. Like Schubert, he was too poor to fourth finger, which are not so liberally used as the skill, but it is suggested as one of the surest and most only by writing on a slate what I wanted to say to way? “This opera will kill me!” he exclaimed of own a piano. What little money he had saved, he . Dnt you ever have a pupil come to you for a first first, second and third fingers, are given an abundance reliable methods. him. lost by giving a few concerts—an expensive amuse¬ time, who actually sat quietly down and played some¬ of exercise. Absolute equality of all the fingers is his Don Sebastian. Fits of melancholy preceded an thing decently through without notes? Ten to one you something which very few pianists possess. However, And so we could go on to describe the innumerable Defective or ruined sensory organs do not, as we attack of paralysis in 1845. Three years later he died ment for most musicians. Suicidal thoughts came into haven't. To be sure the new pupil often comes after the weak fingers should be strengthened until there is benefits to be derived from the scales, but these already see in these cases, necessarily imply an impaired mind. at his home in Bergamo. Sensual excesses had helped his head. Then it occurred to him that Liszt might a summer’s outing and has naturally lost in the course as little difference as possible between them and the mentioned are the more important ones. The student As might he expected, nevertheless, the trouble in the to end his career. help; and Liszt did, so that he was able to start a of it; but even when one who has been recently study¬ strong fingers. must not be discouraged if, at the end of a month’s case of several great composers who did become insane music school and begin to compose. ing, comes, how often he comes with nothing actually Surety. hard study of the scales, he does not find himself began in the ears. Smetana, the Bohemian A few successes came to him, with his first and to show for the work he has done. In the present paper I wish to speak of five prom¬ seepnd operas, the second being The Bartered Bride, Take time to give plenty of attention to slow scale rapidly becoming a virtuoso, for he may never do so. It Wagner, in one of his novelettes, referred to Bohemia Again; is every pupil of yours (and I say “every” inent madmen in music: Donizetti, Smetana, Hugo a masterwork of comedy and sparkling music. Then playing. Raise each finger high from the keys and will require years of serious study, but at the end the as “the land of harp-players and street musicians,” and since we are not judged by our “show pupils” alone)— Wolf, Schumann and MacDowell. bring it down slowly. Produce a round, full tone. If student will find himself greatly rewarded for the effort Krigar declared that of all branches of the Slavic his misfortunes began; not only did most of his later is every pupil of yours so prepared that he can do What is the relation of insanity to music workers? you would have accuracy, make a habit of hitting each he has expended for he will eventually be able to play race the Bohemians are “the most gifted artistically.” efforts fail to win success but his enemies and rivals justice to himself and to you, anytime, any place? The tragic experiences of the five composers just key precisely in the centre just as though you were dexterously and melodiously the works of the great Perhaps they are; but before the middle of the last sought to oust him also from his position as conductor. Aren’t we going to have to own up to the fact that named provide many points of biographic interest; but our training is not practical enough? shooting at a target. In rapid playing one cannot take masters, giving to them the proper interpretation century Bohemia had produced no high class composer, Fate joined his enemies. The new Bohemian Theatre time to think of this, but the effect is there. from these discordant experiences we may also gather in Prague was to be opened with his opera Libussa, “The pupil’s fault,” did you say? Let us be sure intended by their creators. and when Friedrich Smetana was with Liszt at Weimar, some notes of warning to musicians in general, par¬ when fire destroyed it. When his next opera proved about that. Let’s take Hortense for example. Hor- he heard Herbeck say that, after all, the Bohemians ticularly those who, at the end of each season, seem a -failure, while Dvorak’s Demetrius was a brilliant tense is one of those industrious little creatures with to be on the verge of a breakdown. had excelled only as reproductive musicians. This re¬ glasses and no sense of humor, who gets every note mark stung him to the quick, and he resolved then success, he sobbed, and exclaimed: “I am getting, too of every lesson just so. No fault to find with her The Characteristics of Polish Music and there to remove that reproach from his country. old—they don’t want me to compose any more.” Why Donizetti Broke Down lessons, and yet if you ask her for something two les¬ He succeeded, but at the cost of his sanity and life. His disappointments aggravated a malady from which Polish National music, says Frederick Niecks in his sons back, she stares at you in open-mouthed amaze¬ The numerous peculiarities to be met with in Polish In the year 1823 the Imperial Opera in Vienna con¬ One. wonders, on reading about the struggles of Sme¬ he had been suffering for some years. He was tor¬ ment'. She has nothing to play. She’s too busy getting life of Chopin, conforms in part to the tonality pre¬ folk-music with regard to melodic progression are not fined itself entirely to the operas of Rossini. Beethoven tana, as of so many other great musicians, that any¬ tured, especially while at work on his compositions, vailing in modern art-music, that is, to our major and every point of the new lesson; and she’d rather let old likely to be reducible to one tonality or a simple system had produced his Fidelio in 1805, and the masterworks body can set out deliberately with the intention of by buzzing sounds in his ears. In his superb autobi¬ things slip or half slip, which is worse, since it only minor modes; in part, however, it reminds one of of Gluck, Mozart and Weber were available; but the of tonalities. Time and district of origin have much becoming a composer. ographic quartet, Aus Meinem Leben, there is a long- tempts her to “try them on” when asked to play, rather other tonalities—for instance, of that of the mediaeval Viennese had no use for these as long as they could to do with the formal character of the melodies. And Without the aid of Liszt—‘the great, generous super¬ sustained high tone which alludes to this affliction. than face your very apparent disapproval when she church modes, and of that or those prevalent in the listen to the siren strains of that Italian. Ere long man in music—Smetana would never have succeeded Gradually he lost the power of concentration and comes with a bad lesson due to too much time spent besides political, social, and local influences, direct music of the Hungarians, Wallachians, and other two other Italians, Donizetti and Bellini, began to en¬ in carrying out his ambitious plan to become the crea¬ realized that he had reached the end of his creative on old things. musical ones—the mediaeval church music, eastern peoples of that quarter. The melodic progression, not chant audiences all over Europe. Their operas were tive leader of a national Bohemian school of music. activity. He continued to work on his opera Viola, but Why not help her out? Here’s a plan I’ve been always immediate, of an augmented fourth and major secular music, etc.—have to be taken into account Of sung by the greatest sopranos, contraltos, tenors, bari¬ That he had the requisite talent was undeniable. It is only, as he explained, “in order that the world may trying and getting excellent results from. Let the first seventh occurs frequently, and that of an augmented most Polish melodies it may be said that they are as tones and basses of the period, united, especially in related by Richard Batka that' when Smetana was know, some day what goes on in the head of a musician Paris and London, into star casts even more brilliant lesson of each month be called a “recital day.” For second occasionally. Skips of a third after or before capricious as they are piquant. Any attempt to har¬ who is in such a condition as I am.” After attending than were the galaxies witnessed at the Metropolitan that lesson let each pupil absolutely put aside the work one or more steps of a second are very common. In monize them according to our tonal system must end in a performance of his masterwork, The Bartered Bride, Opera House in New York when Maurice Grau was in hand (in some cases even the technical exercises, connection with these skips of a third may be men¬ failure. Many of them would, indeed, be spoiled by he declared he had never been so bored in all his life. its manager. since the less side work he is to bring, the more tioned that one meets with melodies evidently based In his sixtieth year he died in an insane asylum. any kind of harmony, being essentially melodic, not Most of us, in thinking of Donizetti, have in mind responsible he feels for what he does bring) ; and on a scale with a degree less than otfr- major and minor outgrowths of harmony. . . . The following melodies these performances of his works by famous singers instead work up to the best of his ability some number scales, having in one place a step of a third instead (say a half dozen or less), of his old things, to be and snatches of melodies will serve to some extent to some of whom earned even more than Caruso does The Sad Story of Hugo Wolf of a second. The opening and the closing note stand done, of course, without notes. Having taught only illustrate what I have said, although they are chosen to-day. Surely, he must have been a great popular Hugo Wolf indulged in “crazy” acts long before he often to each other in the relation of a second, some¬ good material, you can be safe in letting him choose favorite, earning as much as they did? Oh no—the times also of a seventh. with a view rather to illustrate Chopin’s indebtedness became insane. When he first got acquainted with the the half dozen of the old numbers he cares most for. to Polish folk-music itself; composer of Lucia, La Favorita, The Daughter of the Pickwick Papers, he hastened on the following day to This gives a chance for individuality and consequently, Regiment, Lucreeia Borgia, Don Pasquale, The Elixir a friend, at six o’clock in the morning, and insisted interest. The interest will be furthered if each writes of Love, and many other operas expressly written to on reading to him from that book then and there! out in regular form his own program, incidentally good please the public, had almost as hard a struggle for He was a crank, a monomanic, if ever there was one: practical training not only for future needs, but even existence as the stubborn reformer, Richard Wagner. Friedrich Eckstein tells a story of how, one day, when in such minor matters as correct spelling and better The conditions under which Donizetti wrote his Wolf was at a wedding, he was urged to play, and knowledge of the names of compositions and com¬ operas seem to us almost incredible. For a time he finally consented. Sitting down at the piano he broke posers, not to mention opus numbers. If the piano was engaged by a manager in Naples named Barbaja, out with the March to the Scaffold from Berlioz’s is a grand, by all means raise the lid for the occasion, for whom he had to compose four operas every year- Fantastic Symphony. “He played the dreadful music and lo! though you be the only listener the “recital” two of them serious, the others comic; and for this hard with a realism that was positively terrifying. He rep¬ will turn out a musical triumph! You will find not work he got barely enough compensation to pay for resented the execution, suggested the scaffold and the only the youngsters eager for it, but the “grown-ups” his food and lodging. This made it necessary for him blood, and made so demoniac an effect that the bride, as well. I have had married women talk as seriously to travel a good deal and work for other managers who was standing by him in her wedding dress, fell about “next recital day” as they would about their to make ends meet. One of his comic operas was down in a swoon. Wolf got up and left the house.” weekly house cleaning. written in a week. On another occasion he orches¬ Nobody bought his songs, and, as he was not a good And the result of it all is delightful. You quickly trated a complete opera-score in thirty-six hours! teacher, he found it hard to make ends meet. For a get a reputation for having pupils who actually “do His creative career covered a period of twenty-six long time he lived on $15 a month, getting only forty things;” pupils who can sit down anywhere, anytime, years, during which he composed about seventy operas, cents a lesson. Underfeeding and overwork gradually and with proper ease and repose, play their things besides many other things, all of them underpaid. He undermined his health; while he was composing, all nicely and without notes. Having one or a few things had not even the encouragement and tonic aid of being health rules were ignored. Like Schubert, he had times so learned gives them a feeling of confidence for appreciated. Throughout his career, says Fetis, he had when he seemed to he as in a trance; but, unlike mastering others. They’re pleased with themselves, to struggle against favorites of the public, which per¬ Schubert, he did not really enjoy this mental state. “I their friends and relatives are pleased with them, sistently looked on him as second-rate. Even his they’re all pleased with you, and—well, everybody’s have not the courage,” he once wrote, “to begin an Daughter of the Regiment and his La Favorita, both of opera because I am afraid of the many requisite ideas. pleased all around! which subsequently became so popular, were failures Ideas, dear friend, are terrible. I feel it. My cheeks at first, and he considered himself lucky to get $600 SORROW AT THE ALTAR OF GENIUS burn from excitement like molten iron, and this state k 341 340 THE ETUDE THE ETUDE it in the wild lands of the Indians; but in vain. The of inspiration is to me a delectable torture, not true not, in spontaneity, equal his earlier ones. Felix creative impulse was too strong to be resisted. A happiness.” Draeseke’s assertion that “Schumann began as a genius summer’s rest might have restocked his brain wjtt and ended as a mere talent” is literally true, the un¬ His insane overestimate of his compositions also in¬ energy for many more years of work. But the rest fortunate change being due to the gradual deterioration dicated a lack of mental balance. Concerning one of being denied, he began, early in 1905, to show signs of his brain from latent disease. When I wrote my his songs, he wrote to a friend: “Nothing like it has of decline. He complained to his wife and to me that ever been known. God help those who are going to Songs and Song Writers I carefully examined and weighed all of the Schumann songs and was surprised he had lost his spontaneity in composing. I complain hear it.” Three weeks later he wrote that Erstes to find that of the 119 songs in the third and fourth to my wife that I didn’t like to talk with him any Liebeslied eines Madchens was the best thing he had volumes of his songs, as edited by his widow and more—he seemed “so queer.” done—a song which would “rend the nervous system The Emotional and Picturesque in Music published by Breitkopf & Hartel, only one (Er tst s) This queerness was so exaggerated during our next of a marble block.” The next day he took it all back, visit to him at Peterboro, N. H„ that we wondered for his latest song, Fussreise, is "a million times better. rises above mediocrity. In all literature there is nothing more pathetic and if he was addicted to the use of some drug. But soon By the Noted American Composer When you have heard that, you can have only one wish: harrowing than the pages in Clara Schumann’s diary to die.” the terrible truth dawned on us. He was losing his in which she narrates incidents in the last five years One day he called on his friend Haberlandt, whom mind! All efforts to arrest the brain disease were of her husband’s life. They are included in the second ERNEST R. KROEGER he startled by the wildness of his look. He sat down useless, although the leading specialists were consulted. of the three volumes in which Litzmann has related at the piano and began to play pages from the score It was not actual insanity, characterized by delusions, of his unfinished opera Manuel Venegas. His tears the story of her life. melancholy leading to maniacal outbursts, and homicidal On February 10, 1854, Schumann was kept awake A lecture or paper adapted for delivery in whole or in part before Musical Clubs or Musical Classes fell upon the piano, and he wiped them from the keys or suicidal attacks. These things he was spared. It .with his sleeve, like a child.” all day and night by hearing incessantly one tone. “My poor Robert suffers horribly,” she wrote; “all noises was simply a gradual, premature decay of the mind. That was shortly before the actual outbreak of in¬ sound to him like music—he says it is music so de¬ At forty-six he was like a man of ninety-six, a man sanity. It began with delusions. He called on his “The Emotional and Picturesque in Music” is the sub¬ of the text to a lament for the dead. Even Wagner This is not only a beautiful piano number, but is lightful, with such wonderfully sounding instruments in his second childhood. friends and told them he had been appointed director ject of a lecture recital given by the writer about thirty- in his last music drama Parsifal could not resist intro¬ also most effective. The grand bell-like tones in the as one never hears on earth.” The strangest thing about his case was that he pre- of the opera in Vienna; that he was going to dismiss five times. The interest shown by audiences in many ducing the Christian spirit embodied in “redemption by climax make a most profound impression. Certain Another night he again heard this angelic music. served his keen sense of humor almost to the end. At Mahler, Winkelmann, and so on. At other times he different places and the educational value in a musical love.” His Parsifal (in the third act) is almost a composers have their dominant characteristics, and Then suddenly, in the morning, it changed. The angel his urgent request he had been taken once more to believed he was Jupiter, able to control the weather. visualized Christ. On a smaller scale are the Chorales when Haydn is referred to, at once the idea of the voices became the voices of demons singing hideous Peterboro ; yet, when there he still begged to be taken way resulting from the explanations of the various He tried to commit suicide by jumping into a lake. In of Luther and Bach, the hymns of'Wesley and Dykes, joyous side of life occurs to the mind. He seldom strains. They told him he was a sinner . . . He there. When we arrived, Mrs. MacDowell told me that selections have been the cause for this article. Pro¬ calm, lucid moments he played four-hand arrangements the anthems of Stainer and Tours, the psalm-settings wrote in the minor keys, and even when he did they screamed in agony, for, as he afterwards told me, they her husband had been worrying for days about my grams of a similar nature can easily be constructed by of Bruckner and other modern music with one of the of Mendelssohn and Buck, the cantatas of Franck and seem to be but a passing shade of seriousness between had jumped on him in the forms of tigers and hyenas, ' photograph, which hung on the wall in one of the musical clubs and by teachers who wish to have their officials of the asylum to which he had been taken. more jovial moods. The well-known Gipsy Rondo is to seize him. Two doctors were hardly able to hold rooms; he insisted it must be very uncomfortable for pupils give recitals following consistent lines. The All hope for him was abandoned in 1900. Gradually a good illustration of joyous emotion. he lost control of his muscles, lay in bed all the time, me to be “stuck up that way.” When I spoke to him teacher may play the more difficult numbers if desired. The spirits of Schubert and Mendelssohn came to about that, adding that he mu«tn’t worry, because I Here is a sample program: vegetating, but suffering. Fortunately, an attack of Gipsy Rondo—Haydn. pneumonia ended his tortures, on February 22, 1903. him on another night and gave him a theme. This he had always been “stuck up,” he laughed heartily at the wrote down and subsequently used for a set of vari¬ pun. Program, ations for piano. This was his last composition, and Somewhat later, when he was back in New York, Schumann’s Twilight Hours part i. it was left unfinished, Brahms subsequently used the I found him one day at his favorite amusement, play¬ The course of true love never did run smooth, ac¬ same theme for a set of four-hand variations, opus 23. ing, like a child, with twenty-dollar gold pieces. “Ah!” The Emotional in Music. cording to Shakespeare, and never did it run less Brahms saw a good deal of Schumann during these I exclaimed, to cheer him up, “you got those, I suppose, The Religious Element—Ave Maria.F. Liszt smoothly than in the case of Robert Schumann. last sad years and he was a great comfort to the wife, to bribe the critics!” And again he laughed, quite like Joyousness—Gipsy Rondo.I. Haydn The story of his courtship is the most romantic of who was so soon to be a widow. his old self. all love stories, and yet it is hardly too much to say In one of his fits of agony and melancholy, Schu¬ Sadness—Adagio from Moonlight Sonata, On the agony of his last months, to himself, his L. van Beethoven that had he never seen Clara Wieck he probably would mann threw himself into the Rhine. This was on wife, his mother, and his friends, I shall not dwell. not have become insane. February 27, 1854. He was rescued by sortie boatmen There is sufficient agony for all of us in the thought Passionate Fervor—Presto from Moonlight Sonata, Sadness can be well exemplified by the wonderful L. van Beethoven She suited him better than any of the other girls and taken home. The last two years were spent in that lack of brain hygiene deprived us of our leading first movement of Beethoven’s Moonlight Sonata. he admired—he was always falling in love—but none a private asylum. Concerning her last visit to him, musical genius at a time when his mind was fully Grief—Funeral March.F. Chopin Whether or not we believe any of the fanciful stories of those girls, it is safe to say, had such a cruel, inex¬ Clara wrote: “Brahms saw him, but both he and the matured, prepared to produce works perhaps even Love—Liebestraum, No. g.F- Liszt regarding its composition, yet its quiet sorrow will orable father as Clara had. doctor begged me not to see him,” telling her it was her greater than those which gave him world-fame. affect any audience. As substitutes for this number, About a year after Robert Schumann had begun to duty to her children not to subject herself to such a Contrasting Emotions—Scherzo in B flat minor. F. Chopin the deeply expressive Prelude in E minor of Chopin, pay serious attention to Clara, her father had a stormy shock. A little later, however, she did once more or the Chanson Triste of Tschaikowsky may be recom¬ interview with her in which he threatened to shoot see him. He took food from her hand, put his arm part II. mended. Robert if she did not give up his letters and refuse to around her, with a great effort, and tried to say some¬ Advances in Methods of Piano Study see him any more. thing. The Picturesque in Music. That started a fight between the father and the When he died, no one was with him. By MAURITS LEEFSON Woodland Music—Entrance from Forest Scenes, lovers which lasted several years. Wieck did not want R. Schumann his daughter to marry and become a Hausfrau. He One of the most significant advances made in the Water Music—The Lake.W. S. Bennett had ambitions for her as pianist and composer. He The Tragic Case of MacDowell methods of teaching pianoforte technique has been threatened to disinherit her; he favored Schumann’s Fire Music—Magic Fire Charm from “Die Walkure.” The eminent novelist, Hamlin Garland, who was one the awakening of the competent and conscientious R, Wagner rivals, and accused him of being a1 drunkard. With of Edward MacDowell’s most intimate friends, once teacher to the fact that pupils should be dealt with in¬ diabolical malice he sent Clara anonymous letters con¬ Spinning Songs—La Fileuse.J. Raff wrote concerning him that he was “temperate in all dividually, and not as a mass. Teachers now study the taining low insinuations against Robert’s character, tim¬ things but work—in that he was hopelessly prodigal.” Spring Songs—Spring Song.F. Mendelssohn ing their arrival so that she would get them just before natural ability, the temperament, the inclinations and Overwork was doubtless the cause of the mental general characteristics of a pupil, and are governed in Bird music—The Swan.C. Saint-Saens she gave a recital, in order to upset her. breakdown which led to the death of America’s fore¬ E. R. Kroeger, It must be admitted that, from the point of view of pedagogical work according to the traits which such Childhood Scenes—Traumerei (Revery), most composer on January 23, 1908, when he still was R. Schumann health, Robert’s habits were anything but exemplary. reviewals of nature, tendency and thought lead one to three years under fifty. suspect are present. Ave Maria. Liszt. Clara herself once wrote to ask him not to drink so He was living in Boston, teaching and composing, Fairy Music—A Fairy Tale..I. Raff In a word, a competent teacher no longer simply much Bavarian beer, not to remain in the tavern after happy as a mortal can be in the companionship of his allots a cut and dried course of exercises, studies, etc., others had left, not to turn night into day and day wife and the growing appreciation of his genius, when Even when the art of music was in its infancy, music without respect to the particular requirements of the into night. These things, no doubt, helped to under¬ the call came to him from New York to take the was considered to be an expression of emotional feel¬ individual. For consciously or unconsciously he is mine his constitution; but he was a robust young man newly-founded professorship of music in Columbia ing, often beyond the power of words to convey. It able to form correct opinions of the student’s mentality and might have overcome the bad effects of such habits University. He hesitated because of the many respon¬ has been particularly the art of modern times, which and disposition, and be guided in the allotment of had not his constant worry over Clara sapped his mind. sibilities involved. I did not know him at that time are so full of restless intensity and imaginative tenden¬ studies and the method of imparting knowledge accord- As early as October, 1833, the horrible thought had but through his mother, who was secretary of the cies. Music can heighten every emotion and convey come to him one night that he might some day lose his National Conservatory, where I lectured on the history student ^6 c*laractenst'cs his experience reveals in the subtle shades of feeling. From its beginning it has mind. In 1839 there were times when the state of his of music, I urged him to accept. I have never ceased been especially associated with man’s effort to draw mind and general health frightened Clara. Wieck was regretting this, for I subsequently realized how much Moreover, I would call attention to another advance, inexhaustible in devising new ways of torturing her and refer to the numerous new principles of teaching close to divinity. In religious ceremonials in all lands greater a service he could have done his country and and among all peoples music (even of the most primi¬ her lover. His spite and hatred steadily aggravated the the whole world, if, instead of instructing a few in vogue to-day, all of which receive due consideration tive" sort) has been used. To describe this side of morbid sensitiveness of Robert. At last, he could not hundred young men in various branches of music, he / ttle oroad minded and thinking teacher, in order music alone would fill a large book. At present we endure it any longer and brought the matter before had devoted all this time to composing more of*the J, ,he- may be in a position to select and apply that are mainly concerned with what has been done by com¬ the court, which decided in his favor. So he married songs and instrumental works which have made him which fits certain individual requirements. Clara (in 1840) and the happiness of at last calling immortal. nother phase of teaching, which broadly speaking paratively modern composers. And with but few ex¬ her his own acted as a tonic so invigorating that within He had been in the habit of teaching in winter and ,„?y °e ,t.ermed an advance. is the fact that it is now ceptions, all the great names are associated with re¬ a year he composed more than a hundred songs, in¬ composing in summer. Now he devoted most of his mP*Merja y conceded. that no matter how good the ligious composition. Some masters began writing sacred Passionate fervor can be illustrated by the first move¬ cluding the best he ever wrote. time in summer to preparing his Columbia lectures and ™.°, a teacher may adopt, if he or she has not the music long after they had achieved fame in writing ment of Beethoven’s Sonata Appassionato, the first Unfortunately, the harm done to his mind by the courses which he did with his habitual thoroughness. ra pedagogical instinct, or is not naturally musical, secular music. Handel, for instance, who wrote operas movement of Chopin’s “B flat minor Sonata,” or cruel and prolonged strain to which it had been sub¬ Think of such a man wasting his brain power, in addi- success can never attend his or her efforts. up to his fiftieth year, and then wrote his sublime ora¬ Elgar. As a usual thing, religious music is Associated Brahm’s Rhapsody in B minor: The last movement jected could not be undone. Four years after his tion m correcting exercises and examination books' - any cas®s bave come under my notice that support torios. Beethoven, with his masses; Gounod with his with words, but there are occasional pieces of instru¬ of the Moonlight Sonata may also be played, and in marriage his excessive addiction to composing brought COJ ention. Cases wherein young teachers after The marvel is that, with all this drudgery, he never¬ ■ oratorios, and Liszt with both masses and oratorios, mental music without any words, but which are indis¬ this case, the first movement depicting Sadness, and the him again to the verge of prostration. When melodies theless succeeded in composing his best works during |o.ng through work in America have gone to are some prominent examples. Bach reached his great¬ putably religious'in their character. One of the most last movement1 Passionate Fervor may be played con¬ occurred to him he could not remember them, and the the eight years he was connected with Columbia. , .P? for a few months or a year, with the idea that effort of composing fatigued him excessively. There est height in his Passion music and his B minor Mass. beautiful of these is Liszt’s Ave Maria in E major, tinuously, and the Allegretto used as a bridge to con¬ . When he composed those inspired works he was liv¬ , 7"!e course of study over there will act magically— Verdi and Berlioz in their Requiems added all the re¬ and even in this piece the metre of the music corre¬ nect the two movements. In this way the entire Sonata were ups and downs—weeks and months—when the ing on, his capital—his reserve stock of brain power at '”g the™ out proficient and successful teachers, creating of ideas and putting them into shape seemed sources of a great orchestra and a dramatic handling sponds to that of the metre of the celebrated hymn. can be played. He ought to have been resting. Hamlin Garland urged main *wS tbere * greater mistake. For the fact re- as easy as rolling off a log; yet these later works do him to go with him to spend a whole summer roughing even S u 7 b°rn Pedag0?ue, and musician, will succeed even with his own method, i 343 THE ETUDE 342 THE ETUDE A Working Plan for the Teacher By ARTHUR JUDSON no„„ssltv for a broad knowledge of his work, in* indicated that personality was the development, [In a previous article Mr. Judson pointed out[briefly . .In In cr tint mAPPlv th t» 01 eating tne essential fundamentals,m the Activities, shovshowing t
