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

4-1-1907 Volume 25, Number 04 (April 1907) Winton J. Baltzell

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Recommended Citation Baltzell, Winton J.. "Volume 25, Number 04 (April 1907)." , (1907). https://digitalcommons.gardner-webb.edu/etude/524

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE MAIDEN’S WISH By MRS. HERMANN KOTZSCHMAR

praised my voice—aye, more, he has asked me to sing for him—to sing at his first concert. He implored me livelong day I’ve pinched my arms. I’ve not to refuse—as though I would not gladly die— I rubbed my eyes, and over and over to myself what am I saying? What am I thinking? My hap¬ I’ve whispered: “Can this be I?” And now at piness has turned my brain. He, the greatest of night I stand before you, tell-tale mirror, and know musicians, the wonder of all Warsaw, he has told me you’ll answer truly. Am I the girl who sang last that my voice thrilled him as none other ever had; and week, trembling and fearful, before that august body then, before them all, he bent down toward me, saying, of musicians, striving for what seemed then beyond so low that none save I could hear, “Ah, Mademoi¬ my grasp? selle, a grand, a glorious career lies open to you ; you Yes, yes, you nod; it is in very truth yourself, and will be famous, far more than Catalani, for you have not another. You, Constantia Gladkowska, to whom what she lacks, soul.” . . . has come, as from the hand of God, this blessed gift. It is small wonder that.you do not know yourself, dear child; pray let me make you speedily acquainted with Time! What is time? I have lived my whole life the state pupil of the Warsaw Conservatorium. Oh, in that one night when I sang for him. Ah, who I could dance for very joy 1 But better still, I’ll work, dares say that music cannot speak? If ever love was and sing—sing, so that all the world will hear of,me. told, does it not breathe in measure such as this: What glory lies before me—Vienna, Paris, at my feet—the queen of song! But not alone for me the triumph, but for music. And all for Poland. Oh, mother of God, thou didst intercede for me, and this is earnest that my prayer has reached thine ear! I will strive as never woman did before, only let my life count for the desire of my heart—music; only let i to improvise. Before he reached his s me know when life is ended that Poland, the world, his eyes sought mine, and as he played his soul spoke is richer in that I have- lived. . . . While I stood there trembling, with my eyes filled through his fingers unto mine and spirit answered to overflowing, the door opened, and—and—he came A miracle has happened—I have been born anew. out. Instantly I knew that it was he. The slender I thought I had stumbled a little way into the mean¬ figure, the strongly marked features of the pale, aristo¬ cratic face, the full, broad brow ; but above all, through These months I’ve said it over and again. “A ing of the divinity cf music, but to-day, for the first grand, a glorious career lies open to you,” and ever the dark luminous eyes gleamed genius. As he turned time, my inner ears have been unstopped, and my soul as I say the words I seem to lose myself in him he saw me; our eyes met, and I knew forever and for¬ flooded with such exquisite harmonies that time and The “you” is never I alone, but always interwoven ever there was for me but one. place were obliterated. with every longing and desire of my heart for him. I had almost reached my class when, from the third “Were I a sun, so high in heaven outshining. room, as I left the stairs, softly there came this Only on one should my radiance be streaming; melody : Not upon forest, not upon meadow Such strange thoughts come to me at times. He Would I dispel the shadow, into thy window yonder has so often called me “inspirer of his melody.” the Brightly gleaming, source from which he draws not only tenderest Only for one all day I’d be beaming. fancies, but also greatest strength and power, that ofttimes I have wondered is this to be “my grand “Were I a birdling, blithesomely winging, and glorious career”—to give my mite, my little Only for one would I ever be singing! all, to help perfect his great transcendent genius. Stronger and milder it grew; it surged about me, Not for the forest, not for the meadow. And when this thought comes to me, I feel God’s questioning impetuously, fiercely; then grew fainter Sporting in sun and shadow, under thy window, peace within. and fainter, until it sobbed itself into silence. Thy window swinging, Breathless, spellbound, I stood; then came another Only for one my song I’d be singing.” He. magic strain: Days and nights, since memory has been mine, one In church this morning I saw him again. He was thought has filled my heart—my country, my un¬ near the door as I entered, and when I rose from my happy country. Would to God I could die for thee, knees his face was the first I saw. I could have Poland! How thy sons, oh, Warsaw, gathered cried with vexation as I felt the tell-tale color sweep ’round thy banner, and I am left to eat my heart out over my face. I bent lower and lower over my prayer- in despair. “Too young, too frail,” they cried, as On it rushed like a whirlwind, then repeated itself book, but it seemed as though his eyes were reading though, forsooth, young blood could not, and should like the softest of summer zephyrs. It transported my very thoughts. Confused, almost ashamed, I not, freely flow to help wipe out our country’s shame me to a crowded ballroom, far from my native hurried home, dreading, yet hoping, to see him nearer; and degradation. I am tom asunder in this conflict. home. I saw the gay revelers, the blazing lights. I but he had gone. I see them, those glorious heroes, bleeding, dying in joined the wild dance. Suddenly the music changed summer heat; defying the storms of winter—fighting to piteous longing; it seemed to grope, to reach, to cry and falling until not one is left. aloud in yearning, for home and loved ones. It gripped Thy sons and daughters oh. Warsaw, exiled, beset my heart with pain almost unbearable. by dangers, weeping desoiat? in a land of strangers! THE ETUDE 219 THE ETUDE 218 and artificial remedies. So far as general health. Therefore, frequent muscular exercise There has been much for me in life !ove< .^r'en^-. the latter are concerned, bromide in the open is always to be advised. The enjoyment of panions—my piano. ' How it responds *to every My country! My country! Betrayed by the world, ship, honor, fame-and beyond all, what is Pven is generally used. As a matter of a beautiful country increases one’s sense of life, and forsaken of God, was ever agony like this? This word! Am I despondent, melancholy, it will whisper so the “wanderings in free Nature” also bring a good but few, the realization of my ideal. • fact, a quieting of the nerves is morning as from my window I watched the army to me in these soft, sweet, soothing tones: longer life I’ve craved to utter all these 1 ,r0 * * return to music itself. But nervousness depends really march at daybreak every hope seemed crushed secured, but, at the same time, thoughts in music left unsaid. My dream lias ote sensitiveness is dulled, the tempera¬ upon lack of oxygen in the blood* ; for this nothing is within me. to write a mighty epic for my country, to tell in ie- ment is repressed, thereby destroy¬ better than plenty of fresh air. Musicians, un¬ “Useless cumberer of the ground,” I cried, “for verberating chords the overpowering majesty of w,i fortunately, are usually stay-at-homes (recluses) ; they what were you born? Too feeble in body to strike ing the most important and char¬ jjfjg# row and of death; to show in ever-living tone- a exercise and breathe too little. Music, as a source of one blow in defence of what is dearer than life, how P~~T r ■ V L r I acteristically artistic element in nation’s desolation as she mourns her fallen heroes. i nervous excitement, demands for an antidote walks in can yot} serve Poland?” Again, when Poland’s ancient martial glory comes Do you not think, my Titus, that those we’ve loved music. Besides, indisposition and “Listen, my son, and I will tell you.” I turned, One day as I passed down the old garden walk headache are likely to follow next the open, as a means of quieting and restoring the before me, when in memory I see her noble patriots, in life still cling to us when they have left ■ and saw my mother. She laid her hand upon my nerves. A little more tfsfg jot-athletics would do the her high-born dames, her prestige, her renown, ’tis tal sight and give us of their Heavenly power? It I heard a wee worm in the daffodils talk; day, so that this remedy cannot be arm, and drew me to a seat beside her. Calm and musician no harm. . ' is then I turn to you, oh, ever-ready confidante, and “0,1 have been busy since early this Spring taken by those who have to play self-contained, as was her wont, there was in her pour my soul out in triumphant strains like this: ever/ day. Finally, also, this Cold Water. A measuring tunes for the robins to sing. face an unusual seriousness; in her manner a deci¬ medicine loses its effect through siveness of purpose which impressed me with its in¬ Hydropathy f (cold sp'onge-offs, etc.) is to be frequent use, and the nerves them¬ tensity. It was at twilight. I sat alone in the dusk of my recommended as a further remedy for the prevention selves become not strengthened but “You called yourself a ‘cumberer of the ground,’ ” chamber, improvising, when from my fingers fell these of nervousness. But the various treatments therein weakened. Taken all in all, it is said my mother. “God did not make you such; it chords, comprised should only be practiced occasionally, or for a remedy for numbing the nerves, rests with you to show your love for Poland, to With you, dear riming keys of black and white, — -==^X£2323 genuine curative purposes, otherwise they may have an render service great and inestimable as that wielded I can be wholly all myself. It was but yesterday I not for curing them.* injurious effect upon the emotions. Meanwhile a II by the sword. The battle is not always to the strong, told Witnicki, best of friends and poets, that, as Stimulants and Narcotics. frequently renewed cold pack over the heart an hour and seeming weakness often gains the greater his pen is the medium through which flow his glow¬ “O, one-two-three, one-two-three, golden the sun, before the concert, or a glass, at most, of bromide and triumph. The storm and stress of war have been de¬ Then we come to the question ing fancies, his uplifting words, so these hammers, A wide-awake flower and a bud measure one; water, is to be prescribed. I knew a violinist who nied you, but Poland needs help in many ways, and wires and ivory keys are the instrument through as to what we can leave off in order suffered from a fearful, almost convulsive, trembling of calls upon each son and daughter to give all—all which, God willing, I will tell the world the story of which seemed like clogs- of earth dropping, dropping Then one-two-three, one-two-three, measure along, to be less nervous. Here individual his right arm, and who cured himself completely by wealth, all power, all genius for her cause. Of this my life, the history of my nation. on my heart, and then a hush, a sti Pray how many flowers make a robin’s ‘Spring Song’?” characteristics play a large part. cold sponge-offs of-this arm. This remedy Is also sug¬ I am convinced, my son; there never thrills within There is yet a deeper depth—my love for her, my ble, was all about me. The air seem 1 tremulous Everyone must observe himself and gested to conductors whose baton trembles during the human heart one ardent longing to accomplish Constantia, whom, whije life lasts, I shall adore. with mystic light. I felt her near me, though b--r try to discover what increases his pieces like the “Prelude to Parsifal,” in which there some great, unselfish purpose but straight and plain Within me glows this holy aspiration that in some form I could not see, and then, oh, strain angelic 1 nervousness. One man is made are so many rests, hold#, and stops for the whole the way will open up, for all such longing is from deathless melody, perchance this very one, this is what she breathed: nervous by a cup of coffee, another orchestra. God.” by a cigar. Many artists smoke on Deep Breathing. My mother bent and kissed me as she left me the day on which they have to play speechless, but her words had stirred my soul and a solo, most of them not at all. On It v as stated above that nervousness actually re¬ roused within a mighty purpose. . . , Said Measuring worm, “I’m exactly as long some others coffee, tea and alcohol sults from lack of oxygen in the blood.* From the As three little buds in the robin’s ‘Spring Song’; have no influence in the direction examination of this statement a very useful hint can I may enshrine her image, evermore to live immortal. Does it not tell of life immortal, free from sin, of of nervousness. be given. It is noticeable that as soon as one begins But four little buds are one longer than I, Yesterday—away with yesterday, a barren waste! As I play, what entrancing visions come before me ’ deathless love, of union everlasting? 1 stretched my Of even greater importance than to feel nervous h#forgets to breathe, and takes in less Long live to-day, which blossoms as* a garden, for I breathe her name, “Constantia,” and with her I arms in anguish, crying; “Oh, loved one, tel! me Like the flower with no stem that has fallen close by.” the question of what to avoid is and less air. For this reason the proportion of in it I have seen the rose of all the world. When am transported into Paradise. It is the stillest of that these years are blotted out, that through eternity By Bertha Matilda Rhodes the question as to what to do in carbonic acid in the blood becomes greater, and as a steel meets flint fire is born, so when a man’s soul still moonlight nights. We wander slowly through we shall be one, Constantia, one ’forever more,” and order to be so strong that nerves result the nervousness increases. Therefore, all who meets its counterpart in woman no word is needed— the leafy paths; we linger silent by the quiet .waters through the darkness, faintly, like a sobbing wind, do not enter into the case at all. are inclined to be nervous should take care not to re¬ each knows its own, and love is bom. I shudder and then I .woo. She falters, trembling, when, oh, came echoing, “One forever more.” In this way coffee, Wa, alcohol and strict their breathing capacity. Indeed, it is possible when I think that with a moment’s hesitation, as 1 misery, I awake, the