of a student individuality, without mental o Editob's Note.] pupils which can never get closer than they do at the The fundamental principal of teaching is that the meeting and in some cases this develops into a real teacher should know exactly what he wants to do an antagonism. A case of natural antagonism is hope- how to do it with the least expenditure of effort and in less and the lessons ought never to go further than the the shortest possible space of time. In the statement first one. But, everything being equal, the very first just made one finds the whole problem of teaching effort of the teacher should be to eliminate the fear and especially music teaching. In fact, it is so exactly which the pupil has of the teacher. Make the develop, thoroughness. The pupils were expected to ana¬ true that for one adequately to explain it would mean ment of confidence in the teacher, of friendly mutual lyze a masterpiece of some famous composer volumes and great research. All that one can do is to relationship, the key-note of the first meetings and the every day, likewise to compose a fugue or a point out those few true paths which, if followed, must nose operas, — . cantata daily. Meyerbeer at any rate was a most musical work will care for itself. But. on the other Richard Wagner (exasperated at the time by lead to the goal of success. Therefore, it is useless to industrious student, often remaining in his room hand, such a relationship must not so degenerate that his own failure to arouse great interest), used multiply details; it is only possible to touch upon for days while engaged in completing some work the pupil loses his respect for his teacher. The reason to down the applause which his. friend Meyer- salient features. why many teachers are compelled constantly to repeat which he was interested. By far the most important thing is to know what to 1 cer was receiving. We have already noted in the Music is the language whereby deep grief may be technical and musical advice to which the student Mendelssohn biography in this series how severe best expressed. The wonderful string quartet in F do. When the new music student comes for his first First Notable Works lesson he usually presents a discouragingly difficult seems to pay less and less attention is because the were the strictures placed upon all Jews in the day minor which Mendelssohn wrote after the death of student has lost his respect for the knowledge which of Mendelssohn’s illustrious grandfather. Meyerbeer Meyerbeer was little over the twenties when he com¬ problem. One does not know his general education, menced to produce works that called for more than his beloved sister Fanny; the air from Bach’s Passion his teacher has, or should have. fortunately was born at a little later date, although his average mental- associations and, in addition, his passing attention. Among these was an oratorio God according to Saint Matthew, Ah! Golgotha; the slow After these fundamental relationships have been he came into the world eighteen years before Felix musical equipment and mentality are totally unex¬ and Nature, a four part setting of Klopstock’s Sacred movement from Beethoven’s F major string quartet; firmly established then the teacher should outline the Mendelssohn-Bartholdy. However greatly we may re¬ plored. It may be possible exactly to diagnose the Songs, and a Biblical opera, Jephiha’s Vow. The last Mozart’s Lacrymosa from the Requiem, are some promi¬ work which he expects the student to do. This should spect the genius of Wagner no one can fail to deplore musical needs of a pupil at the first lesson but I have named was produced in Munich in 1813 but was dubbed nent examples. The Funeral March by Chopin is chosen be done for a two-fold reason: to enable the teacher that unfortunate weakness which led him to return the never seen it done. In fact, it is hard to think of the dry and academic. Another opera, Alimelek, or the two in the above program, and it reveals in a wonderful way to check up the work being done in a systematic way kindness of Meyerbeer by an attack that was unfair, awkward first lesson yielding much more than a mere Caliphs, produced in Stuttgart in the same year fared the grief of the people of a conquered nation. Tragic¬ and to inspire the student by setting up a goal to be unjust and uncalled for. There is so much that can acquaintance: better. ally its rhythm moves steadily on, and the melody alter¬ reached. The pupil who is working in the dark be said in favor of Meyerbeer in his defense that Wag¬ The first lesson is only of value in so far as it enables Next we find Meyerbeer in Vienna where he decided nates between hopeless despair and a wild passionate speedily becomes disheartened. In this connection, the ner’s stand has a splenetic complexion. In the first the teacher to inspire confidence on the part of the to become a virtuoso pianist Fate took him on the outcry against the decree of Fate. The beautiful middle use of the student recital and the teacher recital be¬ place, despite the fact that Meyerbeer had very wealthy pupil and to estimate the capacity and characteristics night of his arrival to a concert given by Hummel. section may be considered as a brief remembrance of comes apparent. The first is a mile-stone in the prog¬ parents he lived for the better part of his life almost of the student. The first lesson assignments are of Meyerbeer was so much impressed by Hummel’s finished happy days, alas I forever gone. little importance. The first technical steps are so ress of the pupil, an actual attainment, and the second wholly without ostentation, insisting upon supporting himself from the profits from his own compositions. work that he decided to spend many months in im¬ nearly alike in ordinary cases that the teacher can a corrective force in that it enables the younger mind proving his own technic. In the meantime his opera, afford practically to ignore the musical side of the to check up its accomplishments and ideas with that Again, Meyerbeer was in many ways very modest about his works, continually rewriting and rearranging them 1791 The Real Meyerbeer The Two Caliphs was given in Vienna and proved a lessons for the first few weeks. The development of of a more mature performer and thinker. To “precept failure. At the insistence of Salieri he went to Italy musicianship, that is musical knowledge which can be upon precept” in the way of recitals I would add the with a view to improving them—a singular contrast , fcjfcfcaffg—F. to the highly gifted but bombastic personality of Wag¬ to acquire further experience. There he heard Ros¬ learned away from the instrument, usually waits on a wholesome restraint of tradition through performance. sini’s Tancredi and was so affected by it that he re¬ certain development in the technical side of the art It should never be forgotten that music is for per¬ ner. However inferior his talent may have been to that of Wagner—however mild may have been his solved to attempt similar works himself. and so the necessity at the beginning requires only the formance and not for the studio. I Inless the laboratory “If I should stop work I should rob myself of f>P resistance to the banal dictates of fashion, Meyerbeer establishment of amicable and understandable relations work of the studio and the lessons can be turned into my greatest enjoyment.” Meyerbeer in Italy had traits of character which commend him to us in ( —- between master and pupil and a beginning along cor¬ the actual achievement of the recital or semi-public so many ways that even in this day of his partial Meyerbeer found Italy most congenial and the people rect technical lines. As the lessons proceed during the performance the instruction has been worth nothing. that of Beer and a rich legacy insured the change. divided their affection for Rossini with the new com¬ —ti ; * eclipse we find much to admire. Accordingly the family name became Meyerbeer. Later S \ i first month it will be found that the technical diagnosis While the study of any serious subject with industry poser. The result was several operas in the Italian i * i of the first lesson becomes materially modified. It is Unlike Mendelssohn, Meyerbeer remained a Jew in Jacob Liebmann Beer not only adopted the new form trains the brain, and, in the case of music, the muscles, style none of which is generally identified with the found that the physical characteristics of the pupil fact to the end. He was buried in the Jewish cemetery but Italianized his first name so that the famous com¬ For how much music has Love been responsible? It such a training as the final result is worth little. The work of the later Meyerbeer by which he is most allow him to do certain technical things with great ease in Berlin, and all his life was duly proud of his race. poser is now known as Giacomo Meyerbeer. Meyer¬ would be impossible to enumerate the extraordinary value of a musical education lies in the expression widely known. Among the Italian operas were Romilda and likewise prevent him from acquiring other technical At the same time he was very liberal in his views beer was born at Berlin, September 5, 1791. Early number of songs founded upon sentiment and operas of musical thought audibly, to one or more listeners e Coustansa (Padua, 1818), Semiramide riconosciuta forms as easily as might be expected. In many cases and when a student with Carl Maria von Weber under aptitude for music induced his parent to place him based upon romantic stories. The amount of composi¬ and any system of musical education which fails to take (Turin, 1819), Eduardo e Cristina and Emma di Res- the vagaries of previous teachers and their methods the tumid Abbe Vogler, Meyerbeer played regularly under the instruction of Franz Serapa Lauska, a pupil tions due to love almost equals the amount due to into account this demand for audible expression to burgo (Venice, 1820), Margherita d’ Anjou (Milan, have produced a one-sided development which does for the Mass. of Clementi. Later Clementi himself heard the boy religion. The writer often plays the wonderful Liebe- others is a failure 1820), L’Esule di Granata (1822). not become apparent at the first playing. Also certain The period from 1791 to 1864 was one of the most play and offered to give him lessons. His talent was stod of Wagner, transcribed by Liszt, as a great' ex¬ A general working plan for the music teacher who Meyerbeer, however, tired of life in Italy and longed mental attitudes toward music in general, and the in¬ significant in history. Dominated as it was by the so great that all who heard him felt that he would be¬ ample of love in music. More frequently he plays would produce the best results in the least time would, for a more strenuous existence. The production of strument in particular, will be discovered, all of which great social overturning in France from the reign of come, one of the greatest of all piano virtuosi. He Liszt’s charming Liebestraum, No. 3, which is such therefore, call for these methods of instruction: a his opera Das Brandcnburger Thor in Berlin (1823) will greatly modify the course of instruction. A wrong terror to the new empire, the growth of a great re¬ was able to play the Mozart D minor concert in public a great favorite. Liszt wrote this both as a piano careful diagnosis of the technical and musical needs of led his German critics and friends (among them von diagnosis may not produce serious results during the public in the new world, and the amazing advance in when he was only seven years. Indeed Moscheles, who piece and as a song. the student during several lessons, not one; a systema¬ Weber) to note that he was gradually pandering more first two or three months, but as the lessons go on such scientific knowledge, it was to be expected that great was only three years younger than Meyerbeer and wa? tic effort to eliminate fear and establish confidence and more to popular applause. Meyerbeer was wise a diagnosis produces and fastens on the pupil serious and decisive changes should come into musical life. therefore a contemporary, went so far as to say that between pupil and teacher; a study of the technical and resolved to reform his work. While in Germany faults that it sometimes takes years to eradicate and, Schumann, Wagner, Chopin represent this revolutionary if Meyerbeer had chosen to follow the career of the and musical needs of the pupil based on previous in¬ he wrote Crociato, which was produced in Venice in indeed, are sometimes ineradicable. My conclusion) era in a remarkable manner. Meyerbeer, although he virtuoso pianist he would have had few equals. But struction, if any; the systematizing of the plan of 1824 with huge success. The opera became a popular therefore, is that the technical and musical diagnosis strove to feel the pulse of the times, was more suc¬ from early childhood Meyerbeer aspired to be a com¬ study; the presenting to the student of a goal toward favorite at the time and when it was given in Paris of the new pupil should be gone about slowly and cessful in catering to the popular appetites. In Italy poser. Accordingly Zelter (later the teacher of Men¬ which to work; the incentive of recitals, or expositions Meyerbeer attended the first performance (1826). surely and should wait also on the correct estimate of he was an Italian, in France he was French, yet he delssohn) and Bernhard Anselm Weber were selected of the results attained; the holding before the student Crociato served to reveal larger possibilities to Meyer- the pupil’s understanding and personality. could hardly be called a Teuton in anything he did. as the boy’s instructors in harmony, theory, counter¬ of more advanced ideals as shown in the playing of ber and from 1824 to 1831 he produced no work of There is no sure rule for the gaining of the pupil’s Von Weber prayed that Meyerbeer _ might leave point and composition. Weber had been a pupil of the teacher or more mature artists; and the necessity note but spent a great deal of time in reflection—re¬ confidence and through that the right mental attitude something that would be wholly Teutonic in its char¬ George Joseph Vogler, known as Abbe Vogler (German, of conceiving a composition from the standpoint of making himself as it were. Paris was again the great In fact, certain pupils never approach to a confidential acter but nothing from the pen of Meyerbeer can be Abt Vogler), and when the young Meyerbeer became the audience, that is, the expression of a musical European art centre and Meyerbeer made it his Lome. relationship with their teachers. There are certain compared with Weber’s Der Freischuta in its Germanic sufficiently advanced Weber passed him on to the personalities and natures among both teachers and listener Wh‘ch may be easi,y perceived by the average singular figure about whom so much has been written. There he made the friendship of Scribe, the noted Meyerbeer’s Italian operas were successful despite dramatic writer and librettist, who did much to assist' the Kitchen Epigram of Rossini, who declared him in the production of the works by which Meyef- Meyerbeer and Vogler “Meyerbeer likes sauer krout better than he does mac¬ beer is best known. Indeed Meyerbeer with his aroni.” Meyerbeer, however, wrote much more suc¬ Abbe Vogler (born at Wurzburg, 1749) was dubbed chameleon-like nature and talents soon became a Pa¬ cessfully for the spectacular needs of the French stage a charlatan by Mozart. He had a distaste for any¬ risian of the Parisians, as he had previously been The Fable of the Giddy Grasshopper who dancer! Llo than in any other form. He has had many detractors thing savoring of slow, laborious study and when he Italianized. wad” Ant who saved his food supply for the Ion V surnmer away and the "tight- who have fastened upon some one of his shortcom¬ came to teach himself he boasted that he could pro¬ duce composers far quicker by his methods than by The Influence of Italy on Meyerbeer of many musicians. With the teacher it is often *S reversed in the case ings at the same time closing their eyes to his really notable achievements. Serious critics find much to any other. His pupils were obliged to do an enormous The extraordinary effect of his visit to Italy remained on the winter savings. The musician who ; n • 1<>ng’ °ng summer th»t cuts in praise in Meyerbeer’s orchestral treatment. Even as amount of work but at best the quality of the work a life-long influence upon Meyerbeer. Forty years sees himself as busy in July as in Ian * Slr)cere* capable and enthusiastic severe a judge as Ebenezer Prout praises Meyerbeer’s was not so carefully Considered as the quantity. Thus, afterwards he wrote to a friend in explanation of his detestable and unless you choose to make^o^ Amencans of a11 People find loafing “splendid use of the orchestra.” Meyerbeer, always a very hard worker, was not led earlier Italian operas: to regard his tasks as profoundly as he might have “All Italy was then revelling in a sweet delirium of waste it will be necessary to plan right awavUfLS^mer ^ Uncomfortable period of . Meyerbeer’s Childhood and Youth done had he studied under a more painstaking and rapture. It seemed as if the whole nation had at last are wide awake to take it. Thousands of te h 0PP0rtunity that awaits all who Meyerbeer’s father, Herz Beer, was one of the most, thorough master. Vogler was proud of the fact that found its Lost Paradise, and nothing further was their bank accounts rise with the thermom Cp bave tbe pleasure of watching prosperous hankers of Berlin and his wife (Amilie he had been ordained a priest at Rome (1773). He needed for its happiness than Rossini's music. I was was indeed a devoted Catholic and had been made involuntarily drawn into the delicious maze of tones The earnest ETUDE reader never ^ Ut t*Iey are a11 Panning now. Wulf) was distinguished for her brilliant intellect and lets temperature interfere with progress. unusual culture. Small wonder then that of their Apostolic Protonotary and Chamberlain to the Pope. and bewitched in a magic garden from which I could three sons, Wilhelm became noted as an astronomer, At Darmstadt the corpulent little priest had many not and would not escape. All my feelings became Michael as a poet and Jacob Liebmann as one of the loyal pupils of whom Weber, Ganzbacher and Meyer¬ Italian; all my thoughts became Italian. After I had most famous composers for the stage. A relative beer were the most celebrated. Records of the ma¬ lived a year there it seemed to me that I was an Italian named Meyer insisted that his name be prefixed to terials he used do not seem to point to any lack of born. I was completely acclimated to the splendid glory 345 344 the etude THE ETUDE man of genius. Berlioz on the other hand was *ail of nature, art, and the William IV, in which position Meyerbeer succeeded, in his praise of Meyerbeer. Nor is this to be regard^ gay congenial life, and the erratic Spontini. There at the . Grandes Ope a as the result of mere gratitude, for the two musici* could therefore enter Meyerbeer produced a new opera Em FtUUagtr* had not a little in common, in their mutual appreciation into the thoughts, feel¬ Schlesien (1844). Shortly thereafter the Mdmg ol of the growing resources of the orchestra. Meyerbeei ings and sensibilities of was taken by Jenny Lind then new to the musical has been criticized for his occasionally vapid melofc the Italians. Of course world of Berlin and this is said to have accounted 1 and weakness of structure. A similar charge migh; such a complete return¬ the somewhat surprising success of the opera at t well be brought against Berlioz, but it must be conceded ing of my spiritual life time. Meyerbeer utilized part of the music in re¬ to both of them that they exerted a lasting influence had an immediate effect writing his L'Etoile du Nord. Meyerbeer was im¬ as orchestral colorists. upon my composition. mensely impressed by the talent and voice of Jenny Berlioz visited Berlin at the time Meyerbeer was I was loath to imitate Lind and before her first appearance in his opera is Director of the opera, and the following letter tl Rossini, and write in said to have rehearsed her no less than one hundred Habeneck in Paris will show that he was no less iij. the Italian style, but times to insure erood results. pressed with Meyerbeer’s powers as a practical n®. I had to compose as I Meyerbeer and Wagner sician than as a composer: did because my inmost “The grand orchestra with its twenty-eight violins • As already noted Wagner’s attitude toward Meyer¬ being compelled me to and its doubled wind instruments, the great chorus with beer was not altogether creditable. In 1839 Wagner it.” its hundred and twenty voices were present, and Meyer¬ took four weeks to ingratiate himself with Meyerbeer The poet Heine, in beer ruled at the conductor’s desk. I had a lively de¬ Pressure Touch and Ties Double Thirds this work. Your scale and arpeggio work you can get at Boulogne. Meyerbeer then gave the younger com¬ commenting upon the sire to see him conduct, especially one of his own works from Mr. Cooke’s Mastering the Scales and Arpeggios, extraordinary hold which a Latin environment had poser letters of introduction to the directors of the "In a recent article on the pressure touch, the “Is there a definite rule for fingering the scales in as soon as any pupil is ready to take them up. When Opera and the Theatre de la Renaissance and to the He performs this task as if he had been at it for author says the first bass note In the groups ot double thirds? 1 have compared the fingerings in upon the Teutonic Meyerbeer, said: twenty years; the orchestra is in his hands; he dots three in the Chopin Nocturne, Op. 9, No. 2, should various studies and find they differ considerably.” the Standard Course is under way you can also begin “Such intoxication of the senses as he experienced music publisher, Schlesinger. It will be remembered be played with that touch. As these notes are —M. G. with Czerny-Liebling studies. Your publisher will that it was this same Schlesinger who provided Wag¬ with it whatever he wishes. As for the tempi he takes marked staccato, ought they not to he so played! in Italy could not long satisfy a German nature. A Also in Chopin's Valse, Op. 34, No. 1, when the arrange to send you “on selection,” packages of music ner with the hack work that kept him alive. Wagner in the Huguenots, they are the same as your own, wit! Unfortunately there is no authorized fingering that is certain yearning for the earnestness of his fatherland the exception of the entry of the monks in the fourth chords are so written that the curved line looks like for you to use with your pupils, if you will describe awoke in him. While he found his ease amid the Italian was the handy man for the music publishing establish¬ a tie with the second chord staccato. IIow is one universal. The difficulty of playing double thirds legato act, and the march which closes the third; these are a to know in such cases Just what Is Intended?"