poor, struggling musician. . . . tobacco may exercise a favorable to obviate nervousness entirely through increasing the unlatched that door, I should have missed her, and influence, because they have a stim¬ breathing capacity', or, in some cases at least, to keep yet when I beheld her it was no surprise; it was WEBER A DRAMATIC COMPOSER. ulating and mood-producing effect. it off. Not many are aware of the connection between as though the hour had come, and bodily before me For months I've known that I must go, and now Weber was essentially a dramatic For this reason one so often these two, but many musicians follow it instinctively was my highest “ideal” manifest. I dared not lift fate knocks and cries, finds sherry, port wine, champagne by breathing heavily at difficult places. Some highly my hand from off the latch lest I should press her his piano music reflects the stage and its methods of “Come forth, leave all behind; go out into the THE CONTROL OF NERVOUSNESS IN THE and cigars in green-rooms. But here also the in¬ talented musicians often snort noticeably and I could to my heart. personification. The adagio of his first sonata (C unknown world and struggle for your place.” If ef¬ MUSICIAN. dividual traits determine action, for some have name some prominent conductors who, whether con¬ What sympathetic tenderness hovered around the major), for example, is not purely poetic; it pictures fort only meant, at last, my “ideal” gained; but this naturally such excitable temperaments that champagne sciously or unconsciously, render their nervousness smile with which she seemed to greet me! What di¬ dramatic scenes, the actors in which are not drawn strange foreboding which I feel, completely, utterly, BY DB. HEINRICH PUDOB. before entering upon the platform would be dangerous. innocuous by increased breathing. This simple, vine appreciation glowed within her tear-dimmed eyes! from real life, but are based on thJ conventional unmans me. This dread certainty, that nevermore Moreover, it must be pointed out that alcohol, taken natural, cheap and harmless remedy can be recom¬ Did I not feel her spirit near me when I played? characters of the stage. Thus, throughout his sonatas shall I look upon her, overwhelms me. Too well I From the German by E. B. H. regularly, entirely apart from its effect on the nerves, For one brief instant we seemed to gaze into each in general, here are comic situations, there are opera mended to every musician; at least he can watch very know, my feet will never tread' again the soil of impairs the sensitiveness of discrimination in hearing, carefully not to forget to breathe out of sheer nervous¬ other’s soul, and the dazzling glory of that sight Poland; nevermore will I stand beneath, the column singers voicing their emotions. Still, such music can HE question of the control of nervousness is ex¬ and on this account alone should be used with prudence ness, for then he can be sure that he cannot “attack” blinded me; then darkness covered all the earth, for of King Sigismund, or by the neighboring church, be played with fine effect. T ceedingly important, for there are many mu¬ by musicians. properly, or that Ms arm will not be steady. she had gone. , . . where I first saw her kneel, watch my Constantia The first movement of the sonata in D minor con¬ jures up various pictures of the chivalric period. It sicians who, on account of nervousness, accom¬ Emotional Control. seems to portray a tournatnent: we see armed con¬ plish only half of what they are capable of doing. There One of the most valuable hints that can be given for A Technical Suggestion. How dark the night! No ray of light from moon are many great artists who, even after many years of testants in clanging aTmor; horses stamp, lances are the purpose of decreasing nervousness is to attempt, It was no idle chance which led my feet this morn¬ or stars. Was it here, not two short hours ago,. I concert life, still struggle with nervousness, and whose A purely technical remedy, in order to secure a firm ing to the Church of the Bernadines; an inward voice couched, the rival knights ride in pairs ( vide the trip¬ before the concert, to calm the emotions. For the looked, my last upon her? How pale her face! how playing suffers obviously therefrom, at least in the first attack or a quiet arm, is to hold notes pianissimo in kept whispering, “There you’ll see her.” What new worn, yet strong in courage, brave in womanly en¬ let runs in thirds) ; the staccato quarter notes are music should arouse our emotions. The musician part of their program. When before the public, suddenly the higher register as quietly and as long as possible, meaning then was given to life, to love 1 As I gazed durance ! The' moment came when we must part. spear thrusts. Tne melodious episode in F major must not only be aroused by music; he must give him¬ the pianist cannot strike the right notes, the violinist’s and for string instruments to try to produce piano in on her what holy consecration filled my soul 1 It With feeble, stammering tongue I faltered: represents the ladies to whon the suite:.; pay homage-; self up to it, wholly and unrestrictedly. On this right arm trembles or the fingers of his left hand be¬ the higher positions with the heel of the bow in as calm was not the beauty of her face or form which thrilled “What do I not owe to you, beloved? Whatever the victor is crowned, he declares liis i.v.c, etc. L-r account he must be in the quietest frame of mind before come uncertain; the players of wind instruments suffer a tone as possible. The skill attained in this manner me; it was the divine within, which glorified her and comes to me of honor or of fame, the glory of it all this movement he studied with these images in the the concert; he must even save and store up his feel¬ also from trembling of the lips, and, above all, the may be as well thrown away, however, if the foregoing made me fall upon my knees and hide my face. is yours; your depths, your heights, are what have mind; it will give it spirit ard life. ings and passions, in order to express them all in his musician’s memory becomes unreliable when he is hints are not observed. spurred me. I may have wrought—the power, the in- • Weber’s “Invitation to the Dance” (composed in playing. On the other hand, one who goes to his con¬ nervous. What is still worse is that phrasing suffers In the meantime, however, it is farthest from my spiration, came from you.” Then was her face illum¬ 1819) contains all imaginable experiences or the cert confused, excited or fatigued will never play well. under such conditions; one thus affected cannot “let thoughts to suggest that the musician should think In all our lives some days stand out transfigured, ined with a light ineffable, her eyes, uplifted, stead¬ dance as known to polite society, combined into one Therefore, the rule should be: in the concert as much himself out” as he does when practicing at home. The continually only how not to be nervous. Indeed, he and give a foretaste of eternal bliss. Such was the fast, gazed in mine, and scarce above a whisper, low charming picture: timid joy, the shy approach, the emotion (passion) as possible; before the concert, on musical expression is sometimes cramped, sometimes should, above all, think of the music which he plays, day I spoke to her, and for one brief instant