— what you desire and for what grade. Be sure and keep myrtles, the mysterious murmur of the German oaks ment and thought little of making arrangements for has led many teachers to experiment, with the result little slower. This makes the former number seem a G. A. a list of the pieces you find pleasing and successful recurred to him. While southern zephyrs caressed him, cornet. Meyerbeer, prosperous and famous, found stated by our inquirer. The fingering indicated by little cold to me; I should have preferred a little less with your students for future reference. The main he thought of the sombre chorals of the north wind.” Wagner in Paris penniless and unknown. He again By experienced musicianship, long study and observa¬ Mason is as near standard as any, indeed may be said breadth, while I found it wholly to the advantage of Weber, with whom Meyerbeer passed many pleasant' brought him to the attention of the Director of the tion. The dot was sometimes used by Beethoven and to be almost universal. The celebrated French teacher thing for you to do now is to get started, and then as the latter, played upon the stage by the military band; days as a student under Abt Vogler, was much dis¬ Opera. Through this introduction the opera directors Chopin, and other composers of the time, to indicate Philipp has invented a fingering which is very nearly you encounter difficulties, write to the Round Table it gains by it in every respect. tressed at Meyerbeer’s Italian obsession. “It makes accepted the libretto of The Flying Dutchman with the prominence in certain notes, either as melody, or uniform for all the keys, but I do not think it has come again, and we will try and help you out. “I cannot analyze scene by scene the playing of the my heart bleed,” he wrote, “to see a German composer understanding that another composer was to be selected momentary emphasis. So it should he in the bass orchestra in Meyerbeer’s masterpiece; I will only say into very widespread use. Indeed, I have seen some of creative power stoop to become a mere imitator in to write suitable music. Wagner was paid $100 for notes you indicate. Experienced musicianship would of Philipp’s own books and studies with the old Hesitation his work. Later when Meyerbeer with La Prophete that it struck me as magnificently fine from beginning order to curry favor with the crowd.” And again, in teach you that staccato played in this case would be standard fingering indicated. The best plan for you to and Wagner with Lohengrin were rivals for popular to end, perfectly shaded, incomparably precise and “I have an adult pupil who has studied fifteen his public critique on Emma di Resburgo in 1820, Weber absurd. The pedal marking would render nugatory adopt, is to learn thoroughly the so-called standard months, and so far as head is concerned, has learned wrote: “I believe the composer has deliberately chosen favor in Paris, Wagner attributed the attacks made clear, even in the most intricate passages. Thus the any staccato that might be attempted. The tone should fingering, which you will find in Plaidy, Mason, Cooke, double what a child would. Her knowledge as far to make a descent in order to show that he can rule and upon his works to Meyerbeer’s literary and journalistic finale of the second act, with its phrases rolling upon as she has carried her studies, in regard to scales, be taken gently but firmly with a down pressure from reign as lord and master over all forms.” Weber ex¬ friends. Naturally he claimed that Meyerbeer was re- series of chords of the diminished seventh and its and others, so that when you find a different fingering position, etc., is excellent, and can read the notes the arm, making it very distinct. The dot also indicates quickly, and yet gropes and hesitates painfully. pressed a wish that Meyerbeer would return to Ger¬ snpnsible. However, he went out of his way to state harmonic modulations, was given, even in the most in your pieces and etudes you will instinctively play She can speak the notes of Dvorak's Humoresque, many, and to the circle of German composers, but that that he had nothing against Meyerbeer the man, but obscure parts, with irreproachable nicety and parity of that it should by the quality of tone be made slightly the fingering you have become familiar witlj. Mean¬ for example, without hesitancy, but cannot play it intonation. I must say as much for the chorus. The separate from the group of two notes which follow, while, in many etudes and pieces you will find short at tempo that is presentable. What can I do was not to be for many years. During his long resi¬ with Mendelssohn, Schumann and others had little re¬ for her?"—C. D. dence in Paris, Meyerbeer formed cordial relations gard for Meyerbeer the musician. Indeed many of running passages, the contrasted double choruses, the which should be felt as belonging together, a small passages of double thirds that can be fingered better with Cherubini, Boieldieu, Auber, Habeneck, Halevy Meyerbeer’s contemporaries did not hesitate to at¬ entries in imitation, the sudden changes from forte to accent being placed on the first of the two. by considering their context, than by trying to refer Many people stammer in music for the same reason and Adam. He was also on the best of terms with his tribute the success of his operas to clever exploitation piano, the intermediate shades, were all given clearly In the next example, the curved line and the dot them to the fingering used in a long scale passage. that many stammer in speech. It is a physiological rival, Rossini, though the latter viewed the Teutonic of Meyerbeer’s friends on the press. When Wagner and vigorously, with rare warmth and a still more rare indicate that the two notes belong in a group by them¬ You would better consider carefully whether or not trouble, and one that very often the piano teacher can element in him with something of the disfavor with wrote his notorious article The Jew in Music (Das sentiment for true expression. The stretta of the Bene¬ selves, and the same with those that follow. The second some of the passages you have seen cannot be ac¬ do little to overcome. It is hardly possible at this which Weber viewed the Latin. “Meyerbeer and I can Judenthum in Musik) for-the Neue Zeitschrift fur diction of the Poniards struck me like a thunderbolt, of the two should be made very short. The dot indi¬ counted for in this manner. distance to determine whether your pupil is of this never agree,” observed Rossini. “Meyerbeer likes Musik, he attacked Meyerbeer among the others. and I was a long time getting over the confusion into cates that the second note must be struck. A tie indi¬ class or not. I have known of such pupils who have sauerkrout better than he does macaroni.” which it threw me.” never been able to overcome their trouble, some with Meyerbeer’s Great Popularity cates that the second note is a continuation of the first. Czerny or Cramer As a general rule it should be only written in such cases really brilliant minds, and active and reliable critical Meyerbeer and Scribe ’ Meyerbeer unquestionably succeeded in winning wide A Meyerbeer Program as require it, for example, when the last beat of a “1. Which should I select for a pupil who is judgments in regard to musical performances. Some¬ Augustine EugSne Scribe was born in Paris in the same popular favor. Louis Philippe made him a member of While by no means impossible to arrange, a Meyerbeer finishing the sixth grade of Mathew's Course, year of Meyerbeer’s birth (1791). Finding law distasteful, measure is to be continued across the - bar. Some¬ thing seemed to be wrong with their nerve centers, the Legion of Honor, and he was elected a member program would be very difficult to provide owing to the fact Czemy-Llebling, or Cramer? She Is a hard worker, he decided to become a dramatist. His methods were that every one would have a different preference in the times in six-eight measure, the third beat is tied to the is not very quick, and has little time for practice. however, and the proper connection between brain and arbitrary and conventional, but he had a certain genius of the Institute of France. The King of Prussia, the matter. Therefore it is better for the one preparing such “2. Should a pupil finishing the third book of which made his plays impressive and successful. The Royal Academy of London, the King of the Nether¬ a program to secure piano arrangements of the Meyerbeer fourth, as in this case the weak beat is tied to the Mathews use the first or second hook of Czerny- fingers did not seem to exist. The get of speaking the technic of his dramatic machinery was usually too obvious operas (Le Prophete, Les Huguenots, L’Africam m IJebling ?”—0. A. to please the taste of genuinely artistic people. Among lands and even Dom Pedro of Brazil all conferred Dinorah), and make a program according to individual strong one. notes will not accomplish much. The fact that a pupil his most successful plays were Le Mariage De Raison and taste. Most of the big vocal numbers from the operas are In playing melody notes with pressure touch, try can instantly tell that a given note on the staff is F Adrienne Lecouvreur. it is as a librettist, however, that high honors upon him. Robert le Diable was one of procurable separately. While tills does not lead to a 1. Can your student play rapidly and easily the last he is destined to go down to fame, as the music which the most successful operas ever written when consid¬ recital program of great musical interest owing to the playing legato with one finger. This will give you an sharp, necessary as that ability may be, is of itself accompanied some of his librettos apparently has sufficient half of the second book of Czerny-Liebling? If so ered from the box-office standpoint. It brought in lack of variety that operatic arrangements present, it idea of the effect. not of so much significance in the act of playing as vitality to Insure longevity. Among the well-known libret¬ nevertheless is interesting from the popular and musical she might take up the easier of the Cramer Etudes. tos by Scribe are La Dame Blanche (Boieldieu), Fra Diavolo over four million francs. But, Meyerbeer was already historical standpoint. There are. of course, numerous old being able to instantly place a finger on the lower of (Auber), La Juice (Halevy), Les Diamante de la Couronne As they are not arranged in progressive order you will •a rich man and did not need this money. He lived paraphrases of the Meyerbeer operas such as Africaine, the three black keys in the group, as soon as the eye (Auber), Vtpres Mciliennes (Verdi) and the famous Meyer¬ by Jaell ; Raff’s arrangement of the berceuse of Seliea from Doring’s Octaves need to use judgment in making your selections. After beer operas Les Huguenots, Robert le Diable, Le Propliete, very modestly indeed and gave much to musicians in L’Africaine; the WAfricaine Fantaisie de Concert by Franz perceives the note. No one can play rapidly who does L’Etoile du Nonl, and L’Africaine. Meyerbeer and Scribe this take up the third hook of Czerny-Liebling, going worked earnestly together and took their work very seri¬ distress. Upon one occasion he raised a sum of six¬ Bendel; the Jaell arrangement of the Obre lefltre from “Dfiring gives directions to drop the wrist as low not acquire this capacity, with the exception, perhaps, ously. Meyerbeer was continually insisting upon changes Dinorah (Grade (5). An arrangement of the same composi¬ as possible in his first exercise. lie also gives other back to the difficult numbers of Cramer later. With teen thousand dollars for the widow of Lortzing. tion by Voss is in Grade 4 and is popular. Riebard Hoff directions which are not in conformity with Mason's of those who commit a thing to memory and develop in the librettos and this often resulted in long delays. man wrote a Caprice de Concert upon Dinorah which was short practice hours, be careful and not make her etude system. Mason says, for example, that the hands speed after that. As you read this page you do hot Meyerbeer’s Last Days once very* popular. Liszt’s Illustration du Prophlfe had its should fall on the keys with a '(ailing arm’ motion. assignments too long. Parisian Successes vogue but is rarely heard now. This work is in three sec¬ Does Doring really mean drop the wrist?”—C. L. think the names of the various letters in any -given In 1854 Meyerbeer presented the rewritten Ein tions. No. 1 contains the famous Coronation March. 2. A pupil finishing the third book of Mathews word. You think the entire word at once. The rapid If Italy had received Meyerbeer with favor France ’Feldlager in Schlesien at the Opera Comique in Paris. gave him even a warmer welcome. When Robert le I am afraid you have not investigated the Doring should be ready for the second number of Czerny- reader in music must be able to do the same thing. This was followed by Le Pardon de Ploermel (other¬ book very thoroughly. If so it seems as if you must Liebling. Diable was produced in Paris in 1831 it was so bril¬ wise known as Dinorah). In addition to his operatic In the case of your pupil I should suggest that you liant, so scintillating, so full of the spice demanded have noticed that he does not take up the question works he also wrote cantatas, festival marches and take things of simple construction, things that are of advanced octave motions in the thorough and by the public and so striking when compared with the dramatic music for his brother Michael’s poem About to Begin rather easy for her, but containing many notes, repeti¬ music of the time that its success was enormous. Its analytical way that Mason does, in fact, he only treats Struensee. His last work was L’Africaine, which tion groups if possible, and let her work them up to fame spread to all the operatic centres and for some “Hiving far from anv town where there are no however, he never lived to see. L’Africaine was pro¬ the preliminaries of octave study. If you will study teachers, I am constantly importuned to teach, al- as rapid a speed as possible. In a case like this the considerable time it was the foremost' operatic work "though i- I* vhave n__r done go j play moderately duced one year after the death of Meyerbeer and is your book a little closer you will notice that the first use of the metronome is often a valuable aid. After of the period. Yet, Meyerbeer realized that he had well. Could yon advise n e what to use in making regarded by many as his foremost work. It is ex¬ exercise to which you refer is only an exercise ypon this attempt?”—B. F. still greater powers and wrote Les Huguenots. So the piece, study or scale is learned at a moderate speed, ceptionally melodious and shows less of the bowing to the edge of the table, not upon the keyboard, in which careful and painstaking was he with the work that set the metronome up notch by notch, as more speed is convention which marred some of his previous efforts the muscles are given some preliminary training. With The first thing for you to do is to procure some it was not done upon contract time and forfeited 30,- required. A single thing worked on in this way for However, like most of Meyerbeer’s productions, there the fingers on the edge of the table,' the aim is to 000 francs thereby. When Les Huguenots was pro¬ teaching material, and make sure that you yourself several weeks will often help amazingly in acquiring is still that remarkable unevenness. Exceptionally develop flexibility of wrist by moving it up and down duced its plot was less fantastic than that of Robert thoroughly understand it at every step. You could not the needed ability in many pieces. Also let her prac¬ beautiful passages—moments of real inspiration are under given directions. In the second chapter he le Diable and the music less superficial. Consequently find a better hook for your purpose than the Beginners’ tice reading at sight every day, taking for this, how¬ followed by measures that are hopelessly trivial and trains the hand to lift up and down on the wrist like the public failed to realize at first that it was a much Book for the Piano. In it the beginner’s problems are ever, very simple things; that is simple for her, the conventional. a hinge, flexibility having been established in the first. more important1 work. Nevertheless the work was taken up one by one, and your way is made as easy easier the better. If she is playing in the third grade, Meyerbeer died at Paris May 2, 1864. He had This is as far as he carries the subject of octave play¬ sufficiently spectacular to command public success. Le for you as is possible, there being many explanations let her work on pieces in the first grade at' sight, Prophete produced in 1849 compared favorably with many fond friends and admirers. Rossini is said to ing in this hook, and there are thousands of would-be in the text that are invaluable to a beginning teacher. playing them at correct tempo at once, and not repeat¬ Les Huguenots but did not extend its composer’s repu¬ have fainted when he heard of his death. His funeral players to whom this much is all they are able to was one of great pomp and circumstance. Great After this hook is finished take up the Standard Graded ing them over and over. Above all, do not advance tation, although the work represents Meyerbeer at his accomplish. Doring’s hook is a sort of boon for those throngs of admirers and “endless” carriages led by the Course. The first easy pieces and exercises will be her in her work too rapidly. Sometimes this mistake very best—a Meyerbeer of serious intent. students who only wish to play a little, and shrink king’s own coach, drawn.by four horses, added to the admirable for review purposes. Few teachers realize ruins pupils, for both mind and muscles acquire, the from being asked to make a detailed analysis of a importance of the event. how necessary review work is. I mean review of habit of hesitating before every task. If your pupil Meyerbeer and Jenny Lind long series of motions that they never will be able principles by means of new pieces. Pupils developing is to increase her facility, it probably must be in pieces Meyerbeer’s fame in Paris had now extended to Meyerbeer as Conductor to apply. Their desire to play for home amusement a tendency to strained or stiff conditions of the muscles and studies which seem to both you and her much Berlin and it is not surprising to find him appointed and pleasure is laudable, but so far as octaves are con¬ Meyerbeer was one of the few contemporary musi¬ can overcome this by practicing things that seem easy. simpler than she seemingly ought to be studying. But as the Generalmusik director in 1842, by King Frederick MEYERBEER TRAVEL PIANO, USED BY HIM FOR PRACTICE cerned they will never be able to carry them any cians who had the foresight to recognize in Berlioz a Of course every teacher is always at liberty to omit she will learn more facility by taking the simpler things PURPOSES WHILE ON TOUR. farther than they find them treated in Doring. the easy beginnings with any pupil who does not need and working them up by long continued practice. 347 346 THE ETUDE THE ETUDE from Mignon but quite different in musical content CANTERBURY BELLS—M. LOEB-EVANS. Violinists will enjoy this number and it will makea A graceful drawing room piece of intermediate grade, real useful study piece. introducing a variety of brilliant and popular eirects. BALLET OF SIRENS Pieces of this type afford good practice in grace notes, LARGHETTO FROM SYMPHONY IN D (Plpp Poco moderato m.m. J=84 CARL KOELLING in lightness of touch and in evenness of execution so ORGAN)—L. VAN BEETHOVEN’. that they are really worth while studying, aside from One of the most beautiful and expressive of BUl. their value in recital work and in home playing. Grade hoven’s slow movements. Although written for orches. 3J6. tra originally, it sounds when played on the organ as IN THE PAVILION—C. W. CADMAN. although it might actually have been written for that in- Mr. Charles Wakefield Cadman is a- young American strument. One of the chief characteristics of Beet- composer whose works have become very popular in hoven is found in the fact that he wrote pure music, ERL KING—SCHUBERT-LISZT. recent years. Although he is best known by his songs, music that sounds almost equally well no matter for Of all the transcriptions by Liszt, of Schubert’s songs, he has written many acceptable pianoforte pieces. In what instrument or instruments it may be arranged. the Erl King is the most pretentious. The dramatic the Pavilion is an effective composition of intermediate The Larghetto will m»ke a very effective soft voluntary. construction of this famous art-song is such that it grade in the modern gavotte or schottische rhythm. It lends itself very favorably to instrumental transcription. is not at all conventional, having some really original THE FOUR HAND NUMBERS. In the original of this particular song, the piano ac¬ touches. It should be played in a graceful, rather The Romance from Mozart’s D-minor Concerto is companiment plays a very important part and this is buoyant manner. Grade 3. one of his most beautiful slow movements. This num¬ considerably enhanced in the version by Liszt. ber is frequently played separately as a solo but it is The chief difficulty in this number lies in the fact that VILLAGE FIDDLER—H. WILDERMERE. even more effective in the four hand arrangement, since it requires considerable strength on the part of the A bright, characteristic piece well suited to the ap¬ one can give a suggestion of the orchestral accom¬ performer and calls for hands of rather extended span. proaching summer season. Unlike many pieces of this paniment. Throughout all the chord and octave work the melody character the Village Fiddler contains considerable of Hans Engelmann’s Taps was one of his last com¬ must stand out with large, sustained tones. The ac¬ harmonic interest with rather more variety of treatment positions. It is about as good a march of its type as companiment seems to suggest, in many passages, the than one usually meets in pieces of this type. It should one could find and it will be found especially pleasing galloping of a horse; in others the sighing of the wind be taken at a rather rapid pace with crisp accentuation. and inspiring in the four hand arrangement. through the trees, etc. and it is altered to suit succes¬ Grade 3. sively the voice of the Father, the Child and of the THE VOCAL NUMBERS. Erl King. Pieces of this type may be studied for VILLAGE GIRINS—J. T. WOLCOTT. Mr. Wakefield-Smith’s Lily and the Bluebell is a tak¬ months and they continue to disclose new beauties and A novel waltz movement in which the principal theme, ing, characteristic song which should go well as an added possibilities in the line of emotional effects. first given out by the left hand, appears again in the encore number or as one of a group of recital songs. Grade 9. right hand in the form of a variation as the second It should be sung in characteristic style and with elo¬ theme. This waltz will afford good finger practice. cutionary emphasis. ROMANCE-SCHUMANN-HARTHAN. It is not intended for dancing but will prove useful for Mr. O’Hara’s Some Day When You Are Mine ap¬ This is a new addition to Dr. Hans Harthan’s series recital or recreation purposes. Grade 3. proaches the popular style somewhat, hut it is neverthe¬ of transcriptions and rearrangements from the great less a very artistic song. The refrain is one of the masters. In the original this Romance of Schumann TWILIGHT ON THE MOUNTAINS—L. RENK. sort that will linger in the ear long after one has heard is in the key of F-sharp and it is rather difficult of ex¬ Twilight on the Mountains is a drawing room piece it ecution, especially for small hands. The melody, how¬ of the easiest grade, in fact it is about as easy as it is MUSICAL RECITATION. ever, is so beautiful that it is well worth while to have possible to make a piece in this particular style. It This introduces a novelty in our music pages. C it so arranged as to bring the composition within the will prove useful for teaching purposes as a study in S. Briggs is a composer who is well known among range of players of average attainments. A familiarity tone production and in the singing style. Grade 3. singers for her many successful sacred and secular with the piece in this version will be an aid to the songs. Her setting of Mary Call the Cattle Home is player later on when the original version is taken up. MARCH OF THE MIDGETS—D. ROWE. an exceedingly sympathetic one. This should not be The general effect is that of a duet for voices and the This is a very interesting number for the left hand sung but should be recited with elocutionary effect chief aim of the player is to bring out these voices alone. The remarks which have been made previously while the piano furnished sound and sympathetic musi¬ clearly and smoothly throughout the entire piece. as to pieces for the left hand will apply equally to this cal background. The reciter or reader should not feel Grade 4. cgmposition. The melody tones, taken largely by the hampered by the accompaniment in the slightest, but thumb, must be brought out strongly while the accent should go on just as though there were no accompani¬ POLISH DANCE—G. EGGELING. is subordinated. The pedal should be used just exactly ment; while the player, using the words as a guide, This is an imposing composition, based on a somewhat as marked, both to sustain the harmonies and to assist follows the reciter as closely as possible, adapting the familiar rhythm, but nevertheless displaying consider¬ in binding together the melody tones. Grade 3. time and rhythm of the music to the recitation. If able originality in- melody and harmony. Mr. Eggeling this is well managed the effect will be highly satis¬ is one of the best of contemporary writers of edu¬ FROM HUNGARY—C. W. KERN. factory. cational pianoforte music. This Polish Dance is an A lively characteristic piece in the true Hungarian excellent specimen of his work; it employs a variety style. In the second theme of this number a genuine of chord and octave technic, requiring the use of both Hungarian melody is quoted. This melody, by the way Disciplining Contrary Pupils the arm and wrist touches. It should be played with has been used by Brahms as the second theme to one large, full tope and rather exaggerated accentuation. of his Hungarian dances and it has also been employed By CHARLES H. DEMOREST Grade 4. by other composers. Grade 2l/2. REALM OF DREAMS—A. J. BOEX. DECORATION DAY—G. L. SPAULDING. Assuming that the so-called contrary pupil is not tl This melodious drawing room piece is one of the last A very appropriate little teaching piece for the May absolutely perverse type, let us define such as one wl compositions of Andrew J. Boex, a well known Ameri¬ number of The Etude. Its chief advantage lies in the apparently opposes all or nearly all of the teachei can writer, recently deceased. Mr. Boex wrote in all fact that it introduces a number of popular melodies advice and suggestions, while at heart he is unco: forms but was particularly successful with his church sacred and secular,, such as one is accustomed to hear sciously accepting them. His apparent opposition seen music and with pianoforte pieces of lighter character. on Decoration Day and at various memorial exercises to be a peculiar mental quality caused by a desire f Realm of Dreams does not offer any special difficulties Grade 2. particular attention from the teacher, or a sort i but it will require a finished style of execution and the unconscious temptation to irritate. employment of the singing style of delivery through¬ . manner of dealing with this sort of a “problen out. Grade 4. MXLtiAiKE (PIANO OR ORGAN)— G. N. ROCKWELL. is riot difficult. First and foremost, let the teacher sho absolutely no irritation, no matter what the temptatic BALLET OF SIRENS—C. KOELLING. Mr. Rockwell’s Prelude Militaire will prove equally effective on either the piano or the organ. It is in the tnay be. Then when suggestions are given or rul This is one of the last compositions of the veteran style of a patrol, beginning exceedingly pianissimo and stat.e, ’ ‘f objections are made by the pupil, ignore the composer Carl Koelling. Although Mr. Koelling lived then increasing to a climax and finally decreasing and absolutely, but in such a way that the pupil cann to an advanced age, he never lost his gifts of melodic dying away in the distance, as it were. When played secretly exult over any seeming aggravation. inspiration and his works display an almost youthful on the piano this crescendo and decrescendo effect will he desire in a pupil to command more attention < vigor and cheerfulness. Ballet of Sirens is a very in erest from a teacher than should be given him seen pleasing, characteristic piece. The first theme is so be managed by a gradual increase in heaviness and force of touch. When played on the organ the same to be a frequent fault. Never for one moment let harmonized that the melody appears to be in an alto pupil think that you are not interested heart and so voice. The middle section should be played in a rather effect will be managed in a purely mechanical manner by the addition and the taking away of stop after m every detail of his progress; but he must know th; tempestuous manner, quieting down as it returns to¬ nonor is given where honor is due” and that in ju ward the opening theme. Grade 4. stop. In either case a slightly staccato touch should be used throughout in order to give the necessary effect o tar as he is diligent and attentive, he will commar of military precision. Grade 3. the sympathetic interest of the teacher. It is his woi DREAMLAND VOICES—W. ROLFE. an not his attitude that commands whole-hearte A very graceful drawing room piece, employing a CYNTHIA (VIOLIN AND PIANO)— sympathy. In fact, if the teacher so directs his ow somewhat conventional figure in the accompaniment H. TOLHURST. +h»n 3 att,tude that he thoroughly sympathizes wit but with a pleasing variety in melodic content. When Mr. Tolhurst is a well-known English violinist and pupd s great need, he will soon see his efforts me a 6/8 rhythm is employed in pieces of dreamy or con¬ teacher whose compositions have found favor among with success, not only in his pupil’s progress, but in templative type, care must be taken not to render it in our readers in the past. Cynthia is one of his most 1 abandonment of this contrary attitude, until : a jerky manner, but rather smoothly and flowingly. recent works. This is in the style of a modern gavotte ,a luofough sympathetic mutual understanding Grade 3J4. It is very similar in rhythm to the well-known Gavotte of endeavor-1 W’U eventually ,ead to the highest resul
British Copyright.SeCBtefl 349 348 THE ETUDE THE ETUDE REALM OF DREAMS
FOR THE LEFT HAND ALONE
British Copyright Secured 850 THE ETUDE VILLAGE GIRLS , VALSE
Tempo Valse J. TRUMAN WOLCOTT
Copyright 1915 by Theo. Presser Co.