held her she breathed, “I am content.” plunge into the rollicki: g gaiety of the ball-room, I he the contrary, complete mental poise (repose of soul). violent or affected, hut in every case unnatural. An¬ sink himself entirely, in it, live it over,-enter thoroughly hand in mine; and then she sang. Not Cherubim or rapture in the swaying movement of the dance, the This is the best remedy for nervousness. Anyone who other development is that nervousness is contagious, into it, become absorbed in it and excited by it, feel Seraphim could vie, I know, with her in soul-en¬ Many Years Later. exalted feeling of protection in the arms of the loved comes to the concert hall perfectly calm in his mind arid many a nervous conductor makes ail his men its emotion, experience its passion—then he will find trancing tones. Such power! Such moving tender¬ Paris, 1849. one. The episode in F minor marks a bacchanalian will not become nervous, and the strongest emotion, nervous, too. Not merely the virtuosi and soloists, but it hard to be nervous. From the artistic standpoint ness—my being quivers still with the remembrance! My Titus :—The sands are nearly run; the ecstacy; the finale expands into immeasurable exulta¬ provided that it emanates from the music itself, will also the orchestral players suffer from nervousness, nervousness is impossible. It is inartistic and dis¬ I drew nearer, closer, an irresistible power held me; strength which comes of these remaining grains I tion followed by a blissful fatigue, a fond glance of not be able to upset his nerves, for emotion and and there are many good musicians who, in con¬ pirited ; it is weak. It is even umnasical. Therefore then I heard my voice in strangely altered accents give to you in this last letter I shall ever write. If I farewell, rest. What geniality in what is merely a nervousness are two separate things. Incidentally this sequence of nervousness, not only cannot make appear¬ we must do away with it. Possibly the foregoing ex¬ ask, “May I beg of you to sing for me, to sing in were asked to tell what friendship means, what dn- salon piece’. Nowadays, after Chopin, it seems some¬ same rule can be given to concert-goers. For they also ances as soloists, or play very badly when they do ercises may help in some degree to bring this about. public at my concert?” With what graciousness she swer could I give save “Titus?” Closer than a what hackneyed; but it is not the fault of the compo¬ should come to the concert in submission and recep¬ sition that it has been so great a favorite. It has appear, but often in the orchestra when they must sus¬ made me feel the privilege was hers. Then came the brother thou hast been to me! My hands have failed tivity, and also in complete peace of mind, in order to *[A professor in one of our leading medical schools night of nights. Although all Warsaw filled the hall, so many times to grasp life’s golden gifts, my saving not changed—only the times have altered. Berlioz, the tain tones quietly, as in the “Prelude to Lohengrin,” be the more carried away by the music. questions this statement. Lack of sufficient oxygen in newest of the new school, demonstrated his enthusiasm or if the wind instruments must attack piano a note the blood may exist in persons who are nervous, but it and crowded steps and street, she was the only one I grace, I’ve clung so close to you, but now the end is Exercise in the Open Air. is not the cause of the nervousness. However deep saw: that slender figure all in white, a red rose in near. Before me as I write there stands the silver for this charming work by transcribing it in brilliant high in their- register, they get the “shakes,” as the breathing undoubtedly helps nervousness. The dizziness style for the orchestra. slang phrase goes among musicians. How then is So far as natural remedies for the prevention of “ --"- “Ot a harmful symptom her hair. For her I played; to her my fingers told goblet filled with Polish earth, which, you remember, > the deep breathing is my love in tones far stronger, holier than my lips Eisner, dear old master, gave me from you all, before nervousness, this evil which afflicts all mankind to-day, nervousness are concerned, fresh air and walking are to be cured? This question is answered here only in usually recommended to be practiced. Practically, the could ever utter, and by the radiance of her face I Fate thrust me out from Paradise. f[ Hydropathy (water-ci — — thing In respect to music, by one who is himself a musician. latter is extraordinarily quieting to the nerves, chiefly unskilled hands, and will i knew no words were needed. . . . In all these years there has not been a night, before not lie in the teaching of technic but rathe --- —t endure careless experiment- because it promotes the health generally, and the con¬ r-~. 'Sti 11, mostit persons aare better for some form of cold I nlcpt, but that I pressed my lips to this dear earth; presenting a method through which those to be Drugs. bath daily, llie simplest form is a cold sponge-off willi and breathed a prayer for oncli loved one so far away ; dition of the nerves is essentially connected with the a sponge wrung out in water as cold as it runs, sponr- cated may limn to listen piopeily, |u get the i In the But place, we must discriminate between ing quickly and always towards the heart, beginning In this little room, :‘my nook,” I sit and dream, and when I sleep my last sleep, may this most pre¬ with the face and chest. These sponge-offs can aib conception of what music is and consequent!- remedies In a positive direction and temporary ab¬ •[Bromide is a dangerous and insidious medicine, mid talk for hours with this closest of loved com- cious bit of Poland rest v pon my. heart. really reproduce music.—Ritter. vantageously follow a short warm bath. There should stinences in a negative direction, also between natural which should never be experimented with, and only taken be no fatigue after them, and the circulation should r upon the advice of a conscientious physician, e. b. h.] act well. ” » “ 1 THE ETUDE 221 220 THE ETUDE our Middle Northwest that possesses * very good high seas; There is only one man aboard the ship string quartet, playing three or more and he is the captain! Arbitrary musical sway of the -PRIZE ESSAY- all the year round. director has been, is and always will be, the distin¬ Some Considerations on Foreign Study Public Functions Not a True Gauge. guishing feature of every successful musical organi¬ zation. An abortive attempt at the reproduction of some [The following article is by a well-known American Musician now in Europe.—Editor.) Making a Community Musical intricate modem oratorio by an unwmldy chorus, Necessity for Serious Work. CHARLES A. FISHEI composed of a lot of beautiful flushed angels m white and a number of dejected and anx.ous-lookmg angels It is needless to say that in order successfully to in black, a great many of them unable to cope with attempt the “intimate” sort of music required of an PECULIAR quality of imagination lies in this, Clear analytic language is another American char¬ the difficulties of their parts, and insufficiently re¬ a capella chorus, the work must be taken up with the A programs. Both concerts are well attended, and the that it pictures what it never can have real¬ acteristic. Analysis is Teutonic, but clear, direct, dutiful citizen dozes through two classical symphonies, most sincere and serious intent. All choruses, organ¬ hearsed (for time presses), with a more or less, ized through others. The imaginative man vital analyses are French, English and • American. going to bed with a hazy sense of having contributed ized with the main purpose in view of “having a good hastily formed orchestra, insufficiently rehearsed (for in a quiet place is far from being isolated. Only the Another foreign injustice is the estimating of Ameri¬ his share to the progress of art. When the same time,” are foreordained to be rather detrimental than there is a lack of funds), and an indifferent public, dull mind needs the constant stimulus of seeing and can pupils without a prolonged searching examination orchestra makes its appearance the next season, he beneficial to the advancement of good music; and the compelled to buy tickets at the point of the bayonet hearing things created by others. So when the ambi¬ of what they have done. “Shust begin ofer again” is protests that “he has already heard Theodore more choruses of the free and easy, “general socia¬ or "for pity’s sake”—all this is scarcely a safe- tious student thinks that he is dying from sesthetic thirst as frequent as it is bad English. It is also lazy Thomas,” and that the leader this year is a new man bility” kind there are in a city, the further is that gauge of musical advancement. Nor is the musical and hunger in his own little comer of the earth, it is pedagogy. by the name of Stock; he refuses further tribute and city from being musical. Some of the best of the status of the town to be judged by the large audience- true—up to a certain point and for some years. And if Concerts? declines to be bored anew. Performances of the that sits—stunned and confounded through the in¬ distinguished a capella choruses of Europe have, it is tiue, -social features, but these are kept strictly sepa¬ he gets an opportunity to get out and see things, Yes, by all means—all you can hear, if discrimi- grand opera company, on its tour, are attended explicable uproar of a superb visiting orchestra, labor¬ rate from the musical work of the society—as, for in¬ encourage it by all means; but as Emerson suggests, nately attended, whether in New York, Chicago or Ber¬ largely as a matter of fashion; it will scarcely do ing in the sweat of its brow to reproduce one of those stance, the annual banquet of the Caecilia Foreningen traveling may be a Fool’s Paradise; and with many lin. In Berlin there assembles a mighty army of aspir¬ not to have been there. Nor will it do for that opera astounding and complicated products of modern in¬ of Copenhagen. students it is, when the constancy of it ultimately ing and perspiring pianists (and so forth!) who make company to come too often or to stay too long. strumentation that are often a distracting enigma to- Chorus directors are, in the course of their experi¬ prevents his settling down and, after settling his their debuts, cut out the criticisms—so much as they point of view (if he has one!), creating. Value to musical Culture. ence, made painfully aware of the subtle and elusive see fit!—and are never heard of again. It is .the Cultivate Chamber Music. difficulties that beset the organization and the main¬ But when he gets this important opportunity to starting point of “careers”-1—or the opposite. It re¬ Now, of course, we of the musical fraternity are tenance of even the most worthy society of amateur go away to study—shall it be to a large city in the quires more insight there to select the right thing Were it not well for us to return more frequently only too glad to have the citizens crowding the ora¬ a capella singers; so much so that it is the dream of United States or in Europe? Here I shall simply to attend than perhaps elsewhere. While it .has more- to the simpler forms, to give more time to the best torio concerts, no matter for what reasons; it helps, every chorus director’s life some day to guide the mu¬ present some things which have passed through my music it also has a marvelously undigested lot of “art¬ of Chamber Music, music for the voice without ac¬ at any rate, to reduce the deficit. And we delight to sical destinies of a small aggregation of paid singers, mind after studying closely the student condition in ists” whose show hills are of the same color as those companiment—and to the string qm '. which, in see a lot of people fill the Opera House, even if it be with whom he may hope to realize ideal effects. Some Europe and at home. of the Real Thing. reality, is only four-part song without words? There- for fashion’s sake only; it swells the receipts, en¬ such experiment was started last year in Venice, un¬ Then these cities are filled With a lot of students may be differences of opinion on musical questions Language. courages the impresario to come again, and thus en¬ der the auspices of a coterie of public-spirited, music- who haven’t enough money to go to the necessary generally, but there never has been any difference of ables us to hear music of which we should otherwise loving citizens; the result deserves the attention of A veritable stone wall between you and your number of operas and concerts. That, too, is vanity. opinion (even among musicians t on the string be deprived. But how about the real musical life of the musically serious as well as of the merely musi¬ foreign teacher. That must have the first considera¬ Without a multitude of experiences at this period quartet as the most beautiful and refined form of the community? How is that improving, and who is cally curious. tion. You can know nothing of the subtleties of his your lessons are comparatively ineffective. The great musical expression of which instrument are capable: looking to progress there? Doesn’t this devolve on In this country we are probably as yet very far re¬ explanation without a vocabulary as comprehensive and artists that you hear are the real pedagogues. absolute music indeed, and of tin- high-st order. And the music teachers, except in so far as they may be moved from this solution of the difficulty and must a phraseology as idiomatic in German, let us say, as But what about the relative value of concerts in on a plane of importance with the string quartet is; assisted by a few capable and self-sacrificing women, continue to content ourselves witl^ gratefully accept¬ in your own tongue. Just go over, order your dinner the United States and Europe? That is a very diffi¬ the four-part song (by the four < .it . s simply or am¬ and by the few families in which good music is culti¬ ing the bind assistance of the amateur; but we may in general terms, see how difficult to do well, and cult question to deal with; it is a question of statis¬ plified into a chorus, not too large), but sung a ca¬ vated for its own sake? be pardoned for pointing out to him the necessity of then fancy what you can grasp from a Teutonic tics and—personal taste. In New Ifork the season pe Ifa—absolutely without any accompaniment. rendering this indispensable assistance in the spirit pedagogic discussion of the larynx. You have a lan¬ Great Value of Individual Work. is shorter than in Berlin, but I am inclined to believe Charles A. Fisher. The Amateur. that the nature of the work demands; work that calls guage instinct, have you? Then