British Copyright Secured 352 THE ETUDE THE ETUDE 85.1 IN THE PAVTLLION Arr. by Hans Harthan ROMANCE Einfach (Semplice)M.M.JWo R. SCHUMANN, Op. 28, N9 2 THE ETUDE 855 354 THE ETUDE TAPS! TAPS! H.ENGELMANN MILITARY MARCH H.ENGELMANN MILITARY MARCH SECONDO g Tempo.di Marcia PR I MO Tempo.di Marcia Maestoso M.M.J =120 Maestoso B 4 5 ^ m.m.J = 120 >24 1 4 3 s> qq—- > ■> , 1 2 f f r t 1 ) [Tf jl- J. 1 > > >> mf ^ f Bugle Call /C\
. is- 4, 3 2 1""''^ - / P* ->
" " > ^ > > > Sf -±>" —■> ■J>-
Copyright 1915 by Theo. Presser Co. British Copyright Secured THE ETUDE 357 356 THE ETUDE Fragment from Concerto in D Minor Fragment from Concerto in D Minor ROMANZA ROMANZA W. A. MOZART Andante m.m.J = 84 Andante m.m.J- 84 PRIMO W A. MOZART SECONDO nr i ———- p dolce -f-1*-1*-f-
k THE ETUDE 359 THE ETUDE 358 VILLAGE FIDDLER RUSTIC DANCE HENRY WILDERMERE
TWILIGHT ON THE RIVER BARCAROLLE _LUDWIG renk Dreamily m. m. J
rtif calmato cresc. dim. 1 1 uTf
* 4 °L 3 •—^Ji 4 2 4 a 1 4 2 5 8 4 I_ JrT^: 6 3 i p 4 i i%fc==^= r r*r- < accel e cres cow passtone p* ^
D.C. Copyright 1915 by Theo. Presser Co. Copyright 1915 by Theo. Presser Co. British Copyright Secured British Copyright Secured ▼ THE ETUDE 361 the etude (The child:) “See the ERL-KING (Thefitlu r:) Dear son, what makes thy sweet face grow erlkonig FRANZ LISZT ‘ Edited and fingered by Song by FRANZ SCHUBERT MAL'RITS LEEFSON
JCiX'JL ^ A-UIg 1 S ■ N * m «*«*« a 1 1 pp tmn J Q i , lT~_ji_
V V ntf V V
son it is i—— some mis - ty cloud.” (The EH king:) “Thou —j-j-p*-•-M- /hj^k m-f=H m m hJlITIjjyjh IJ7]JT| njTii rnjTiJSM
] quillo . si lk. ai
' 9 [ L * 4 1 7 ‘ 7 ? ♦ 3 t 5 * 61 >^L4 l£* g: "-P |= ^ ii y^misterioso | | espress. ]7^l .rtytytyf} 7 {]r- Jp p >-pGJ fileggfi P P p ‘p t £ p rJ P P P P g*imes I’ll play s 3 * a with thee; Where var - - ied bios - soms grow
rP-rl ■ 1 %-#-, $£=-f=\ & ■ ft mAi IP r t — TT- f f {\j]£]£] ! j: f: ^ i\ iWl »:■: a a 4 -^44^ VTTk V*p p p ■ in the wold, And my moth - er hath manya robe of gold.” fThe child: 1 “Dear 8. yi l \ |g. | a sy-—-Jfil t' A
•FOssia as before. THE ETUDE
the Erl kingwhis-per
.r if i j ^ . come with me? Where_my beau - teous daugh-ter doth wait for thee, With my daugh-ter thou’It join in the dance ev’ry night, shall •• Iff! j ♦ 0 zLid Ft - jfin j m f t f icfjy r if 8]r £ kt [id cP, ilrgu•• rf fr Irff ftr rffr rtrJsE=-^ Cr ^ri ^ eCT [ £r il piu presto possibile l-ull theewith sweet songs to give thee de-light, and lull theewith sweet songs to give theede-light (The child) “Dear The fa - - ther shudder’d His pace grew more wild, He i - • grasp!
But in his arms lol his child lay dead! “ Andante
* Ossia as before. *M* the etude THE ETUDE 364 POLISH DANCE POLNISCHER TANZ GEORG EGGEUNG,op.lt) Energico m.m. J=iae
M
DREAMLAND VOICES WALTER ROLFE Andantino m.m. J =54
-jfjpl-— pwan,
Ciii§S ted
;?! __ 1 1 ¥—¥ :iii * D.C. W y \y Copyright 1915 by Theo. Presser Co. British Copyright Secured International Copyti**1 367 the etude THE ETUDE
CANTERBURY BELLS MATILEE LOEB EVANS Allegretto M M J. =
FfttrfFfFFFFFF
jt>
5 K 5 I if 0 j1 8-—'- i nn ? f If 5 ?
ySS pH
AiAtA*; Jl hi -f1 J'f7} »# l: Lz. V-- ^ V3T
Copyright 1915 by Theo.Presser Co.
British Copyn?MSet,,l< ■ the etude 868 368 THE etude DECORATION DAY GEO. L. SPAULDING
British Cupyr»ght: 371 THE ETUDE THE ETUDE 370 PRELUDE MILITAIRE 0 MARY, GO AND CALL THE CATTLE HOME GEO. NOYES ROCKWELL RECITATION WITH PIANOFORTE ACCOMPANIMENT Sw. Cornopean.Oboe. Aeoline. ASSEMBLY CHARLES KINGSLEY q g BRIGGS Moderato t. Trumpet with open
/ 1 flPlJm.ff ALg V jarra^ rr T-f- =f=- f f / P “0 Ma-ry, go and call the cat-tie home, And call the cat-tie home, And c fall theV cat-tie home,>r- A - . -p-* _ n -&■ f2
pp very gradually growing
^ji=i^^a=az= r-4-. [r; ~o . F » 5: f' i They rowed her in, a - cross the roll-ing foam, The cru-el, crawl-ing foam, The cru-el,hun-gry foam To her grave be-side the sea.
■'I' f
ritard a little softer_^
But still the boat-men hear her call the cat-tie home. FT A - crossthe sands o’ Dee.
c°Pyright 1915 by Theo. Presser Co. British Copyrtf“s*c",ei I British Copyright Secured THE ETUDE 373 372 the etude SOME DAY WHEN YOU ARE MINE all of this and more will be till death shall make us part, Per - haps all thro’ E-ter-ni-ty, You still will share my heart, FRED. G. ROVER all of this and more will be when God hath made us one, When all your love shall be for me, And life’s long day be done.^^ * Moderato
joy, if yoi i are near. The hours that run shall be as gold, and years like un - to days, Our search of eni 1 - ■ less day. The glo - ries of that mys - tie land shall ^reet our hui n - ger’d sight, And * THE LILY AND THE BLUE BELL J f r ' fTTr f *f : T ■ 1 i 1 emu Andante jnoderato . H. WAKEFIELD SMITH -- w 0 -—*---#-*--■ • . ' m m - — JW -#-*• ■ -- —] ,withfervor frlrj J J J1 jy j, h , ft [ ■ P J)
^ wealth of love will be un - told when to those heights we rise: The sun will shine to give us warmth and mu - sic from a spir - it band will cheer us in our flight. We’ll breathe the scent of flowYs so rich, so J— | | p 1 "’*1
itf iif J || | | 1 dim. ISty fel^ Kissed by the sun-light and farm’d by the breezes, , Bloss-om’d * a lit-tie blue bell, Out In the brook grew a
A 1 r
^ cheer, I’ll sing to you and hold voi, H ^ -- - - rare,- No grief, no care, can come to harm T, J®ar' g ^ con espressidne _7^ , 'rit t r\
white-rob’d pond HI - y, - State-ly but lone-ly was he,— Ahlhowhe longdforthe sweet lit-tfe blue bell, Think-ing of him tgo, was sheW^
—fffl
Copyright MCMVIII by The William Maxwell Music Co. Copyright transferred 1914 to Theo. Presser Co. International Copyr*^1 Vi/ Copyright MCMI11 by The William Maxwell Music Co. Cbpyright transferred 1914 to Theo. Presser Co. International Copyright Secured THE ETUDE 375 the etude 374 Why Rubinstein Failed as a Composer It was Rubinstein’s greatest ambition witticism—a variant of one that has been to be remembered not as a great pianist, used of other men on other subjects— but as a great composer; and he worked which declared Rubinstein to be “the with feverish haste to pour out, in com¬ greatest pianist among composers and the positions of all forms, ideas that h'e cer¬ greatest composer among pianists.” It tainly possessed in abundance; but with had in it the grain of truth that to a ra-Quality PIANOS a lack of skill in utilizing them, a lack degree embittered his whole artistic of self-criticism, a .ack of patience to career. His ambition as a composer consider and ponder, and file anjd finish. poisoned for him all the fame, the ad¬ and PLAYER- PIANOS The Horatian maxim was not for him. miration, the tremendous influence he had The saying is attributed to him that after as one of the greatest of all pianists. He he had reached the double bar at the wrote from time to time essays in the end of a composition he would rather public prints that voice his deep dissatis¬ go on to another one than to go back faction with the rewards that fame had over the one just finished to see if he given him and his deep-seated desire that could improve it. It is a result of this they should be other than they were. prodigal squandering of ideas that so But time has only confirmed the lot that little of Rubinstein’s music has kept the befell him while he lived. The glory of spark of life and maintained itself upon an executant, an interpretative artist, the concert stage or in the theatre. living only in memories and records, has So he had the bitter disappointment been more enduring in his case than all during his life of seeing many of his the works he wrote with hopes so ardent1 aew works fall into speedy neglect, one and ambition so burning.. a'fter another, as he launched them, with His champions told us for many years all the dazzling prestige of his name— that Rubinstein’s music was unduly,' un¬ all but the “Ocean” symphony. That he justly neglected, to the great loss of the saw flourish in repeated performances, musical public. It was even said that and so he attached himself to it with the evil minds or the deficient under¬ intense eagerness. The “Ocean” sym¬ standing of conductors, managers,' and phony succeeded; hence, if he could not For three gen¬ performing musicians of all kinds had erations Kran- get the public to listen to his other kept from the public the works of Rubin¬ ich & Bach works, he would fasten new ideas to the stein that it was hungering for. Strange pianos have “Ocean” symphony and force them to that a whole race of people who live been produced success in that way. He composed two by providing the public with what, in ence to the new movements for it, adding to the or¬ the long run, it wishes, and who can live leftiest ideals thodox four an adagio, intended to take only by their success in doing so, should of musical ex- the second place, and connected themati¬ so persistently blind themselves to their cally with the first movement, and a own interests! The truth is, of course, bined with the highest standards scherzo, intended to come before the that it is the public that has allowed these last movement, fifth in order. works to fall into neglect, because for the and design. Today This is the “second version” of the public they no longer live. more than ever, the “Ocean” symphony. But once again did Rubinstein has been compared to name Kranich & Bach on a the composer, brooding over his one suc¬ Schubert in his wealth of melody; but piano represents unquestioned cessful offspring, return to its enlarge¬ value and unequalled tone. this is to forget the lack of depth that For real musical merit these ment. As late as 1882, twenty-four years went with his facile invention. It is a world famous instruments after its first production, he made the Inore acute estimate that makes him, as have no competition. After more than fifty years of public “third version,” adding another new Riemann does, a complicated mixture of recognition Kranich & Bach quality stands today in a class movement, the seventh. It is called “The unequalled and unapproached. Educated musicians the world qualities belonging . to Mendelssohn, JUBILEE PLAYER Storm.” Perhaps Rubinstein is entitled over pay tribute to the superiority of these fine instruments by Schumann, and Chopin, with traces of acknowledging them the standard of the world. Price, $700 L to more praise for restraining himself Liszt and Berlioz, and an occasional ad¬ twenty years from putting a “storm” mixture of the Russian national type. Representatives in all principal cities. F. 0. B. NEW YORK into an “Ocean” symphony than he is This is sufficiently difficult; but however Write for our “Golden Anniversary" Booklet. for imagining that a symphony in seven the fortnula be adjusted, it is enough to movements is a possible thing or that put him among the “epigones” and the three additional movements could add “eclectics,” both very bad names to give KRANICH & BACH 75 per cent, to its value. At all events, a composer who has ambitions to stand 233-243 East 23d Street the spectacle of a great artist using his by himself. If it be true, or only par¬ NEW YORK CITY one successful symphonic work as a life tially true, it is enough to explain why so buoy to keep his talent as a composer few compositions have been unable thus above water has something of the longer to withstand the tooth of Time.— pathetic in it. Richard Aldrich in the New York There was an old and somewhat stale & 1
Some Good Goldmark Stories 12 Day The recently deceased Nestor of mod¬ ters. Goldmark, somewhat surprised and Jill Expense em composers, Carl Goldmark, contrib¬ disturbed, remarked: Northern Cruise uted much as a music critic to the suc¬ “But Master, do you not find a satis¬ cess of Richard Wagner in Vienna. In¬ faction, a consolation, a compensation in $60 Si deed he did much to establish a Wagner the consciousness of your immortality?” cult and among his adherents were no Thereupon Wagner became enraged jess than Peter Cornelius, Karl Tausig, and screamed, “Don’t bring that up to Including all essential expenses for travel, berth and board, is offered by the Heinrich Porges and others. .Goldmark, me. Men told Cherubini that he too was however, only saw Wagner once. Once, immortal, when he was upon his death when Goldmark ifras going along the bed and longing to die. Then Cherubini RED CROSS LINE mng Street, he saw two men approach- cried out ‘Immortality 1 don’t' play any bad Visiting HALIFAX, NOVA SCOTIA, ■ug him, one of whom was behaving like and ST. JOHN’S, NEW FOUNDLAND a drunken man. That was Wagner who jokes on me.’” was representing to his friends how the Mozart and Beethoven chorus in the second act of Lohengrin had behaved at the performance at the Goldmark delivered himself of two ex¬ M of burg Theatre. Wagner’s friend cellent aphorisms upon the relative im¬ portance of Beethoven and Mozart1. “Mo¬ e more e lg t u . Excellent Fishing and Shooting ™ew Goldmark and introduced him to w tourist steamships—“Stephano" and “Florae!”—fitted with every device for comfort at zart’s music is the deepest expression of e famous composer. Together they ri^mGre&aaXa8S^rtsf bilge keels, submarine beils, etc.-7 d Went to the residence of the master who the noblest in mankind; Beethoven’s lune, Septt tnber and October d?mPlained bitterly of the fate of operatic music is the deepest expression of the mctors and composers in money mat¬ e, N. Y„ oi your Tourist Ager Please mention THE ETUDE when addressing our advertisers. 377 THE ETUDE 376 THE ETUDE The Bugbear of Breaking Does Your Musical Work Need f0brteheof °nte’o*p«f-thc8o ^imusic,8 h5!as dInethr: 8sJ-- Down MY SIX WEEKS Housecleaning ? feet of the dancer move more sure Y SUMMER COURSE when the music pulses w, th ^ strong By ANNE GUILBERT MAHON By MRS. J. IRVING WOOD support of the drum, so the senses a ind Teachers of Singing w , satisfied with the artistic but ever Few pianists, probably, have not at In these days of the vacuum cleaner curring emphasis. hat no one need stay who feels that some stage of their career experienced oeip is not being given, and ready made housekeeping with hot the fear of breaking down when playW information regarding my way of water supplied, perhaps the old New before an audience. Even famous mu¬ England spirit which did battle with ‘Keeping At It” sicians have confessed that they Wtrt GEORGE CHADWICK STOCK germs and general disorder at stated harrowingly nervous before a perform¬ By CLARENCE F. S. KOEHLER Vocal Studio, Y.M.C.A.Bldg.,New Haven,Conn. periods is a thing of the past. But the ance, though they realized their pro. Established 1893 general clean-up of our musical store¬ ficiency. A Bird’s-Eye View of the Main the negative. But the crying need is, to tongue, lips, jaw or even breathing, he Author ot "Guiding Thoughts for Singers" a cold, windy winter morning a $1, postage prepaid houses would certainly be a boon to our¬ The bugbear of breaking down is far hammer the simple truths about singing loses sight of his main object, the tone, young lad about six years of age, under- selves as well as the patient public. To IpU less likely to harass a musician in per. Essentials of Singing into the minds of the studying youths, and disaster is sure to overtake it, and this end let me commend to you a most t]lc huge task of removing snow, feet health. One may know a piece per. until their erroneous ideas about it and with it the singer. useful and important implement. the depth of which was very nearly two All thinkers and certainly all scientists Beauty Is No fectly and when in good condition play with them their errors will disappear. One of the vital differences between feet from a lengthy sidewalk. His only tool feel that the universe is ruled by a two¬ As the title of this essay indicates,'its it so that it entrances his audience. An¬ the music of a virtuoso and‘ that of ; ~ s'a small shovel, such as those included fold energy—the spiritual and the ma¬ object is not to go into details of sing¬ other time, although knowing the piece The Mental Conception of Tone amateur is the absolute cleanness and , children’s toy garden sets. . terial. This axiom mirrors itself through¬ ing, but to present its nature to the D. A. CLIPPINGER just as well, he may be tired, nervous AUTHOR OF certainty of the artist’s execution. This A pedestrian chanced by, and noticing out the entire scale of living beings. The The reader will notice that in enumer¬ reader. Admittedly the foremost activity Secret below par physically, and may make a s based on accent. That of construction tj]e jacj> t but very nearly fruitless more perfect the twofold energy, the ating the parts of the vocal apparatus to in singing falls to breathing. Here the Systematic Voice Training miserable failure. Keeping in good con¬ and phrasing and again the artistic a efforts to make a path, stopped and be developed, I say nothing at all about aim must be to keep the breath down will hold his Institute for Singers dition, then, is necessary in guarding nearer its result to what is designated— cent of interpretation. The artist i laughingly called out to him, “I say, my the throat. Advisedly so. The throat, and the tone up. The paramount impor¬ Irregular features are common— against this fear of breaking down. in quite an instinctive fashion—as BEGINNING JUNE 28th AND upon a certain note at a given instant. raanj how do you ever expect to “divine.” No action is purely mechanical. including all muscles and cartilages that tance of correct breathing impels me to CONTINUING FIVE WEEKS Real Beauty docs not lie in the Such is the demand of the brain that make a, pa(.}, through this snow with such You should, of course, know a piece perfectly before attempting to play it fjt It may be so in appearance, after con¬ go to make it up, is the tone-producing go just a little beyond the scope of this The full course is a combination of private perfection of features but in the created. He is there just at the given a tiny shovel?” scious effort has succeeded to overcome instrument. It is to the singer what the article. I once more emphasize the im¬ lessons, class lessons, lectures and recitals. complexion. A velvety skin with moment and announces the fact. The The little fellow thrust up a ruddy face an audience. Any other procedure spells the neutrality inherent in matter, making piano is to the pianist, or the violin to portance of the singer’s not paying the His success with the head voice has brought car is satisfied. All is well. and facing the man squarely, answered, sure failure. But it is to those who a soft, clear, pearly white appear¬ the violinist. The singer’s instrument is least attention to the diaphragm; hut, to him singers from all parts of the country. When we analyze our own execution in “By keeping at it, that’s how.” realize that they do know their selections it slow of movement, to such a degree, ance is the perfect complexion. To not only hidden; its working mechanism, in his breathing exercises, to concern piano playing, let us say, and self-analysis The man passed on in silence. yet are of such a nervous temperament that spiritual and material energy, fol¬ o?rncdm'S D. A. CLIPPINGER obtain this appearance the society is as the tempering of steel, bringing that they fear failure, I am addressing lowing each other with the greatest too, is to a great extent a mystery, and himself with the lungs alone. If he 414-415 KIMBALL HALL, CHICAGO, ILL. _ Students (and especially is this true of women of two continents have strength, we will find the difficult passage this. swiftness, are seemingly one, offering to will always remain so, all present and wishes to get a perfect insight into their consistently used which our fingers have either students of music) are often too easily You have seen musicians break down the unthinking only one solution, that of future laryngoscopical investigations not¬ activity, let him exhaust these organs of stumbled or rushed along with a bravado discouraged. In their daily study "iey in a variety of ways, have you not? being mechanical. withstanding. The reason for this is, as much air as possible, watching their meant to conceal. Smooth it out; polish meet with passages of extreme difficulty, Some have stumbled painfully, broken that any extraneous object placed in the motion as they collapse. The two wings In New York This Summer itil the roughness disappears under this passages which they have perhaps heard The painter, sculptor, architect, poet, off abruptly and started on another move¬ throat during tone production interferes will move inward and toward each other weapon of accent. A phrase involved is rendered in flawless manner by some composer, inventor, etc., first conceive the ment or piece. Others have collapsed en¬ with its natural activity. Nature cannot in a lateral way; the greatest and most i_ ——j. —-i —1 world renowned virtuoso. Their deter- work to be created—spiritual energy— GEORGE E. SHEA a thought of the composer lost; his in- tirely. But did you ever know that far be improved upon; nor does she require OF PARIS Gouraud’s tent is perverted and the general effect initiation to become musically great sud- then, by means of the instruments on noticeable activity taking place in the more musicians break down than yon any outside help. And in her wisdom she region of the floating ribs. Hence, if of the composition is spoiled. I know denly falls and they probably whine to have any idea of ? Did you ever know hand, give it a concrete form, causing it Singing Lessons for knows best what to do to produce this the lungs inflate themselves—and it is t charming waltz of..n Chopin’s which themselves, “O, well, I can’t play this and that even at a public recital something to be discernible to the eye, or ear, as or that tone, or row of tones. There¬ and there is a wonderful melody i i double there is no use trying. I’ll never be able may so happen that a musician is thrown the case may be—mechanical energy. The their irresistible desire to do so, after Teachers Students rhythm, waiting to be sung above the 1 a play like Paderewski, anyway, so I’m fore all conscious throat-adjustment is air expulsion—the reverse takes place; TONE, TONGUE-TRAINING, off, but he catches himself so deftly that more perfect the instrument, whose mis¬ STYLE, GESTURE rippling_ waltz tempo. How many,_ many ot going to waste my time trying.” radically wrong. To repeat what was they move out and forward, going in the Oriental scarcely anyone is the wiser? A person sion is to carry into the outside world 171 W. 57th St., (Mondays, Thursdays) l have heard it played with this then they savagely cast their music aside said in the beginning of this dissertation, familiar with the piece or with the score the life of the inner one, the nearer ap¬ opposite direction, which is the only cor¬ melody, involved or wholly lost for lack and thump out some musical trash of the the singer must think the tone—its pitch, 410 Riverside Drive, (Home and Summer Studio) before him would know, of course, that rect mode of inhalation. Why do not the of proper accent. This'' is only c ‘ day. proaches the manifested effect the men¬ NEW YORK the performer had made a slip, but, i! quality and vowel sound—desire to sing advocates of “think of the diaphragm” many. Of course, I speak not to the If the student will, in his wild haste to tal conception. the musician catches himself smoothly, it, and, provided the lips, jaw, tongue, during breathing also