spend most of your from familiarity with both places that New York The teacher who (instead of buttonholing the fra¬ for ability, self sacrifice and devotion, not only on the days studying German instead of the thing you came But for the formation ofi a chorus we must have- has a smaller percentage of unfledged artists thrust ternity to brag about the impossible number of les¬ part of the director and of the management, but also over for. rCharles A. Fisher was born in Baltimore, Md., of the assistance of the amateur and of the music lover. upon it by managers. I think that its artists are Bohemian and North German extraction. His father was sons he has to give every day) concentrates his on the part of each individual member of the chorus. Preparation. If he be of the right sort, there will be cause for re¬ culled; there is a sifting every year, explained by our a well-known orchestral musician, and looked after the attention on the work of developing the individual And as to the many diligent pupils who are spend¬ musical education of his son, who received a good literary joicing; if not, the project would beticr be aban¬ As beardless Latin students of the ripe age of six¬ so-called “star” system. The first of November saw education as well, graduating from college at an early capability and directing the trend of taste of his ing so much time and money in cultivating their doned before it is begun—little good will come of it. teen years have a way of saying: “O, ye gods and a number of the first opera houses of Europe lose each age. In addition to his father's training Mr. Fisher pupils—thus carrying into the family life the germ voices—let them be made fully aware (no matter acknowledges indebtedness to the instruction received The success of the teacher’s work as well as that of little fishes!” What a pack of untrained students we one or more of their best people. I asked residents from Charles F. Raddatz, Henry E. Shepherd and Fritz of sound musical appreciation—is the main and funda¬ what may be the ultimate outcome of their singing) the artist is, to a large extent, dependent upon the- meet in foreign lands! They are not any too familiar where they were, as they were mourning them. The Fincke, of Baltimore, and to Eduard Bellwidt, Frankfurt, mental factor in making a community “musical.” It that it is indispensable to their musical well-being to Germany (the teacher of Van Booy and other eminent Ger¬ enlightened amateur, and if our amateurs were more- with English, much less Italian. Their technic is answer was; America. man singers). is he who gives that original ‘and continuous impetus devote themselves with great perseverance to the Mr. Fisher has filled generally ready to apprehend the proper ways and “minus” third grade, yet they think that foreign air Yes, our best people may be foreigners. But so ons as teacher of singing and to the ever-increasing circle of the discriminating practice of exercises and song-work for two and more chorus conducting in i _s parts of the country, but means to assist the earnest teacher and to contribute- is an open sesame to technical fluency. If you come, it is everywhere. People recognize that artistic in- since 1892 has lived ii__. Paul, Minn., having several which makes a truly appreciative audience possible. voices, by the best composers and—without accompa- choruses of male and female voices, and choirs u-— to the elevation and refinement of musical work in come prepared In language, fingers and throat; other¬ breeding is bad. The best Germans are Poles, Russians direction. He makes a specialty of German Ueder. He It is he whose quiet and persistent efforts gradually niment. wise it is all waste time and sadness of spirit. and Hungarians! Look over the lists of concert a long vacation every few years, spending the time result in spreading the practice of good music the community of which they happen to he a part, it would be just so much the better for the progress of givers in Berlin, consult their nationalities and—be e attention to municipal af- throughout the homes of the community, fostering Place. surprised! an ever-increasing knowledge of reverence for and the art, and we should find our cities growing more- “musical” with astonishing rapidity. Whether it shall be to some city in Germany, This is perhaps not the place to discuss further.a joy in the reproduction of a great deal of the best EDUCATIONAL APHORISMS. France or Italy depends upon what you want: what problem of this sort. I simply desire to draw atten¬ that has been left us by the great masters of the art. instrument you have as “major,” also, what your tion to our “bad perspective.” In the eyes. of. the And it is this nucleus of the initiated, and the size To manage the affairs of a chorus, however sma characteristic mode of thought is, and where you untraveled and the undiscriminating traveled,. Europe T is customary in our country to speak of a com¬ of it, that really determines, in the course of time, BY 3 CARL ESCHMANR. I presuppose capabilities of a varied and superb . expect to spend most of your working life after yon is the only place for everything musical. Let us munity as “musical” or “not musical,” accord¬ how “musical” a community is. character—above all, leisure, self sacrifice and singl have returned home. Wherever you are, do not lose spend part of our time informing ourselves of what ing to the quantity and the reputation of visit¬ ness of purpose. People frequently undertake tl sight of the doings and customs of the country in we possess musically. You will trust your musical ing artists, the number of concerts and grand operas Boston as an Example. onerous duties of such a position for any other reasc From the very beginning nothing is more important which you expect to work. A poor teacher may be life to Chicago more quickly than Leipzig, Dresden given (computing mainly by the box office receipts) Boston, for instance—generally admitted to be the than a musical reason; to acquire "social position than playing in steady rhythm. In the first year of a great many different things, but one sure sign of and Munich combined, and it will not cost you any and the size of the local oratorio chorus. A large model musical city of our Republic—has for some for the sake of advertising business or profession, f. instruction the pupil should play everything in strict his pedagogic poverty is his inability to grasp the more. What I write here is advisedly written; it is attendance at such functions, while it is an expres¬ five or six decades been blest with a choice aggrega¬ time, naturally without stiffness or a wooden style, psychology of his pupil. There lies the fault of the not a guess; I have certain things on file for a single sion of public interest, in a general way, is scarcely political reasons—for purposes of personal pop tion of capable and painstaking music teachers who but with close attention to musical accent and phras¬ denationalized teacher. later article of considerable interest to Americans. a reliable evidence of profound musical appreciation, larity—and often merely from that inherent and u have held their art high. It is due mainly to the thor¬ ing, until he is so steady that he can permit himself No, it is not chauvinism; it is discrimination, I hope. and by no means a safe criterion of the actual musi¬ quenchable