direct the attention rS OperataMF^nce ° “ng artist. Look well to the accent of your give up, stop and ask himself a few ques- This applies, in its entirety, to the balancing the harmony until he is sure of soft palate and lungs have attained the to the intercostal muscles, which are as Cream pupils’ playing. Explain to them that it light will dawn upon him singer. The desire to sing is the spirit¬ highest degree of perfection, it will issue himself again, many a person in the audi¬ important in their way as the first named is a thought more necessary to a musi- such as none other has before. Let him ual energy; the production of the tone, ence will never know that he has “broken out of the mouth true to its mental con¬ is in his? But why, indeed, think of than long hair. If a scale ask himself what manner he thinks the material energy. The more efficient down.” ception. Through the constant and these muscles at all? It is not they that for nearly three-quarters of a passage is lagging, perhaps the proper the virtuoso, whom he heard render this the muscles, by the aid of which the The pianist who is a master of chords methodical practice of the right tone the breathe, it is the lungs. Definite words accent, attack I might call it, will carry fluently, obtained this perfec- tone is conveyed to ..the outside world, SIBYL SAMMIS MacDERMID century. They found it to be half the way, even all the way. and harmony so that he can transpose tiny voice-producing muscles will also convey a definite meaning. I do not like Did he play it over once c the nearer comes the tone to the singer’s the ideal liquid face cream. It athlete runs before he takes his flying become angry and disheartened at its easily, even should his memory fail him have a chance to develop. The person to use the word “attack” in connection TourUonCwhfchtOTe of" he^rln" mental conception of it. It follows then, eipal successes was the song has none of the disadvantages of leap. Thus it is that proper accent car- difficulties, and then cast it aside thinking cr his nerves play him a trick, will win who imitates the crowing of a rooster, with voice-production. Webster defines that the singer is under the same obli¬ dry powder, such as clogging the lies one to the other side of difficulty, that he would never be able to master it’ success even though he should “break the removal of a cork from a bottle, it as: “to fall upon with force, to assail,” When Phyllis Takes Her Vocal Lesson down” literally. gation, regarding the mechanism of the by LOUISE AYRES GARNETT pores — rubbing off — easily de¬ Many of our great composers, especially Certainly not. How then did he come the noise of a steam-engine, etc., does etc. For this reason I taboo it in teach¬ the modern writers, express themselves into possession of this fluency’ This docs not mean, of course, that vocal apparatus, as the instrumentalist Price 50 eta. tected—and leaving “that parched not consciously direct this or that throat- ing, using instead, “inception of tone.” by means of the most unusual and un- He got it by keeping at it He studied careless playing should be tolerated A is to that of his hands. Just as the muscle. No, he merely gives himself up Send to your dealer for a copy (enclosing 27 cts.) feeling”—Try it! and see the im¬ Though exact to a degree, it must also expected accents. Startling as these it, analyzed it, literally “picked it to true musician would scorn to interpret violinist, or the pianist has to give the to the correct sound that he wishes to provement in your appearance and be gentle and smooth, being upheld by CLAYTON F. SUMMY CO. sometimes arc, they must be carefully pieces,” worked upon it and worked and anything which he felt he could not do closest possible attention to the develop¬ irfiitate; saturates his brain, so to speak, justice to. It is only when one does know the underlying air with as distinct a PUBLISHERS the nourishing effect on the skin. regarded. C aude Debussy or Vincent worked on it still more. In that wav he ment of the fingers, hands, wrists and with its nature and with the utmost con¬ D Indy would have it so and it is not mastered the passage. He then probably a selection thoroughly and then, through buoyancy as a cork is by water. This 64 E. Van Buren St., Chicago It does not contain grease and arms; to the unfolding of their latent fidence in the dependability of his instru¬ for us to cavil. The student of real placed it aside and tried to forget it for nervousness, becomes “rattled" and breaks being an inward process, it must not be consequently will not encourage power to the highest degree of capability, ment produces a startling likeness to the ability, he who seeks to interpret—is a time, taking uo some new i;«T ,, down that he needs to fortify himself aided by any external movement or the growth of hair—a very im¬ converting them into most efficient agents sound or noise he wishes to imitate. Or against the fear of this. action. All tones dwell in the mind; and retelling a story. As he has read and Later he returned to the passage that haH for conveying the spiritual conception of portant point in its favor. understood so must he repeat it to his been so hard. Again he ha“ If you resolve that even should you does perhaps the whistler think of ad¬ it is from on high that the voice must either their own, or others’ music to the hearers Whether it be some old time bent his earnest efforts upon it untiMt break down you will cover it so deftly justing his lips in a consciously precon¬ apparently come. material world; just so the singer has ceived way? (The lips in this case are tale of love or nature; some historic or was mastered and every note waJ ' that no one will know, you will find this Resonance is the life-giving principle mysterious legend or the poetic fancy of polished gem shining hidlWl t ^ * to apply himself assiduously to the de¬ the sound-producing instrument.) No, EAT FoR VOICE gives you a wonderful amount of self- of the voice. It is generated in the A method ol adfirating the diet tor uniform and some great brain. When he would im- golden setting Th b . 'ant,T from its velopment and attainment of inter-inde¬ he thinks the tone or melody he wants confidence not possessed before. thorax, neck and head, the combination press a meaning he must emphasize. of conquerinsf'the SMtuTna?°*°S mctllod pendence of lips, jaw, tongue, soft palate to whistle, and the lips arrange them¬ arisen durance to?uch ^degreethat youscem°to SPECIAL OFFER feeling that even should you make a slip of which must aid each tone of the voice Returning to the purely practical phase able is the only one '"S“rnlount- you will be master of yourself and your and lungs. selves in obedience to the intended tone Send now for Gouraud’s Complexion Chamois and in its entire range. Its evocation will be S.W. TUFTS,M.D.,1010 Highland Bldg.,Pittsburg,Pa. a booklet of powder leaves. Enclose 10 cents. of this topic; Miss W. comes to the studio the perfection for which we bn"B ,YS instrument to such an extent that you When this has been accomplished, and or tones. Hence, it follows that the with ani etude orenaredprepared to th*the gvtontextent of strive wnicn wesoso frantically facilitated by holding the body in a re¬ will glide smoothly over it and no one not before, the singer is able to give tone beautiful can, and in fact is, only her limitations. She has practiced it “ICceb at it ’ laxed condition and not as though it were will be the wiser, will, in almost every himself up entirely, heart and soul, to produced by not interfering with the twenty-nine times daily and twenty-nine . >: „ “Rome was not built in to serve as a battering ram. The tongue day. Great cities, buildings, bridges case, give you the needed assurance, and the spirituality of singing. And the satis¬ throat, letting it adjust itself. Out of times daily the weak brother in her being the great obstructor in the free up¬ WALTER L. BOGERT never constructed over night Thev you will not forget—you will not break faction of knowing that no one muscle conscious effort, devoted to each individ¬ finger equipment has refused his share of “uire „OUrs andU ward passage of the vibrations and the ""hours and hours of hard iabor to down—after all. will offer the slightest resistance or ob¬ ual part of the singing mechanism, grows the burden, leaving her runs uneven and design them momht consequent utilization of the head-reson¬ devoid of that pearly quality you would *- --gn them,- ™monthsontlls and sometimes years Remember, you to whom this bugheat structions to his intentions, to his per¬ habitual action. By degrees, as the ance, it must be unrelentingly educated have her attain. Change the accent from of breaking down is such a fearsome nerves and, through them, the muscles Teacher of Singing ”“VV “«■ cnange tne accent from require time to l4'11 further. they ceptions, will beget such a confidence in t.o behave. For Sale at Drug¬ thing, that it is not the fact of your learn to perform their work more and No. 114 West 72nd St., NEW YORK CITY each w~k *« his powers that his whole being will he gists and Depart¬ breaking down, but hotv you break down Permeated by a stimulating buoyancy, a more intelligently and efficaciously, the The less the student hears about regis¬ ment Stores ters, the better for him. It suffices to Do not deface your scores with extra the desfgner ^ beaut>f«l- As that counts most. Resoive that if J“* Physical asset of incalculable value. In consciousness of application diminishes, markings for accent. The composer has the mason the '‘f4 adds the lines have to, you will do it so smoothly and call his attention to the difference in tone Ferd.T. Hopkins another essay (Etude, January, 1914), I the activity of the muscles responds furnished these in abundance. Mark your massive beams ^rick- the iron-worker the artistically that it will never he n0lic“ color, wherever it occurs and to set about have already said, that the will must quicker to the nervous impulses and phys¬ ARTHUR D. WOODRUFF & Son directions upon the brain. I cannot tell the note thl must the indent add and you will find that there will never Studio: 171 W. 57th St., N. Y. stand behind each muscle to be exercised. iological activities become automatic. to eradicate it. The equalization of the 37 Great Jones St., you the proper branding iron to use ’ ,? measure, the rnovem. ? the slightest danger of your forgetting o Concentration of thought is essential to Through the ear alone the singer becomes voice depends solely on skillful breath TEACHER OF SINGING New York That which marks one brain indelibly alwaysrjeyn,nn8fgradUally and thoroughly becoming nervous, and you will "a?. control of muscle. Asking myself whether conscious of what he is doing. But control and correct tone-formation. Of fails to reach another. Rhythm and ac- succTss wib ? '"1054 in his mind that overcome once and for all this drea cent must come from within. Every ^ With d«ermiS it is possible to say anything new about should the singer, in producing his voice, all the styles, the “legato” is unquestion¬ Please mention THE ETUDE when addressing bogie which terrorizes so many rca ! and seven otfier SingingSocietie^°rUS’ Plliladelptila, our advertisers. the art of singing, I must answer in concern himself with the position of ably the most difficult, as it is the most proficient musicians. Please mention THE ETUDE when ad drilling our advertisers 379 THE ETUDE 378 THE ETUDE thing the latter does. His critical faculty those days. For instance, Giovanni only not sufficient to teach singing, but J-JoW Handel Developed the beautiful. It does not tolerate either as¬ Knowledge the Vocal Teacher recognizing at once the student’s short’ 0 . rs- T3nt*tua\r ?avs ni him that that an ^titir^lv HifF <»**«*» k , pirates between tones, nor the dragging Needs coming, must go hand in hand with hi ^was one of the sweetest yet most required to do so successfully, “they Masque Into Oratorio ability to devise the means to have such of the voice from one tone to the next. No vocal education is perfect without powerful tenors he ever heard. Gerva- would not run to organists, violinists, In spite of the fact that Italy has the Its very, opposite is the “staccato,” which rectified; and last, but not least impor p ■ another contemporary critic, sub- pianists, etc., and have that gentry the study of the “marcato, stentato an sow, -- . ~ honor of being the land in which ora¬ requires absolute separation of tones. tant, though he teaches to make a livL martellato.” In singing the operas ol tes to this and adds that his intona- their voices.” And so on ad infinitum, torio originated, England has been the the revenue should have his least con' Here, too, the law of beauty and per¬ Mozart, Rossini, Meyerbeer, it is impos¬ tion was of a very rare truth, that he The same is expressed, only more for- country which has developed it to its fection forbids the introduction of a tone sideration, his principal aim being to WOrk possessed great power of expression and ably, by Mancini 1716-1800. highest form, largely through the im- sible to do without them, unless one is patiently, conscientiously, faithfully and with an aspirate. Again the singer is ad¬ shallow enough or so callously indifferent the most perfect method. ^ Mr. W. W. Shaw has some highly in- mense influence of Handel. Handel’s in- enthusiastically in the interest of his art Hawkins informs us that “The Baron- teresting remarks to make on this sub- debtedness to Italian art is well known, monished to remember that singing is an to artistic results as to be a perfect ig¬ inward process, and he not only will omit and in that of the ones who wish to ess” (whose name remained a secret, but ject. but it is not generally realized that his noramus. To such every stage-door ought devote themselves to it. to push each tone outward, instead of who was of supposedly German origin) Yet it is not the unfit teacher alone oratorios were founded to a large extent to be closed hard and fast. was a perfect mistress of the grandest who is the cause of the present wide- on the old English Masques. “When he having it projected from the head down¬ Is it not strange that every other pro¬ art of singing. spread ruin of voices and consequent in- came to England in 1710,” says Sir Hu- ward as it were; but he will, likewise, fession but that of a singer is approached in making a “crescendo” never fall into The Status of the Modem Who is Sylvia? Who was Belletti? artistic singing. The honest, but mis- bert Parry in his admirable Summary with the full conviction that to master the great error to push that outward too. Singer’s Art He was a baritone whose voice, distin- guided teacher who sincerely believes that 0f Musical History, “his time was mainly it will take several years of earnest study ? gttished by remarkable evenness and vocal culture must be conducted along occupied for thirty years in writing and Let us inspect the status of the modern He, or she, who wants to become a singer beauty of quality, was capable of execu- physiological lines only, rather than those managing operas, but he occasionally singer’s art and how it compares with is the only exception. Not only have I ting the most difficult tasks imposed upon of mental philosophy (psychology), also wrote serious works, in which choral that practised by the singers of by-gone met with individuals who, haughtily dis¬ it with the utmost facility. Have you contributes his own ample share to the effect played an important part. He pro- American Voices ages. A number of quotations from the “Yes— missing every preparatory study, insisted ever heard of Francesca Bertolli? Well decadence of singing. duced the Utrecht Te Dcum in 1713, and sayings of musicians and critics, contem¬ The American voice is not inherently on starting with operatic airs; not only she was a “splendid contralto.” . And in I repeat what I said before so often wrote another setting of the Passion in They’re porary with the latter, taken at random, (or catarhally) nasal or unmusical, but was I obliged to hear from such who the days when this terse opinion was in one way or another: The old Italian 1716, while attending to duties at Han- will enable us to notice, not the similarity it is certainly crude and uncultivated. had already secured engagements on expressed about her art, the critics were masters knew nothing of the anatomy of over. While at Cannons, in the service Guaranteed Pure” Pianists! Attention! I am sorry to say, but the dissimilarity Its disagreeable qualities are due to our smaller European opera houses that, to wont to hear the very best of singing, the throat, hence could not teach along 0f the Duke of Chandos as Capellmeister, In drug stores or candy shops, where the This beautiful DUET BENCH with I of the two. generally slovenly utterance and to sing “recitative” requires no previous Their ears were not vitiated like ours physiological lines, a method which was he produced the Chandos Anthems, two “ Necco Agency Sign” is shown, is evidence MUSIC CABINET is in itself a great In an old number of the Matin, a that that merchant knows the value of sup¬ bargain at $10.00. It is better than our neglect of the mere technic of study and that all traditions may go hang. by defective methods; they were not inaugurated with Garcia’s invention of settings of the Te Deum, the serenata leading journal of Paris (France), we plying his customers with confections of any bench that you have ever seen for speech. Under cultivation our voices are I have also encountered some who made callous to all sorts of vocal vices, the laryngoscope. And yet what did they 0r masque of Acts and Galatea, and the find the following short, but significant guaranteed purity. 315.00 and we will refund your money ; as beautiful as any. Our best actors, a claimed that, inasmuch as they came from continually flaunted before them, until— not accomplish! first version of Esther; which latter ap- if you do not think so upon receipt i sentence: “In the classes of song of , few public speakers like W. J. Bryan and a family of singers, and had a voice as to-day—our ear becomes so used to Can the transcendant art of such sing- pears to have gone at first by the name of our bench. our conservatory they sing no more.” Necco Wafers To give you the opportunity of j President Eliot, and our singers in every themselves, there was no reason why they them that its critical faculty has become ers as Catalani Pasta, Grisi, Mario, La 0f Haman and Mordecai, and to have . . . Franz Liszt says somewhere, 1 Glazed Paper Wrapper owning one of these artistic, neat I opera-giving country furnish ample proof should not at once start coaching for torpid, that it cannot even recognize any Blache, etc., be resuscitated? Yes, and been described as a masque, forgot where . . . “The race of sing¬ benches, we are making a of this assertion. As a people we are oratorio or opera, or both. It is these more a good singing tone. When I say again, yes. How? By pursuing the “This circumstance throws some light ers has died out.” Hub Wafers SPECIAL OFFER FOR THE lamentably careless in our speech. Our ignoramuses that shout, bleat or bellow critics I mean as applied in its larger methods of the old masters and that for 0n the development of the English ora- Dr. Wesley Mills in his book “Voice restless, hasty lives drive from our minds at you and imagine that they are singing. sense to the public in general. a sufficient length of time. By not allow- torio form, which is undoubtedly quite are guaranteed pure. They're fine for parties, MONTH OF MAY ONLY! Production” asks on page 20 . . . "why the impulse for self-culture that would It is impossible to go on enumerating ing your anatomical knowledge to domin- distinct from the Italian form. As has afternoon teas and luncheons. Nine delight¬ are there not singers with the vocal pow¬ lead us to train intelligently the mechan¬ the names of minor singers of the old ate, or even to influence your mind when been already mentioned, masques had ful flavors in each package. ers of scores of celebrities of a former ism of vocal expression. . Affects at the Singer’s Command school, every one of whom was a greater singing; nay more than that, to forget long been popular in England. They were Your dealer has other Necco Sweets, in¬ TWELVE SHEETS OF THE LATEST time?” . . . In her Jjook “The Philoso¬ cluding Necco Tablets in glass jars and tins, No organ of the body is more truly in¬ The “marcato, stentato and martellato” artist than quite a number of those who it altogether. By trying to find the ideal theatrical entertainments in which the POPULAR SONG HITS phy of Singing” Clara Kathleen Rogers plain and assorted flavors. dicative of character and mental states are the singer’s means to illustrate the at present pass for "divas” or divinities of the great singers of the past by means interest was more literary than dramatic; This opportunity you should not has this to say on page 13 of the Intro¬ overlook. different affects. The first-named, indi¬ of the male sex. of reading about them arid their life the poems of which were contrived to than is the voice. A melodious voice at¬ duction . . . “whereas we have already cated by the word itself or by the sign Anybody can add to this list of four work; to hold it, when found, steadily serve for pretty pageants, enhanced by BEAA«®?F-^S-,C^iiW’ tracts us; a strident voice repels us. A a great deal of abstract knowledge of the ' Of strain of sentiment creeps into our voice, • • • • means that each tone is to be names a great many others by diligently before your own eyes as a noble goal, choruses and solos and incidental music, sung with an accent, which diminishes vocal processes, rev do not sing.” And $10.00 and our hearers sense at once the feeling perusing the pages of Grove’s, from which worth while to strive and, if necessary, The general aspect of Acts and Esther before the following tone is produced. further . . . “hopelessly deploring that behind it'. A shadow in the voice, and I got my information, or Riemann’s Dic¬ o suffer for.—S. Camillo Engel. shows that Handel followed the usual The “stentato” is practically the same, the true art of singing is a lost art.” On instinct straightway guesses the lurking tionary of Music. It is indisputable that scheme of masques in them, the main only in a higher degree. The accent on page 150 of Mr. W. Warren Shaw’s ad¬ insincerity or falsehood. A friend of the true art of singing is lost. What difference being that as he was far the each note is stronger than in the “mar¬ mirable book, "The Lost Vocal Art and Hints to Singers mine maintains that he can read character may have caused its disappearance, and greatest and maturest composer who cato,” and each time diminishes instantly. its Restoration,” one finds the following: STANDARD STOOL AND correctly at the first hearing of a voice. “At the close of the meeting” (where can it be recovered? wrote music for anything of the nature It is denoted either by this sign ^=— over J y ROLAND DIGGLE BENCH MFG. CO. What persuasive power lies in a noble, several singers were exhibited) “a dis¬ The answer to the first question will of an English masque, he naturally ex¬ each note, or by the word “stentato” it¬ My Beauty Exercises 192 Southern Boulevard :: New York mellifluous utterance! Bryan’s sonorous, tinguished impresario and conductor re¬ be found in the following passages panded and enriched the individual move¬ self. In passages conveying violent emo¬ ments almost beyond recognition. In its fluent tones are among his most effective marked: ‘It was awful! There wasn't selected from different books by authors Never sit when practicing. Stand, will make you look Younger and tions it is of excellent effect, even if not a decent tone made here to-day’—an of recognized standing, culled at random, fairly erect, with both heels touching the more primitive form it had served as the More Genuinely Beautiful oratorical weapons. prescribed by the composer. opinion in which the audience generally without attention to chronology. The St. floor. Don’t sway the body to the rhythm model for experiments in English, opera; than all the artificial, external ‘d The INTERLAKEN SCHOOL The physical conformation of the treatments known. The “martellato” indicates the empha¬ concurred.” Petersburg (now Petrograd) correspon- of the music, keep calm. Remember you in this more expanded form it also served throat and head has much to do with the sizing and distinct separation of the In an article written some time ago dent of the Magazine of Music, Sep- cannot judge the sound of your own the principal model upon which the power and quality of the voice, but in notes (See Donna Anna). Another im- I have noted “The art of the modern tember, 1888, writes: “Continental sing- voice. Secure good models and practice English form of oratorio designed.” this matter psychology plays quite as in¬ portant part of the singer’s equipment singer compares to that of the 17th and ing-masters are very much below par.” before a mirror, avoiding extremes in - fluential a part as physiology. If we is the recitativo.” The “recitativo” is 18th century one as does the art of a II Mondo Artistico, Milan (Italy), facial expression, be natural. Parte A Km it TVTndr are a hasty, strenuous and materialistic m reality neither singing nor speaking, sign-painter to that of Leonardo da agrees with the Petrograd journal and Attack the notes softly, unless other- rdus 1 1USIC people, our voices will inevitably tell the but in turn approaches either the one or Vinci.” says: “How many young persons are wise marked; open the lips and teeth well, The Parthians do qot encourage their story, and not’ till we have mended our In a comparatively recent number of there with throats of gold reduced in a little wider for the higher notes. Keep men to fight with the sound of a horn, flesh firm. tense, eager, self-seeking ways shall we £ w„r",aC“rding “ ““ of the Literary Digest Mr. Edison was shortest time to a most miserable state the head up, the tongue loose, the soft neither with trumpets nor hautboys, but Wrinkles caused by the droop¬ The singer, anxious to acquire a dis¬ quoted to the following effect: "Out of ing facial muscles disappear. learn to speak altogether melodiously. by the crass ignorance of their profes- palate high.. Let there be no stiffness in with great kettle-drums hollow within, Muddy, sallow skins become clear tinct pronunciation, must remember that 300 trained voices examined by means A mellow, sonorous voice is rare in any sors? The Minister of Art, at Rome, the throat, tongue, or anywhere. and about them they hang little bells and the vowel producing agent differs en- of these delicate instruments, not one country. Its beauty in the rough is usu¬ should convoke all the masters of song If you force the voice it will soon grow copper rings, and with them they all was free from defects. Only one proved ally due to an harmonious nature and orfand’th t^,COnSonant Producing fac- to be perfect, and that belonged to a of the various conservatories, and make harsh. Let it come easily, don’t sing a make a noise everywhere together, and it good health, but just as by conscious Write today for wjp Illustrated Kucial Beauty Booklet-FREE. woman who never had a singing lesson them pass publicly a theoretical and prac- note loud until you can sing it softly. ;s like a de^d sound, mingled as it were NEW VOCAL MUSIC effort we are able to harmonize our na¬ see in her life.” This is quite a significant Heal examination." Practice four or five times a day for with the braying or bellowing of a wild “ON SALE” tures and improve our health, so also may statement, linked to which I will again Louis Ehlert, composer and writer on about fifteen minutes at a time, commenc- beast, and a fearful noise as if it thun- we cultivate in ourselves a spontaneous, to some extent, the jaw are th quote from Mr. W. W. Shaw’s book the musical subjects observes that; “every Jng each time with a few easy studies in dered, knowing that hearing is one of the few tmalfgackagra ofaew mu°[c ON 1 ALE^uring simple and agreeable utterance in well- following passage to be found on page individual, diverted from his own path Hie middle part of the voice, stop at the senses that soonest moveth the heart and controlled and well-modulated tones. 202: “Go into any large studio building by some bankruptcy, some personal mis- grst; sign 0f fatigue. spirit of any man, and maketh him soon- responsibility the small amount of postage; returns fortune or natural defect, casts himself d0 not try to extend the compass of est beside himself.—Plutarch’s Life of A Rare Bargain Such an utterance brings out all the po¬ and listen to the more than meaningless, Mail us two dollars and we will send you tential beauty of the natural voice and the heartrending, almost inhuman sounds •nto the totally uncontrolled career of a tbe v0;ce until the middle part of the Crassus. locket with adjustable neck chain, one of is within the capacity of everybody. So emanating from the throats of many stu¬ music-teacher.” _ -v0;ce ;s accurately modelled; the longer the most beautiful of our many designs. long as we remain a nation of mere dents during their lessons ” After continuing to generalize in this keep to the elementary studies the Take away the harmonic structure We guarantee this locket and chain to be “S,hr gold filled; and if not thoroughly satis¬ money-seekers, so long shall we speak in I defy anybody to say that I am wrong tern he continues to specialize . . • better_ Be satisfied with the voice you upon which Wagner built his operas and he (the musician) may perhaps play the baye_ s;ngers invariably strive for some- it would be difficult to form a conception factory purchase price will be refunded. dry, eager, money-seeking voices, and it I state that what passes under the Send for our free catalogue showing name of exercises for vocal culture (sic!) all of the latest styles in jewelry. is only as we begin to realize (as, indeed, be resorted to by students of f’ ^ Sh°U,d ,!n an orc^.estra’ mt as'de thing different; the tenor wants the of the marvelous potency of his music. as heard issuing from so many throats, Ifttm 6 teaches mugiug” Benelli (1771- middle notes of the baritone, at Melody, therefore, may be classed as the THE NEWCOMB COMPANY an ever-increasing number of Americans not only possesses the faculty’T^’ ^ does not sound more like the shrieks of fio-n », oP “Fegole per il canto e ^ striving for higher top gift of folk song to music; and harmony Box B 6. ATTLEBORO, MASS. are beginning to realize) that material every fact pertaining to I eXplain A PRIMER OF FACTS ABOUT MUSIC most lucid possible S’ng in the persons about to be murdered. ever ^ °t ^ pfrtlnefltly.: notes The mezzo-soprano imitates the as its shadow language. When these two success is only a small part of the real However. I am slightly swerving from is able to illustrate witTh^ Wh° a,so edge teach* singing! or correct the defects contralto, and the baritone wants to he powers melody and harmony supplement success of life that we shall place a my original propound. the faults and virtues of ^ • °W" Voice of a shirlpnf v» it j* j c. i i Q99_ a tenor. each other, when one completes the proper estimate on the substantial value Looking backward but not considering tion; and who can putl/0^ produ'- 1895 • “If thfstudente of Ringing Take’a song and study every word, thought of the other, then, provided the RAG™Ei of a well-trained voice.—Francis Rogers fuch artists as Senesino. Farinelli. Ago- Contains * uwr8B, THEODORE PHESSERCO., Philadelphia, I', “nly knew 'that the abHty to play on a you cannot hope for success if you dont thought be a noble one the effect will :ssons in Vaudeville and Picture Piano Playing, etc. in Scribners’ Magazine. sympathetic touch with hhT^ u ,n such Jan, Cuzzoni and a host of other giants m«ical instrument wi h ta te (whether say every word distmctly. And again, be overwhelmmgly convincing, and we “CHRISTENSEN’S RAGTIME'REVIEW -only hears but alXTist^! ° £°lden age of singing, let in* th* Piano, organ flute horn etc ) is not never force the voice. have great music.-MAcDowELL. 2 Christensen Bldg._CHICAGO sPect the records of the minor celebrities Pleas* mention THE ETUDE when THE ETUDE 381 380 THE ETUDE
The Country Organist’s Reward Preserving the Dignity of It should be the organist’s constant The tenure of office? Perhaps life¬ Church Music aim to examine new compositions writ¬ long Or it may be that a better player ten for the church by American com¬ Austin Organs moves to the village or young talent de¬ posers so that their works may receive velops The old organist may feel that By JOHN J. SERVICE sufficient encouragement to warrant the Corns Are Ibe place belongs to the younger genera¬ very best musicians of the country devot¬ DURING 1914 Austin tion; that having had the drill, the ex¬ Just what is and what is not sacred ing their time t* this branch of musical Organs were built or perience and honor of the position she music must ever be defined by the indi¬ art. Where arrangements can be found Out-of-Date contracted for covering an should step aside that another may gain vidual worshiper. From the earliest at¬ that have a devotional character and lend area of twenty-one States. these benefits. She may come to feel tempts to connect music with the praise dignity to the church service they should They Indicate Methods herself old-fashioned, behind the times be used. The church-goer should be The great Salt Lake of a deity the breadth between the lati¬ Which Are Obsolete Now and thus take a place in the pews, out¬ schooled to expect real inspiration from Tabernacle organ is the tudes of taste has been enormous. Con¬ ble, follow the words and vary the music wardly calm yet with aching heart, and the choir-loft as he does from the pulpit. latest important organ to be the rule. Only as a piece can be ren¬ sider that between the popular lilting The Place of the Rural by emphasis and slight pause, to suit the hands that strain for the keys magnetized The “down in the pulpit” may draw large be “Austinized.” dered simply and with ease is it ready melodies of the “Billy” Sunday Taber¬ Folks who have corns are Organist meaning. In hymns such as Lead Kindly by her touch. congregations in certain districts, but no for church use. Light, this is imperative. nacles to the Agnus Dei at St. Peter’s. folks who pare them,or use liquids, Information as to large It is probable that in the first years The organist becomes in time almost a such person can expect an established More frequently than in the city the Those who participate in such markedly or some other old-time treatment and small work, newest con¬ By ONE OF THEM of service the country organist will oc¬ part of the church. She is taken for following. The “clown in the choir-loft” funeral service is held in the church granted. Her services range themselves different services have no other feeling —ways not up-to-date. sole improvements, lists of casionally use music which from the must expect a similar fate. It always The rural church is a much talked of Often there is singing, but beside this with the pulpit, the pews and stoves, than that the music is wholly fitting to organs by States, church standpoint of the cultured is loo senti¬ pays to make good music so interesting Most folks don’t keep corns institution at the present time. Possibly the organist may play while the proces¬ which are always there, fulfilling their the worship of the Almighty. In other and auditorium organs, mental, dramatic or secular, but in this that the congregation will become more now. When one appears they that allied institution, the rural organist, sion enters and until the service begins, part. I spoke of compensations. First words “De Brewer’s big hosses can’t run letters, etc., can be had by she will err no more seriously than num¬ and more conscious of its value as an aid apply a Blue=jay plaster. The deserves a little of our attention. The and again while the remains are viewed there is pleasure in the rendition of over me,” homely and forceful as is its writing the factory. bers of ministers. Frequently secular number of real country organists who In case the service is for a prominent good music and the consciousness that appeal for total-abstinence, fills the to spiritual growth. pain stops instantly. In 48 hours read The Etude may be hardly large subjects are considered in the pulpit and citizen, a soldier or member of a secret one grows musically, though slowly. measure of necessary church music dig¬ the corn disappears forever. often there is appeal to emotions not order one of the funeral marches is ap¬ enough to justify a separate article in There is the tribute of absolute silence nity for thousands and thousands of Suggestions to Young A famous chemist found this their behalf, yet these few, or possibly essentially religious. In some books of propriate at the beginning, but apart from during a beautiful voluntary or some one people. Austin Organ Co. voluntaries are to be found arrange¬ way to end corns without pain or many, will welcome a talk, which, with the best of these marches minor should may wait at the door for the conclusion Precisely as slang words have been the Choirmasters ments of songs, even love songs, which not predominate in the music. Handel’s soreness. Now millions use it. 165 Woodland Street, Hartford, Conn. nothing to say of manuals, pedal bass of the postlude. One feels that the pioneers of real words, which in later carefully and tastefully played in no wise Fully half the corns that grow are and complex combinations of stops is not Largo, simply arranged. Mendelssohn’s standard of culture is raised at least a centuries have become dignified into By FRANCIS H. MORTON ended as soon as they appear. wholly over their heads. Possibly also disturb the religious atmosphere of the O Rest in the Lord, and the Consolation few degrees. Words of appreciation terms of good repute, much of the church from Songs Without Words, with vari¬ sometimes come. A boy or girl may it may not be unwholesome for the music which the average church goer Give an occasional word of commen¬ There is no excuse for corns. ous tender Meditations are excellent. steal up to the organ to see “what that fraternity of organists at large to learn finds the most' appropriate is, of course, dation to the choir when it is due, being You can’t prevent them, maybe, If there is no singing certain hymns may was you played.” The minister is plainly how the other half, or quarter, lives and I am not certain that there is any from profane sources. Henry Ward certain, of course, that it is due. How¬ be used with good effect. Lead Kindly thankful. Occasionally there is a gift but you can remove them quickly. HUTCHINGS works. intrinsically religious music any more Beecher’s famous aphorism, “I don’t see ever, for brief repetitions or short sec¬ Light. Jesus Lover of my Soul, Abide of money at Christmas or a present There will be no lasting corns on The bona fide country organist is the than there is intrinsically religious archi¬ why the devil should have all the good tions be sparing in this direction. With Me, Nearer my God to Thee, and marked: “To -; for your good any feet when all folks know of chief musician in the little village of tecture or specifically religious emotion, tunes,” has been used as a wedge by ORGAN the like may he played two or three times music.” Should any choir member personally Blue-jay. thirty or forty dwellings situated, it may These have attained their religious means of which many a strain originally with slight changes in strength of tone The country organist may feel that she ask you to go over his or her part again, be, miles from a railroad. There is but character by association. The organist written to accompany some very un- COMPANY and unless one has the ability to modu¬ has a place in the musical world, endur¬ and you consider that part as a whole one church in which services are held who is constantly on the watch for suita¬ churchly operatic situation has entered late well had best be used in conjunction ing and useful, in spite of her restricted goes well, courteously request the mem¬ BOSTON NEW YORK perhaps only a part of the time and ble material will not err seriously. By with selections of similar or nearly re¬ the choir loft held, unremunerated work and lack of bers to remain a1 moment after practice, whose congregation has dwindled to continually looking for the fitting, the lated keys. Some would settle the question by Plant at Waltham, Mass. opportunity for advancement. when you will oblige them as requested. twenty-five, or even fifteen or a dozen sense of fitness grows. The music must not obtrude. Imper¬ flatly stating that there is no music oouls. The organ is a reed instrument, It is not fair to waste the time of the The most fitting postlude for the sonal, not claiming attention, but sup¬ which is truly sacred and none which is Some Published Organ Collections whole chorus in giving attention +o in¬ occasionally fine, often fair, sometimes country church is one of dignified and porting, calming and strengthening the profane. That is, music is neither good 1 append a list of Organ Books which dividuals during rehearsal. poor. There may be a choir, but this is serious character, although the joyous subconscious minds of the stricken people nor bad and the mere fact that some have accumulated during twenty-five often a thing of the past. There is no and brilliant has its place. Mendels¬ —this is the function of funeral music, music has been in bad company for years CARL BARCKHOFF years’ service. They were bought in the And in the same way firmly refuse to 15 and 25 cents—At Druggists salary—only with difficulty is the minister sohn s Farewell to the Forest, arranged or has been born in what our sainted order named. Where one tan expend be surprised or “bounced” into an ex¬ Samples Mailed Free BUILDER OF paid. There is no hope of advancement, in E flat in Classic and Modern Gems foi A Variety of friends feel is a kind of dramatic hovel Duties but little for music, exchange with nearby planation of any of your directions while no looking forward to larger congrega¬ the Reed Organ, is a fine example of the does not make it bad music so long as it Bauer & Black, Chicago and New York The country organist has other duties, organists will ensure variety. In addi¬ conducting practice. “After practice, Mr. Church Organs tions and a pipe organ, and none of the serious, noble style suitable for the inspires others to better things. Indeed Often site plays for the Sundav-scbool tion to these I have made use of material -, I shall be pleased to talk it subtle inspiration and stimulus afforded postlude. A march of a certain charactei in most cases the whole matter is one of AND and officiates at its various concerts. in The Etude, especially in recent years, over with you if you wish” is always a by an artistic edifice, formal, beautiful is excellent for the purpose, but the leasl the angle of the observer. There is a Self Playing Instruments There is a political rally—in the church! altering many of the pipe organ selections- good way to deal with untimely curiosity, service and throngs of worshipers. reminder of the dance hall or promenade book upon the subject of noted Prima Yes, there is no other place. Lacking to suit my instrument and also drawing An outlook dreary enough the reader is distasteful. Donnas which is devoted solely to comic especially when it seems argumentative Over 3000 Barckhoff organs in use band and drum corps the leaders call fa upon the “worldly” music. The title of may say—yet there are compensations. opera and musical comedy “leading or disputatious. NEW ORGAN MUSIC which testify to their Superiority If a collection is taken an offertory the organist and a stirring march or a piece need never deter one. The middle and Durability in Construction, First let it be said that the organist ladies” only two or three of whom could may be rendered and here again in the medley of national airs is in order with portion of the Chopin Valse, Opus 70, One thing you must he adamant upon, Workmanship and Sweetness of Tone need not confine herself—in these places have been admitted to even a second- “ON SALE” small church the calm and quiet is pre¬ America at the close in which all join. No. 1, altered to common time and used and that is the point that you allow no it is usually a woman—to the mere play¬ rate Grand Opera Company and only Have your name entered for the receiv¬ BASIC CITY :: VIRGINIA ferable. The Beethoven Minuet in G I would advise every organist and as a voluntary, brought appreciative one to dictate to you on matters of musi¬ ing of a few small packages of new music ing of hymns. If no voluntaries have pianist as well, to be prepared to play one of whom has ever gained any wide is admirable for such use. Omitting the words from one of the deacons. cal rendering. This hint may seem un¬ ON SALE during the professional season, been used their introduction may at first renown as a Grand Opera Prima Donna. Trio it will be sufficiently long. Sliglil America without the notes and thus spare The list of books follows: Organ necessary, but one knows of cases where no guarantee as to amount to be kept; appear an odd intrusion, but very soon himself possible humiliation if unex¬ Indeed most of these women were de¬ discount the best obtainable; the only re¬ changes in the recently published pipe Harmonies, and Short Voluntaries for ministers have tried, if not to wrest the their omission will be painfully apparent. lightful entertainers in their day and sponsibility the small amount of postage; organ arrangement in The Etude will pectedly called upon for the naiional air, Pipe or Reed Organ, both by C. C. Church Organs The. inexperienced player can not spring have now been in many instances wholly status of young choirmasters from them, returns of unused music to be made once make it playable on the reed instrument An elocutionist comes to the village; Stearns; Clarke’s Organ Collection for full-fledged to case and facility in this forgotten. Yet according to the angle at least to undermine it seriously. Your each. year; a postal card will stop the [Latest Approved Methods, Highest I music is wanted from home talent and Church Service; The Organ, Vol. 1, year sending any time. Thousands of teachers art—for it is an art. The organ is often of vision of the author of the book they only chance is to nip this sort of thing Grade Only._ Established 1827 | the organist has a solo and perhaps ac¬ 1890; The Organ, At Church and in Con- receive piano music from us in this way. in a prominent' position and its tone companiments for songs. Home actors were looked upon as Prima Donnas. In in the bud at all costs, but be sure you cert, by J. W. Simpson; Gems for the THEO. PRESSER CO., Philadelphia, Pa. Main Office & Works much the same manner many conceive of can, if necessary, justify your musical somewhat strident. Great care must be pass it, is effective. prepare a play. This also is presented in Organ, by Samuel Jackson; Classic and the most trivial and transient music as fiat to the church authorities. Hook & Hastings Co. S! exercised in the choice of selections and The organist should listen to the tone the church and the organist serves as Modern Gems for the Reed Organ; in the manipulation of the instrument in orchestra between acts. She plays fa sacred music deserving permanent use. BRANCHES: produced and seek to improve its quality Richwood Organ Voluntaries, compiled Keep a list of all Anthems, Quartetts, order that in the bleak room with its promenades, singing schools, and It is obvious then that there can be no Boston, New fork, Phila., Chicago, Louisville. Dallas The force, speed and evenness of blow¬ by Geo. Richwood; The Organ Player, Trios, etc., learned, together with the scattered congregation the voluntary be ings of the board of agriculture. real definition of sacred music. If wal¬ Steere Organs ing, and style of touch affect this One Organ Repertoire, The Standard Or¬ names of the principals taking part in the not an abrupt, awkward, too prominent Weddings are rare. During twenty- loping a big bass drum makes some one Bailey Hall, Cornell University -ESTEY CHURCH ORGANS- groWs ,„to sympathy with the instruram ganist In each of these is to be found same. It is also a good plan to jot in Dedicated, October 8, 1914 Estey standard main earned. and isolated performance. It should five years of service I have played fa think of God or even goes so far as to excellent material. the date of each performance. This will Springfield Auditorium, now building Maximum facilities. blend with the service. Its mission is to . the pl,yer„ r«.P°n,?v but one church wedding. But that one. attract the attention to those who are Highest grade of product. prevent the too-early repetition of any prepare for what follows; to quiet whis¬ d» ,Sif y'KL"'cn,r‘:r