longing implanted in the heart of rna American versus Foreign Pedagogy. ough instruction and sound, artistic doctrine by them kind (and sometimes of womankind) to “boss" thing greater rhythmical freedom without bad results. cal progress—tne inner musical life—of a community. The Stimulation of the Imagination. disseminated throughout the families of an intelli¬ Very little benefit can accrue either to the directo The American is the best teacher on the face of the gent community for more than fifty years that Boston The fundamental principles of Harmony should go The Oratorio Society. to the club or to the art of music under such “rna globe; that is, his instinct leads him toward a firm That is the greatest thing in this world! Oh! for is enabled to-day to point with pride to the magnifi¬ agement,” and a chorus so “bossed” is not likely hand-in-hand with the playing, even from the first grasp of the essentials of teaching. Naturally, so an oasis in the desert of musical facts! If your An oratorio society, properly managed and with its cent orchestra established by Mr. Higginson, as per¬ develop the proper “staying” qualities. lessons, to the end that the pupil may always know many questions enter into the matter that one cannot teacher, or the concerts you hear, or a Wandcrjahr active membership carefully selected, is a musical fac¬ haps the only great orchestra in the world that is self- The present writer has in mind a model women what and why. come quickly to a conclusion. But the understand¬ can give you that, then are you in the right environ¬ tor of vast importance for the general good, but, to a supporting. chorus, established a long time ago in one of our o ing of natures peculiar to the persons of some other ment. That is true pedagogy. Studying and concert large extent, its concerts are attended from a sense of “Oh,” some one will say, “Boston is an old city colonial towns, which for many years was presid. An excellent means to become acquainted with the nation is quite hard for anyone, so that your foreign going and traveling really form a Fool’s Paradise un¬ duty. A great many men go because their wives com¬ and wealthy; it has a large leisure class.” Did you over by a woman, rarely endowed for this importai different characters in music notation, leger lines and teacher must necessarily experiment with you if he less your pulse beats faster. Teaching will never pel them to, or because they have been persuaded (very ever hear of an intellectual person who didn’t ar¬ office. The organization, in its unostentatious ai spaces, scales, embellishments, etc., is for the pupil to has not experimented with your predecessors—a sad make you a technician, or concert-going an inter¬ properly) that it is the duty of a good citizen to range matters so as to obtain a little leisure here write all these things out carefully for himself. and unsuccessful period for you. preter without the projection of your thought. support home industry. Or, perhaps it is a matter persevering way, has been of incalculable service and there? Dollars are good and useful things to promoting the cause of music in that old citv, and Then, our native teachers are inclined to less of family pride; it is such a comfort to see dear You can compose better in Mauch Chunk with have, but if you want culture you mustn’t spend all is in a flourishing condition to-day; none but wortl IN playing from the music sheet the pupil should routine and more searching after the psychology of friends and relatives up there on the great stage, tak¬ imagination than in Berlin without it. If bumping your time collecting dollars; you must manage some¬ accustom himself to read the notes from below up¬ ■the act. That is where the foreigner can never ing an active part in the eventful proceedings. To successors have ventured to take her place, so unsc into new people and language, wearing new Teutonic how or other to get some leisure. A community is fish was the work of, and so powerful were the tr wards, therefore seeing the notes of the lower (bass) compete. Some of our teachers may err on the side many of the audience the whole thing is, musically shoes and blouses help your fancy, go abroad. Any¬ made up of a number of individuals, and the most staff a little earlier than those of the upper. He will of too little routine, but the ultimate effect on the thing for that. speaking, a very tedious affair, but they are willing musical community is that which has the strongest woman management established by that admirab thus learn to play more exactly and be less governed average pupil with average musical faculties is im¬ Do you know why so many persons come back from to sacrifice themselves on the altar of duty, custom or desire for musical self-improvement and the greatest by the melody and its charm, often at the expense of mensely better. necessity. number of good teachers. . f.ndf essential of good manageme) Europe with no development? Because they were a good accompaniment. Do not misunderstand. It is not the lack of rou¬ But it is a grave error to suppose that the great . ™ ? VeSted with absoiute authority not prepared is only one reason—it is primarily be¬ Visiting Orchestras. Grand Opera. on all purely musical questions his decision must 1 tine, but the emphasis upon extracting the initiative cause the spring of all growth lies in imaginative cities have a monopoly of everything that is good. Teachers should accustom pupils to begin at any of the pupil, that results so favorably by developing The Thomas Orchestra stops in the city for two The present writer, knows, for instance, of an ob¬ f"3 ; TJ1IS S°UndS a Httle "democratic, but condnc stimulus and no one understood them sufficiently to ing a chorus is very much like conducting a -ess measure of a composition that may be selected, and not him in an all-round manner as the hammer-away days on its tour, presenting fine and well-performed scure Bohemian settlement up in the cold regions of bring that about. The lamentations of Jeremiah were across the ocean; we all remember that dictum of U only at the beginning of periods or sections. method never does and never did. as nothing to the shame of the undeveloped. 223 ,222 THE ETUDE THE ETUDE cumulated stupidity of the centuries. If there is a hour periods of the closest attention to her piano -SOME MODERN TECHNIC DELUSIONS AND training of so large a percentage of our present pian- truth or principle embodied in the tradition, it will work too much with the fingers and too little with the THE DANGERS OF THOUGHTLESS AUTO¬ istic constituency that the majority really think they music. The result would be that the second person A SUGGESTED REMEDY. survive and remain. It cannot be destroyed. And if mind, . . . and think they prove abiiity by great MATIC PRACTICE. believe it. Fortunately, the, affirming of a statement, we have assimilated the truth of it why should we display of rapidity and agility ” And thirty years later would have gained much more than the first. BY MBS. MARY OBEGOBY MURRAY. however strenuously, by one individual, or any body of care to preserve the mere external form? Arbitrary Christiani cautioned us against using the “down-stroke” BY W. FRANCIS GATES. Concentration of thought is the thing hardest to individuals, does not necessarily make it true, though ideas and their formulations come under