A Plea for the Standardization of the Organ Console GUILMANT By EDUARD SCHERUBEL ^ REQUISITES FOR Despite the fact that much is written others over seventh-eighths^ THE ORGAN SCHOOL in our musical journals concerning organs, while some of the bla y £ Dr. William C. Carl actions, movable stop or dead stop sys- one-half inch and others v orrur Director terns, there is seldom anything said about an inch apart. As this does no MUSIC TEACH A school forstudents the more intimate side of the playing on any piano good or poor why s with serious aims, who mechanism. it occur on an organ? It was irnposS, desire to become ex¬ The eminent organist Mr. Lemare has to place the second or third nSer pert organists. New recently mentioned many of these diffi- tween some of these black keys, catalogue ready. culties in an article in one of our leading These organs were not made by some CLASS AND ACCOUNT BOOK t „ Sefton. SOc. Pocket sizTconta'i-,. :M! board is often the underlying cause. price, many of them being offered in the journals, by which some organ manufac- small maker, but by one ot t _ b of all business transacted by a ramie tad* Taking Care of the Finger¬ Looking at a fingerboard casually, it catalogues of American violin dealers as turers could profit and thus enhance their and best known manufacturers in PUPIL’S LESSON BOOK. Price 10c «!' board often seems to be free from defects, but low as from $40 to $65. The cheap imi¬ reputation. country. Just as all the parts of a watch must Organists as a rule have not often Another point which brings the matter THE STANDARD LESSON RECORD n when a level is applied to it, it is seen tation Hopfs can be bought at all sorts records with Stubs.) 2Sc. A practical at:.-- fie in perfect adjustment, and free from mentioned these defects, doubtless think- down to actual playing. Many modern to be warped and full of little humps and of prices from $5 up. At the present pupils*studies and !“*** *t|com|,lne of The Zephyr Electric ing that these tilings must be, but such manufacturers try to make a hair trig- wear to keep correct time, so all the parts hollows. It is impossible to produce good day the name “Hopf” has developed into LESSON AND PRACTICE RECORD. of a violin, especially its vital organs—so a mere trade-mark, which any one can Organ Blower is not the case. ger action which goes off too soon caus- tones on such a fingerboard; some will to speak—must be in perfect condition, use, like “Ole Bull,” “Conservatory,” Undoubtedly the American Guild of ing the pipes to sound the instant the THE STANDARD PRACTICE RECORD, be good and others had. When the finger Organists has a standard regarding the key is touched and long before it even (Pad of 100 slips.) 15c. Furnishing a wetklv and each in its proper place. Taking presses the string into a hollow, the string “Paganini,” etc. PAGANINI'S “reach” of a pedal keyboard, the distances starts to descend, thus causing blurring, t?ceas*wel reauTta**0*^ d‘r'C,i°ni forP™- the world over, I doubt if there is more touches the fingerboard for some little that the manuals should be apart, and This blurring is not caused by playing BILLS AND RECEIPTS. (Package of ffi) than, one violin in a hundred which gives distance, preventing free vibration, and how far one manual should hang for- the wrong key nor by at all depressing forth its best tones, simply because some Advantages of Teaching BLANK BILLS. (Urge site 6i9, pack^e o( causing a distressing twang. It would AMeliqrANT The Zephyr Electric Organ Blower Company, ward over another, but nevertheless no it, but by simply getting against it, as in of its parts are not of the proper quality The violin student, studying for the Dept. A, Orrvllle, Ohio seem that a good carpenter or cabinet¬ Chicago Offlee, 010 Hush Temple of Music. Brooklyn, Si. two manufacturers seem to agree on these chords, etc. No organist unless he has MUSIC TEACHERS’ DESK TABLET or are out of adjustment. Take the profession, who announces loftily that he Lends a New Charm to 778 Putnam Are. Waltham, Maw., 61 Wellington (Package of 100.) 15c. For all mono™*™ maker could be relied on to dress an old distances. very thin fingers, at least 6 inches long, fingerboard for instance; this seemingly does not like teaching, and never ex¬ The Tone of Violins It would be interesting to know which can avoid this at times, and even then especially practice directions to the pupil. ' fingerboard or adjust a new one, but' CLARKE'S HARMONY TABLET. Pad of unimportant part of the violin is re¬ pects to teach, had best' read his musical and other stringed instruments. manufacturers of pipe organs know what it is not always possible. The writer has such is not the case. One must under¬ sponsible for much bad tone if it is not history, for there he will find that there “Most of the leading organs these measurements are and follow them, heard some of our greatest organs do STUDENT’S HARMONY TABLET. Pad0[ stand perfectly the principles of construc¬ ciple, produc in the United States are was hardly a great violinist but did a No It would seem needless to mention that considerable blurring in recitals on such of first-rate quality, and properly ad¬ tion of the violin, and the adjustment of operated by the ‘Orgoblo’. BLANK MUSIC COPY BOOKS. justed. A fingerboard should be of the great deal of teaching. Paganini, it' is Over 8,000 equipments in the width of the white keys on any man- an action, and some of them refuse to Pries, 10c to 35c. its various parts, in order to get good re¬ best ebony, of as hard quality as possible, true, had only two pupils during his use. Write for booklet.” ual should be alike and that the black accept recital engagements unless the BLANK MUSIC PAPER. 12. Hot Klim sults, so that it is better and really lade in sizes from keys should be spaced equally distant action has been modified, and Vocal, size 14x22 inches, pet quire, 40c. so that it will resist as long as possible cheaper in the end to have all repairs career, Sivori, and Catarina Calcagno, 1-4 to 60 H. P. (Postage lie extra.) the action of the fingers which press the whom he became interested in and taught from each other. These actions can be regulated by BLANK MUSIC PAPER. done by a really first-class violin re¬ The Organ Power Co., Either organ manufacturers are par- screwing the valves under the back end 100 leavea 7x8j4 with wide spacing. 25c. strings so tightly on the fingerboard that pairer. Violins can be sent by parcel for a while when she was a little girl. HARTFORD, CONN. ticular only with the inside construction of the keys up or down as the case may BLANK PROGRAM FORMS. ForConcmi little gutters are soon worn in the finger¬ Almost all the other great violinists m qr Pupila’ Recitals. SOc per hundred. post, cheaply and safely, to good re¬ A. C. FOSTER. 218 Tremont St., Boston, Ma'u. of their pneumatic and electric actions be in pneumatic organs and shortening board. As soon as these little gutters ap¬ taught much and formed many pupils. G. W. WESTERFIELD, 264 Virginia Aronue, Jersey DIPLOMA FORM. 21 x 19. Price 15c. pairers in the large cities, and the player City, N. J. and leave the console and manua-ls to a the contact points in electric actions, pear, which they will do ih time in the will be amazed at the improvement which Among them might be mentioned Spohr, JAMES TOPP, 613 Steinw!- “ " ”’’ “ ” " bungler or else there is. no standard to Many of these organs cease to be musi- best ebony, the fingerboard must be will result If his violin is put in first- Wieniawski, De Beriot, Rode, Kreutzer, S° by. . cal instruments and are only perfect me- shaved down, if it has enough wood to class condition. Baillot, Alard, Wilhelmj, Joachim, and To mention some of these things specially chanical instruments. REWARD CARDS. Lstho in Colon, sc!d admit of the operation, or a new finger¬ a long list of others. At the present day I will say that in many otherwise fine Another defect may he mentioned in 15, SOc. board must be adjusted to the violin. Ysaye has done much teaching, Marteau organs one manual hangs so far over organs which have too easy an action, MUSIC WRITINC PENS. Per doxen, 15c. When the strings are pushed down into is at the head of the violin department another that in taking the hands from a and that is in playing staccato the key PROFESSIONAL OR VISITINC CARDS. Hopf Violins these little gutters in playing, an in- of the Berlin Hochschule, and Cesar lower manual they have to be brought being suddenly released comes ’up to its 50 for35c, 100 for SOc, 500 for 51.50. Nolly printed in either Script, Old English or Plsii The Etude is in constant receipt of Thompson has formed many pupils. It ROOT VIOLINS in toward the body in order to get them resting place, but the resistance spring not olerably false twang results, making a letters from readers asking about the is announced that Carl Flesch will have on a higher manual. being strong to hold it there it bounds good tone impossible. “Hopf” violin. They wish to know if charge of the violin classes of the Darm¬ On others the manuals are placed so down, just enough to let the key speak it is a first-class make, if it is old, what far back of each other that in order to again, thus in staccato giving two tones on orders to publishers, etc. It prevenut Wrongly Adjusted Fingerboards stadt conservatory. its value is, etc., etc. reach the upper one it is impossible to when only one was played and intended ROLL BLACKBOARDS. 2x3 ft.. $1.80; 2HxJX, $2.50: 3t4, S3.: The fingerboard, especially in cheap Owning a “Hopf” violin is very much sit safely on the bench In others the It is true that piano manufacturers Musical Heirs CHART PAPER RULED. Price 1 violins, is frequently adjusted at the like having the measles. Very few people GEO. KILGEN & SON manuals are placed so far above each have learned and profited much from sheet. 32x44 containing four staves of Iraq Great violinists as a rule have taken illful adju_ wrong angle, so that the end is too high who dabble in the violin art escape own¬ other .that it is impossible for even an pianists, but organ manufacturers have pleasure in teaching talented pupils, whom _ . _ ve made them the Pipe Organ Builders ADHESIVE LINEN TAPE. Ten yards. Poa or low at the bridge. When this is the ing one at some time or other in their organist with long fingers and a big span still much to learn from organists, and they looked upon as their musical heirs, ST. LOUIS, MO. case, it is impossible to fit a bridge of lives. The fact of the matter is that Send for catalogue of prices and color illustrations. to play on two manuals with one hand it behooves all who purchase organs to the proper height to the violin, since the who would aid in handing down the art 3Id and used violins taken in trade. We also publish ADHESIVE PARCHMENT PAPER. (Tm while there were two violin makers named ill kinds of easy music for young orchestras. Cata- ,e- have an ^expert organist try out the organ parent.) Per package, poetpaid, 15c: : height of the bridge must be governed of their masters to future generations. All these difficulties, which are abso- for such defects as I have mentioned Hopf, who achieved some little reputa¬ same. 12 jrsrJ ’-”I. postpaid,-:J 16 by the distances of the strings above the There is little doubt that' a certain amount lutely inexcusable, arp however, slight before paying for the instrument, tion, the vast majority of these instru¬ fingerboard. If the neck and fingerboard of teaching has a favorable effect on the compared to such ; the following: On No amateur organist in a small citv PASTEBOARD, DUST - PROOF _ ments are factory fiddles, branded “Hopf” MOLLER PIPE ORGANS ” ' Cloth-hinged front, shea are adjusted at too great an angle, a very development of an artist in violin play¬ new_ organs on which the writer will notice all these defects at once Thev .eight 334 inchec. simply as a trade-mark, and often of the Two thousand in use. Every part made prepaid, 25c. high bridge must be used, and if too low, ing. It is an inspiration to teach a con¬ has recently played, __ -_ of__ the. white.. will.....flU, only be,,,_ discoveredJj(H gradually, hence cheapest possible quality. in our own factory and fully guaranteed. keys were five-eights of anLtl inch wide,WlflP. flipthe abovelltrvirrx "advice!o «« MANILLA WRAPPERS. 14x22, the best ma- 4 very low bridge. Now every violin, in genial pupil, and in elucidating and ex¬ Pipe organs of every size, but only one The two “Hopfs” best known to the The Etude nilla paper, per hundred. SOc. Thebes: plaining the mysteries of violin playing, grade—the best. Catalogs and specifica¬ mamlla. per hundred, by express, not order to sound at its best, must' have a fiddle world were Christian Donat Hopf, paid, *1. bridge of the proper height, in order the problems involved become more tions on request. Address who had a workshop at Klingenthal in VIOLIN STRINGS M. a-. MOLLER, Hagerstown, Maryland Is the Quartet BUSTS. Prices from *1.25 to $10. accc clear to the master. In explaining to ETUDE Violin Strings offer^players a chance Choir Passing? to size and workmanship. Send lor list. that the strings may exert the required Saxony, where he made rather heavily Church music in this country was long others he gets new ideas himself. The MEDALS. Gold. Roman finish of sob«L .pressure on the belly of the violin. Any wooded violins with yellowish brown var¬ reliable strings. dominated by the influence of the quartet n lIlTf a” a,dmit tha‘ there has been weight, engraved to order, net, postpaid, »■ reaction of mind on mind has played an The ETUDE Strings are manufactured for a great change for the better in this re¬ The same in silver, net, postpaid, $3. violinist can convince himself of the won¬ nish, and David Christian Hopf, who our^ trade arid are as^nearly perfect as the choir. That choir engendered a style of important part in the development of spect, but I wonder whether it is fullv PLATINOTYPE PORTRAIT POSTCARD? derful changes which can be made in the made violins in the middle of the nine¬ The Hall Organ Co. music suitable to its limitations. The 5c each, 50c per dozen, postpaid. This tone of a violin by experimenting with every human art. Take the art of piano realized how much the despised boy include! almost every known musician o teenth century, and who stamped his Three length E Strings... 15c. New Haven, Conn. style was mainly secular. The quartet bridges of various height. This being the playing; does anyone believe that Liszt Two length A’s or D’s, each. 15c. violins on the hack with his name, under¬ G Strings, each. 15c. choir became a baneful medium for the TherwaI t t0, d0 with the change case, it must be evident that once the would have developed it to such an ex¬ I he boy choir has had to bear the brunt neath the shoulder nut. The former 30 Strings, E, A, or D.$3.00 glorification of four singers. Its reper¬ MAELZEL METRONOMES. American tent had it' not have been for the inspira¬ of much adverse criticism, often with no bell. $2.25; with bell, $3.35. Fo«« proper height of a bridge for a violin is placed labels in his violins reading as THEO. PRESSER CO., Philadelphia, Pa. toire included operatic excerpts, Italian make, no bell. $2.50; with {sell, 53.56. J.T. tion of the coterie of pianistic disciples, L, no bell. $3.00; with hell, $4.25. Trans¬ ascertained, the neck and fingerboard of follows: “Christian Donat Hopff, violin- arias and popular ballads unequally yoked portation. 32c each, extra. Pocket Mm* the violin must be adjusted at such an which formed his musical court at w'rf hr macher in Klingenthal.” The labels of together with sacred words. It was im¬ nomea, postpaid, SOc. angle that when this bridge is used the Weimar? All agree that he had some pv'ry MUSIC ROLLS. Cowhide, smooth, }jjj the latter read: “David Christian Hopf, possible to discover any essential differ¬ S'? r list. many years to come, an immense in¬ During this time secular music was Df the neck so that the fingerboard will tities of cheap factory fiddles is not very church. 1®*?'“: fluence on the art of violin playing the s Bennett Organ Co. advancing on legitimate lines, yet the Let vs tend free Jie at the proper angle to admit of a clear. The imitation “Hopfs” are mostly of an extent that standard S"ch “Music Teachers' Han people who listened with cultured dis¬ “ridge of the correct height being used. a cheap grade although a few imitations ORGAN BUILDERS leavened all forms of d, !lurch music The violin student who never expects crimination to orchestral' and choral con¬ Many violinists complain of certain are met with which command an almost ROCK ISLAND - - ILLINOIS HenRy Hall, Professor certs on week days did not apparently tones on their violins being bad, which equal price, in the trade, with the ori¬ to teach, makes a mistake, for one learns The organs we build are as near perfection at Columbia University, as skill and money can make them. realize the incongruity of the music they ascribe to fundamental defects in ginals. by teaching, and gathers strength and in¬ which greeted them on Sundays. More the Convention 0fthZ rA?less THEO. PRESSER CO. the instrument. While this may be the Original instruments by the two Hopfs spiration from pupils if they are interest¬ American Organists, ' th Guild of mentioned above do not command a high ing and talented. 1712 Chestnut St. - Philadelphia ^ “ase in many instances, a faulty finger¬ Please mention THE ETUDE when addressk: our advertisers. THE ETUDE 385 384 THE ETUDE The Importance of Keeping jn Powdered Action of the Thumb in Shifting Violin Questions Answered Making the Most of a Perfection No department of violin playing Practice \ For the THIRD kinds of bowing are described in this method, Williams Patent Composition more important than shifting, and in Violin players, no matter how far aj. together with exercises for applying each one. Complexion The choice of positions for executing shifting a correct action of the thumb i vanced they are, should never neglect their This method also contains a vast amount of obscure vi°l^®mlk«-S,m“4 Ynsjram^ ma? other instructive material for the violin. given passages, on what string they will of paramount importance. Play former studies and exercises. They be lairly good. The mere fact that the sound the most effective, and the shift¬ should always remember that their pr0g. PRIZE CONTEST ownership of the violin can be traced hick Soft Rubber have been incorrectly taught, or who have in your tamily for 100 years is of no im H. C.—1. For the pupil who has a fair ing and portamento effects, require the ress and advancement was brought about working knowledge of the third position, get had no teacher at all, often grip the neck FOR portance whatever, since if the violin was Dancla s Petitcs Airs Varie, 1st series, deepest study and most discriminating by instructive works which carry with not a good one at the beginning, age would tightly and move the hand as a wo® not Improve it. Possibly w. E. Hill and Steyrische Landier from the Arabeslcen by Chin Rest! judgment of the violinist. On these de¬ them just as many benefits for the Curl Bolim, and Dancla’s Six Easy Fantasias, from one position to another, without bons, 140 New Bond St., Loudon, Eng., who Op. 120. An exceptionally bright pupil might pend much of the effectiveness of any anticipating the change of position with accomplished player as for the beginner are a long established London firm, ■ could manage the First Concerto by Accolay at composition. Students often ask how Many violinists make a peculiar mistake PIANOFORTE WoUn S°me Usht OU the history of youl‘ this stage. 2. There is an immense amount the thumb. Such a method will never of material available for the pupil who has they may know what position to use. A result in easy, accurate shifting. Let the in thinking that when once they have mastered the first 20 studies of Ivreutzer. great deal of the music intended for violin student remember, at all tunes, gone through with certain studies, they greatly lm- You might try any of the Singelee operatic students has the position work indicated proved by practicing the fantasias such as those from Faust, Tann- that the thumb is the advance pilot of the are through for good. This is a serious tempo,.. counting 12 or re to each hauser, Lucia, etc., Wieniawski’s Kuiawiak, /-jpo give your skin a smooth, by the fingering, and where this has been COMPOSITIONS —i'“ ..ng the join hand, and must move down towards the mistake. wrist and Haesche’s Souvenir de Wieniawski, Raff’s se only this—the powder well done by a really experienced violin¬ id elastic, and making ! Cavatina, Reynard's Berceuse in 0, and lower or up towards the higher position, Every violinist should possess his own y two-part songs 8W»' 4 The Cupid Grand SSStSsSa! BBS-BS sUSSS-Si our- D h Smith 15 Sofimer 315 Fifth Avenue r:r=rH,!t: New York, NY. Emm :ii jy PIANO, VIOLIN and CELLO BSs*,. 3Ks„ .. ■&5 I fsm* .f =Rje-SS: M^isiSK* „.1 . Na 2, Little" Trio In D Mi\ras: "issrisr^ Op” li kv THEO. PRESSER CO. 1712 Chestnut St., PhiUdelphil Pi THEO. PRESSER CO. IlifflB 393 392 THE ETUDE THE ETUDE eroded course, have taken some Etudes and his Preludes. Schumann’s Oarna- Moscheles-Clementi Grata* ad Par-* val-scenen, Etudes *>’ ymphoniques and his YOUR FINGERS SHOULD BE SLAVES TO YOUR WIJLL ft 'nd several of Beethoven’s sonatas, great Fantasie in C. Liszt s s'onata for Mpliesss"“ several“Zral ofi the solos of themg bestw/laf com¬ tQ Piano, in B. Mendelssohn’s Variations Sdri- PROGRESSIVE VIOLIN STUDIES euse. Debussy’s Jardin sous la Pluie. Mae- THE SPIRAL KEY FINGER EXERCISER fTup no,,’? I am not taking lessons at Dowell’s Sonata Tragica. Brahms’ Sonata, WILL MAKE THEM iake'f hUt. am giving lessons to a class of By FAMOUS MASTERS Questions and Answers tAouWiU and want to keep on This is a list given almost at random. STRONG AND UNDER CONTROL The last five sonatas of Beethoven should the”arpeggios before the sixteenth- be known to the student, as the beginning „dpfu, **** ?•„ is singular that in several analyses of a freer school. None of the piano con¬ W^Md^ioi^Sswlspmmt'wilf^helpVou.'j^Huill Are Your fool.. With work I find this important point un- certos are mentioned in the above list, but Professor of Theory at the New England Conservatory „f this wu ot givc y0U Iin absolutely [ ’tHe’oS^ROVSKY METHOD OF HAND DEVELOPMENT for pianists, Vol. I. STUDIES IN THE FIRST THREE POSITIONS touched. the character you ask for, the student should be familiar with Beet¬ faultless * ujgjjtion several works tu- *■ hoven’s last two, with the two of Liszt, with the one by Schumann, the second by Brahms, I Z^BS^flfjkVrrH A^^KbysluhR^ Price $1.00, postpaid a“aicM Pianist should know. Her the one by Paderewski, the Chopin F minor 1 Personal and Correspondence Courses. Address concerto, the Tsehaikowsky B-flat, and the The famous masters of the violin have left to the world a great number of 'Rnch’s Chromatic Fugue and his St. Ann’s Grieg Concerto which are all worthy of a OSTROVSKY INSTITUTE wpnderful exercises, most of them practically unknown. The present work aims rZe Mozart’s Fantasie and C minor place upon the list. PHILADELPHIA: CHICAGO: Schubert’s Fantasie, Op. 15. shn Conservatory of Music, 1714 Chestnut St. Steinway Hall, 64 E. VanBuren St. to bring many of these hidden treasures to the light, and thereby to offer abundant son^‘Ws Sonatas Op 13, 27, No. 2, 53, Try some works of the modern school, Frederick Hahn, Manager Res Underwood, Manager material, that is concise and progressive, for each grade of study. aeetnove Ballade in G minor, Op. Rachmaninoff, Debussy, Ravel, and Scrlabine should not be beyond your powers. :e piano music _ Prominent Sf ms PoZaise in A-flat, Op. 53, his Music Teacher Agents Wanted- ?L5Jn E!££ Our Spring Bulletin of New Publications will be mailed FREE on Request I un -v.™ staves me organ music. __. dollars a week, _ _ __ ■ l'Ms Children’s Department The piano, or properly spewing, luc siauuit, uiovanm Fernni, made a pi (Continuedfrom page386) • forte has a most interesting history, forte which became famous. It was EXTRAORDINARY REDUCTIONS ^“investigators generally agree that the bought by the Queen of Spain. In the Unusual Premium Rewards Franz Schubert. J\ntor was Bartolomeo Cristofori, an first year after he had patented this in- Acrostics in the History livery aruuc is uic ucai mcnw. an v- 6.ve entire satisfaction, IN MAGAZINES 1797—1828. Dalian As an instrument of the draw- vention he sold $125,000 worth of the new request. Subscriptions must be of Music ! room the piano has passed from in- harps in London alone. Erard died in Complete Premium Catalog of 32 pages c S—on of a schoolmaster in the villi„ torr one year and must beDe otherotner thantnan your oown. Orders should be accompanied We haVe arranged a number of special low-priced magazine combinations !„tor to inventor through a cloud of 1831, his last work hav}ng been thg grand for the benefit of our readers. These offers comprise positively the greatest By CHARLES BANCROFT of Lichtenthal. with $1.50.50 forf< each subscription.' ’ ' Transportation prepaid, unless otherwise stated. reductions ever offered. Present subscriptions will be extended Each C—horister in the Imperial Court Choir romance. In its ant'(luefor™ 11 organ which he built for the chapel of magazine can go to a different address. Canadian postage additional. Acrostics make an interesting way to of Vienna. rauch mixed up with other mstruments the Tuilleries I Jibe lyre order to be worth while trac- FLOWER SEEDS AND BULBS the memorizing of the history of music. H—e wrote about six hundred and fifty The fame of the Cristofori invention :i»l Price Special Price L But Cristofori was in reality the No. 82( The initial letter of each line will form songs. ■ soon spread through Europe and there THE ETUDE . . 25 THE ETUDE) $ 1 60 enter who established the principles 2 the key to the phrase that follows. The were many inventors to follow him, up Modern Priscilla — Woman’s > — Unfinished Symphony in B minor his a which the piano of to-day is con- McCall’s (free pattern) ve 75 cle. World I SavaZ5 cts. teacher should see that the pupil first best-known work. to the time that Sebastien Erard made studies the life of the composer, then the B—eethoven and Schubert are buried improvements in the construction acrostic can be formed. In class work, fristofori was a harpsichord maker of THE ETUDE beside each other. prizes could be- awarded for the most . x an(j he had as his most eminent of the instrument, almost revolutioniz- Housewife . nm' . -r?—1:—£8. 0f ffie ing it. Y2- original phrases. The following ex¬ E—rlking and Hark, Hark, the Lark! natron Prince Ferdinand, McCall’s . J Save 50 cts. THEETUDE|$-J 85 amples are offered by way of suggestion. . were composed by him. Grand Duke Cosmo III, who Erard, at the age of eighteen, left THE ETUDE . . It is advisable to use the history book R—eading poetry influenced his work skilled harpsichord player. Ferdinand Strasburg, his native place, for Paris, Woman’s Home Companion js$ - Needlework j Sav^Octs. being studied in writing the phrases, and, as a composer. prevailed upon Cristofori to leave Padua where he bound himself apprentice to McCall’s (free pattern) 3 only one individual composer should be T—he latter days of his life were passed and settle in Florence. Two of his pianos clavichordmaker, soon proving himself Special Price in poverty. ire fortunately still existing. The early skillful as to excite the jealously of THE ETUDE ) $1 60 McCall’s THE ETUDE . . ( ()ated 1720, belonged to Signora his master. They quarreled and parted, 1- Johann Sebastian Bach. (free pattern) j SavHOcIs. Designer (fashions) Feliz Mendelssohn Bartholdy. Eriiesta Mocenni Martelli, of Florence, and Setastien entered the service of ?2- 1685—1750. Modern Priscilla . 1809—1847. anil it has found its way into the Metro- another constructor of clavichords, who THE ETUDE )$1 85 B—ecame an orphan at the age of ten, ■■ q Museum of Art in New York appreciated his skill so much that he set Designer A—nd was totally blind one ear before M—other’s name was Bartholdy, which ML- THE ETUDE . . dty, where it is 01 ie of the most interest- him to make an instrument that was to he died. he adopted. Modern Priscilla . $2- jng of the exhibits. surpass, everything that had up to that E—vorything was done by his parents THE ETUDE Home Needlework . C—onsidered the greatest organist of The second piano, dated 1726, io ... time been done in this line. the eighteenth century. to develop his talent. No. 832—2 Subscriptions. Annual Flower Se Woman’s 1- V tie museum of the eminent collectors and Young Sebastien accomplished the Magazine^ fsa^Ocn. THE ETUDE . . . H—is fugues are his best-known works. N—oted for his music to Shakespeare’s musicologists, the Signori Kraus, task with complete success, and when his No7833—2^uiw4^»netP*RMKMU)^vra. Woman’s Home Compani A Midsummer Night’s Dream. George Frederick Handel. Florence. Both instruments, the 1720 and master took the harpsichord to the pur- ' ” vs: aconitum, alyssum, anemone, aquilegia Modern Priscilla . . THE ETUDE) $f 90 D—rawing and the writing of fasci¬ jphUa, lychnis,^pentstemon, pis* Modern I - 1685—1759. j tke 1726, have the overdampers and chaser and was asked to explain the nating letters amongst his talents. THE ETUDE . Priscilla j Save60cts. H—alle on the Saale was his birthplace. rltfk, the latter the mechanical comple- mechanism he was unable to do so, and E—lijah, his oratorio, was first per¬ Modern Priscilla A—nd his greatest oratorio is The Mes¬ lion of the action. Both pianos are i obliged to confess that Erard had CAMERAS $2- THE ETUDE ) $QO0 formed at Birmingham, England. Pictorial Review Ladies’ > X— siah. bichord, and have white natural keys, made it. No. 635—Premo Junior, Model B—4 Subscriptions. L—earning of the death of his sister World )Sa?e50cts. N—aturalized an Englishman, and but the compass differs, the earlier hav- Orders poured upon Erard alto- Box type with universal focus lens, the simplest instru¬ THE ETUDE . . . buried in Westminster Abbey. hastened his end. ing four and a half octaves, and the gether beyond his power of production ment for picture , making that can be devised. Size of Woman’s Home Compani THE ETUDE) $< D—ublin, Ireland, witnessed the first S—t. Paul is another of his oratorios latter only four octaves. and he took his brother into partnership pictures, 2% x 3*4 inches. Loads in daylight with the Christian > _ $3- - performance of The Messiah. often heard. Cristofori died in 1731, aged sixty-s and they established themselves in Paris Premo Film Pack. Instructions included. American Magazine Save $1.25 Herald j Sat2 E—ngland’s enthusiasm for his music S—ongs Without Words are also his The year previous to his death his as- as makers of pianos.—Philadelphia Press. is still living. compositions. IMITATION PEARL NECKLACE THE ETUDE . . . *35 L—ondon was his home from the year O—vertures, seven in number, and four No. 1316—3 Subscriptions. Pearls are very much in THE ETUDE) $Q50 Woman’s Home Compani Woman’s > ^— 1712. symphonies he also wrote. vogue at the present time. We have selected a very Pictorial Review . . attractive set of medium size, strung on gold wire, in¬ Home Comp.j SareSOcii. H—e was the founder of the famous Fixing the Price and Starting a Class suring durability. Franz Joseph Haydn. Leipzig Conservatory. No. 635—4 subscript! THE ETUDE >$rt4i THE ETUDE . 1732—1809. N—oble in purpose, he was possessed By ROLAND DIGGLE TRAVELING BAGS Technical > X.— To-Day’s (pattern) $l^ H—e served as valet to one of hi.-, of great musical ability. World js,“c McCall’s (pattern) Save 75 eta. teachers. Oxe of the most discouraging things a ten-week ter Besides, why should No. 64G—8 Subscriptions. Cowhide traveling bag, 16-inch, leather lined. Has French edges and A—t eight he joined the choir of St the young teacher has to contend with you have to v : ten weeks for your THE ETUDE . . $240 Frederic Chopin. corners. Sent charges collect. Stephen’s, in Vienna. is the cut-rate fiend. How are you money? It is r t to an impossibility to No. 647—11 Subscriptions. English traveling McClure’s Magazine 1809—1849. Save 60 eta. Y—ears spent with an irritable wife did going to compete with a teacher who get the money i advance, especially ii bag, 16-inch, cowhide; plaid lined, high sewed not affect his work. C—onditions of his country affected his corners. Sent charges collect. THE ETUDE . gives two lessons for a quarter? In every many of the smaller places. “Why $252 THE ETUDE) $ “■ D rrector of the famous Esterhazy compositions. Ladies’ World . town in the country you will find some- should they pay in advance,” they ask, LADIES’ SILK STOCKINGS To-Day’s l | orchestra in the year 1766. H—e played in public, a concerto, at one pretending to teach for that price, “would you pay your doctor or your Modern Priscilla (Women)J Save40cts. No. 627—1 pair for 3 Subscriptions. Very fine N—amed by musicians of his time as the age of nine. I know of people who give a lesson for lawyer in advance?” Having decided on Papa Haydn.” pure silk, with silk top and lisle foot. Full THE ETUDE . . ®—rdinary people did not appeal to ten cents. How then can you make your price and terms, you must get them $, $212 fashioned. Black, tan and white. Modern Priscilla . $2- Wolfgang Amadeus Mozart his aristocratic nature. People realize that good lessons are before the people whom they are likely to Mother’s Magazine. Save $1.50 1756—1791. P—olish legends gave him the inspira¬ worth from 50 cents to $5.00. In the interest. The most satisfactory way to SILK FLOSS LIBRARY SCARFS tion for his ballades. THE ETUDE . . THE ETUDE) $n M-ade a concert tour at the age of first place there is little to be gained by d° this is by circular letter telling where No. 1020—2 Subscriptions. Pure Linen Crash} Musical J. £ nine. I—nelrded in his works are four bril¬ running down the other teacher. You and how lon= l°u have st.udled; what J°u Bulgarian design. Outfit contains one library Review of Reviews. liant Scherzos, Leader) Save O-rganist at the age of seven. |«ay bow that the pupils are really learn- «Pecf to teach, scarf 17x54 inches, one specially written diagram Z-ealously trained by his father N ineteen nocturnes, and twenty-five lesson and silk floss for working. THE ETUDE . A—t the age of fourteen he wrote a preludes. 52enfha?attthe tener haShneV1e/ your teachers. Make it as interesting as No. 1021—Same in Bulgarian initial. Delineator f^u'^ grand opera. dZ LM\erm of,lessons h,e,rself’ you can, and at the same time business- No. 1022—Same in Butterfly design? No. 1023—Same in Conventional design. Everybody’s (Addr" R-elated to C. M. Von Weber by mar Franz Liszt. :IVhlIlherrPUP1,S ar.C aW\ like. Send under a two-cent stamp to riag-e. * lcir" rrugge through a few easy pieces, they all who might be interested. The same No. 1024—Same in Darning stitch design. 1811—1885. THE ETUDE) $000 THE ETUDE . $. any blow nothing whatever about even week you send these out, if possible give No. 1025—Same in Pine cone design. Collier’s } . J— Pillow tops in designs to match these library scarfs Delineator . . T~h’SZF'',“U of compo- L—ike Chopin.he greatly changed the * rudiments of music. This knowledge a pubbc recital. In this way you will Weekly J SaToi.OO ‘3- standard of playing. for 1 Subscription. Woman’s Home C Save 85 cts ™ not help you to get any pupils. show people what you can actually do. I ntimate with Chopin, Paganini and r«e first thing to do, is to decide how You never hear of the ten-cent teacher WILLOW ROCKING CHAIR THE ETUDE . Berlioz. .375 . d>e lessons you are prepared to giving a recital, although it is one of the No. 1500—7 Subscriptions. Willow furniture has be¬ Current Opinion ® 0,1 °f an excellent amateur pianist. 5>ye are really worth. You cannot ex- best advertisement there is for a piano or come a necessity both for porches and indoor use. In ^ ealously studied under Salieri and p 0r"nat,he°5fi„* “*•" G™ Wt to succeed if you charge a dollar a voice teacher. addition to being attractive, it is light in weight, easy THE ETUDE . . Czerny. to move and particularly adaptable to any apartment. !sson when in' your heart you know Having done all this you may possibly Youth’s Companion. s3- THE ETUDE) $Q40 T he great pianists frequently play his The roomy rocking chair illustrated here is a very popu¬ Delineator works. are not worth more than fifty cents, expect the pupils to flock to you, hut m lar model in French natural willow. Upholstery THE ETUDE . . 7 the first year it might be wise to this you will be disappointed. Don t he and cushion NOT included. Sentchargescollect. ''nterpreUtioneCe,Ved ^ ‘ a little less than what you think discouraged, however. If y°« have ^ Woman’s Home Com Richard Wagner. No. 1501—6 Subscriptions. Same in arm chair. your lesson is worth. You will learn a two or three inquiries you have done Review of Reviews . t:«,y Hayt,» *”< Aib, 1813—1883. ?rtat deal during your first year’s teach- better than dozens of teachers before you. CREX GRASS RUGS THE ETUDE . H *S£S£** W—as the composer of The Flying V * sma« loss rffcSdi up GO after the prospective pupils penally Crex Rugs are particularly adapted to studios; THE ETUDE) $Q50 Modern Priscilla Dutchman. Having decided on the price you will talk with the parents, interest them, 1and and for summer use are the only correct floor °-«lyo« open, F,,,creil: coverings for porches and cottages. Sent by Everybody’s | £4— Ladies’ World . A—n organist named Miiller and Theo- Pictorial Review dor Weinlig were his teachers, J* ^Nothing' Sur’tshaV tetaWche0rr more X one pupiT inLreTtedwill soon bring express, collect. Saturday Evening Post V-ocal compositions, as well reat dramatist as well as a great No. 603— 4 Subscriptions, 3x 6, plain Send Orders Only to natas, overtures and J musician. No. 604— 8 Subscriptions, 6x 9, plain N anted the composer of “the music No. 605—10 Subscriptions, 8x10, plain No. 606—13 Subscriptions, 9x11, plain THE ETUDE, PHILADELPHIA, PA. of the future.” 'f?ht hundred and more books have been written about him. THE ETUDE, PHILADELPHIA, PA. Jerfbl composition))8 emarkable for tj,e orjffjnal ideas introduced in his work. Please mention THE ETUDE when addressing 0 397 THE ETUDE la the Artist’s Life The Strength of the Pianist 396 THE ETUDE Simplicity1 all gtages of the Paderewski can crack a pane of French true S implicity, and simplicity plate glass a half-inch in thickness by iger's lite JS The moment any girl begins nimnlv marine- one h»ns — .. „„ -- %» “ S ana “unfathomable,” .she starts u mmphx anu_ ... insincerity Why Shouldn’t You Buy m surround herse and her real to an exchange. It is calculated t’l til stiflesStw® ““-/work,her I for workWOrk is sound equal to six pounds is thrown ono a single SCHOOLS SCHOOLS 1 As Low As Any Dealer? j beheve in ^ „j.u hitch my key in playing heavy passages. In playing rtbltion. But t tc)0 highfalutin, though Chopin s fitude in C minor it is estimated MIDDLE WESTERN TA/Sll Da C nn 4 V C/\n ,-sgcffl to a s.ta^av S0und well. The moment that a total pressure of three tons is required, ,, some ears, it ®ay ^ herself the center although the piece lasts only two minutes. INSTITUTE OP APPLIED M Vr begULes and exists only in a rosy If all this be true, it would seem as if the AMERICAN. ggrand roman^’rtant present is obscured, mere muscular exertion of giving a two- AMERICANS IY WOOD SCHOOL OF MUSICAL ARTS jiture, the afl-‘mP aPpiant and putting j10"!. plano r,ecl|al llke Paderewski is equa it is very Iike laSfon and gewgaws *+ to that required to ascend the MatterhornM»tte.h„™ K •ay ;:„b0WSwt.,h 'is,„ stunted. The-- sole right__Add to this an equal amount of brain work "“‘ zrtTirn growth as singer, or m anyan- And yet thousands of frail girls CHASE n.r‘°ffart is the way of simplicity—1 : 426 BprlngAv* CINCINNATI 1 Wdea?ly wfiat is at hand to do, and the BARTEL" ^bIIv* I^care'little for dress, nor do In Praise of Teaching to Teach COLUMBIA* Tfttot on the stage it plays so great For a kiddish sophomore in Columbia to BECKER' 1 St with the Singer, for there, again look disdainfully upon an earnest student in Teachers’ College Is like a toy balloon COSMOPOLITAN Kant’s Opinion on Music Two Classes of Pupils ... wno 6“"“-;; their and!- laughing at Beeehey looping the loop. The BEEGHWOOD. Kant is not satisfied with tracing the basic Pupils may be divided into two clamu. 2 to catch the attention °f th r Columbian kid is merely picking the chips of principles of the msthetics of music totbe those who desire to become ,L one case of this kind I re THEODORE PRESSER COMPANY, PHILADELPHIA, PA. THEODOR PRESSER CO., 1712-1714 Chestnut Street, Philadelphia, Penna. IMPORTANT RECENT PUBLICATIONS The Quickest Mail Order Music Supply House for Teachers, Schools and Conservatories of Music BOOKS FOR YOUNG PEOPLE FOR THF. ORGANIST AND CHOIR MASTER ANTHEM OFFERING MUSICAL IDEAS FOR WORSHIP IN SONG The best selected and one of the largest stocks of music. The most liberal “ON SALE” plan. Anything LITTLE FOLK’S SONG BOOK ANTHEMS FROM WELL-KNOWN A COLLECTION FOR GENERAL USE By WM. H. NEIDLINGER Price, 75 centi BEGINNERS SONGS BY FAMOUS COMPOSERS Single Copy, 25c Prepaid, $1.80 Per Dox. Not Prepaid in our stock or published by us sent freely on inspection at our regular low A unique book of Children's Songs by one ON THE PIANOFORTE of America’s foremost composers. In addi¬ Single Copy 25 cent*, Prepaid The seventh volume in our phenomenally Professional Rates. The best discounts and terms. tion to his musical attainments Mr. Neld- $1.80 Per Dozen, Not Postpaid successful series of anthem collections. By MARION RALSTON Price, $1.00 llnger is also an authority on child psy¬ In this attractive anthem collection a Anthem Offering contains seventeen numbers A valuable elementary work. The result chology. Hence he knows just what is number of sacred songs which have be¬ in all styles, suited to various occasions, ali of many years of practical experience In wanted in the line of Children's Songs and come very popular have been assembled by successful writers. Some of the com¬ teaching and handling young students. Not just how to make It. All the songs In this and arranged for mixed voices In anthem, posers represented are Berwald, Camp, strictly an instruction book. It may be book are charmingly original. All charac¬ form. In addition Rockwell, Roberts, Meyer, Blount, Bird the most modern teaching publications in music taken up to good advantage In connection teristic or descriptive. The tunes are simple known^part songs 1 Stnlts, Stair and others. with any elementary method. The material yet delightful, and set to very pretty rhymes. FOUND IN THE STUDIOS OF EVERY PROGRESSIVE TEACHER is of decidedly attractive character, the intention of the writer being to develop REED ORGAN PLAYER THE NEW ORGANIST technique and musicianship hand In hand MERRY RHYMES FOR PRIMER I from the very beginning. Price, 50 cent* A COLLECTION FOR THE PIPE ORGAN BATCHELLOR MUSICAL CHILDHOOD TIMES This volume Is a splendid collection of STANDARD GRADED COURSE OF classic and modern pieces, appropriate for By GEORGE E. WHITING Price, $1.50 FACTS ABOUT^MUSIC KINDERGARTEN METHOD WHAT THEY DO IN VOCAL OR INSTRUMENTAL all occasions in the church or home. Many Contains original compositions by Mr I By M. G. EVANS Price, 50 Cents By L. A. BUGBEE-DAVIS Price, 50 cents of the pieces have been especially written Whiting, as well as transcriptions and ar¬ STUDIES FOR THE PIANOFORTE By D. BATCHELLOR and C. LANDON I This little work is more than a primer; it is Price, $1.50 WONDERTOWN A new work for elementary students. It or transcribed. It Is all genuine reed organ rangements from standard works by classic Compiled by W. S. B. MATHEWS FOR THE PIANOFORTE contains seven pieces, practically all of music, not simply a collection of plnnoforte an Makes eaar Cleans Dusting Polish As It Dustless came to lighten the burdens and brighten the homes and i;VM f , housekeepers. 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This is the the cloth outside. dealer will return your money if y department stores, a a are not delighted. best thing to having a real O-Cedar CHANNELL CHEMICAL COMPANY, London Berlin