the head of —or "anschlag”—literally as though the keys were to implant in the mind of the .pupil. A teacher’s work [Mrs. Murray's musical education was begun before she it seems so for the time being. And it may even serve processes, which must pass. Principle is truth and is to ,be struck, but to substitute “finger pressure.” While automatism is a desideratum in musical per¬ as an instructor will be in proportion to his success . ..is six years old by her mother, whose standard was let¬ ter perfect accuracy In every detail. She commenced teach- to throw the calcium light of revelation on the real lasting and progressive. Traditional methods of Adolph Kullak also advocated the use of “weight- formance, too much automatism in practice hours may in this regard, other things being equal. Putting the before she was fifteen years old. Other teachers musical instruction have been mainly one of two ways, pressure in the finger-tips,” instead of stroke, for the work against attainment of the best results. The Wera—Charles H. Jarvis (piano), and David D. Wood truth. purely musical results aside, a teacher in any line of (organ), both of Philadelphia. She also spent three sea¬ No great artist-painter ever became or a combination of both in varing degrees—either elementary foundation touch. Eliminate all tendency proper kind of automatic action comes through repe¬ study may be measured up, as to his success with sons with Miss Anna Jackson, of Philadelphia, a teacher, by direction through a book or by imitation. This is to hurry. Technic must have time to grow and is re¬ tition of conscious efforts; unconscious correctness who had evolved a method similar to that of Frederick Development such by dipping a stick in water and his students, by this feature of developing the power what might be called wearing our grandfathers’ and tarded by being forced. “It takes three years to does not come through thoughtless repetitions, but .Wieck, and afterwards taught by Mme. Schumann. For Through . making motions which left no trace. of concentrated attention for extended periods of time. s'oing'tlih'e Mrs. Murray contemplated going to Germany great-grandfathers’ hats—(ideas)—and clothes make a three-year-old elm tree.” After the process through conscious direction of the means toward the to study with Mme. Schumann, but finally concluded to Exercise. All singers make but imperfect tones Practically every pupil has sufficient mentality to ar¬ place herself under the instruction of William Mason, in in the beginning—as do violinists— (formulations). It is a species of exaggerated “Rip of elimination comes rive at an understanding of the rudiments of music; New York city, a decision she has never regretted. and through the growth and development of the per- Van Winkle”-ism! The assertion that "the regime To this end the best advice is “One The present writer has known more than one Her present work, carried on in New York city and in nearly every one may come to the point of putting a Philadelphia, Is of three kinds: Public lecture-recitals, ceptives acquire and establish their tonal standards. of the past, however successful it may have been, is Simplifl- thing at a time.” One tone—one ef- student of piano-playing to practice scales with a educational In character, class instruction In the "Prin¬ cation. fort—transmitted through one finger. certain finger on a certain key at a certain time. And ciples of Expression In Music,” using Christiani's work as “Tone is to the musician what words are to the poet, obsolete,” applies no less to music than to education novel placed on the music rack, reading the book and a text-book, and private instruction based on the prin¬ and color to the painter”—and we must learn how by in general. And one of the first steps toward remedy¬ Let the effort be. for transmission letting the hands go through the scale progressions as the majority have more or less of those aesthetic pos¬ ciples of Dr. Mason as embodied in his “Touch and making the effort to do. This is in accordance with ing the defect is the elimination of all non-essenti ai rather than creation of force. Give the brain time to best they might—a kind of getting righteousness by sibilities that lead to an appieciation of the beauties the fundamental principle of education as formulated Eliminate all arbitrary methods, instruction books nr register sensations of consciousness of all the pro¬ prayer-wheel or bead-telling operation, as it were; only of music. But every teacher will bear out the assertion search., koitob.] by Pestalozzi, and which must never be lost sight of materials of whatever kind. “Most instruction boo - cesses involved—not all at once, but in regular orderly with this difference that no particular good was ob¬ that the feature most generally lacking is the power to or ignored—that “A faculty is developed only through and manuals of technics are made up of arbitral sequence. Finish each tone in the beginning. No tained by turning over to the unconscious action of concentrate the attention on a given piece of work and IN au old fairy tale, “Invisible goblins filched from series of imperfect or unfinished tones can ever be its active exercise.” combinations of tones devised for practice, but whi h the brain a partly educated function; neither practice hold-it there until its difficulties are conquered. Some the forks and spoons of luckless mortals the food they made truly artistic in effect by any artificial process nor novel was satisfactory, and the pupil was deluding One logical and very tangible result have, however, the great disadvantage of being vaca' have it more, many less; and lack of it produces the •were conveying to their mouths. Whereat arose com¬ of meaning; nor is it possible by simply repeat i of final varnishing. himself with the thought that he was gaining in skill Delusion of this second delusion was the evolu- heedless, mistake-making, unprepared-lesson sort of plaint from the victims that all they ate tasted alike!” Three. tion of the misnamed “mechanical them over and over to build up out of them signifies Aim for conscious elasticity in the and having a good time the while. ' If is hardly an exaggeration to claim that similar aids,” which have proved themselves unities.”* Only , that “material” is "worth whii Elasticity. condition of the whole muscular sys¬ The reason that such practice is useless is found Not only does one need this power of concentration protests would be endorsed by the majority of lovers to be literal hindrances and obstacles in the path of which has rhythmic, melodic and harmonic valiu tem, which should be brought fully ■ in the fact that definite thought concerning a certain ol real music who are enticed to musicales and re¬ true musical progress, and the source of the third and that is, significance—either singly or in combination. into play in the elementary study of “touch for tone- set of muscles or concerning their action is necessary in a general way, but he must apply it to the individual citals by programs of varied and beautiful compo¬ very deplorable delusion: That by means of them one production.” Right here begins the great work of de¬ to vivify them to the best results, and to the point features of practice, such as noted in the opening sition's drawn from apparently extensive repertoire, can acquire a technic which is “equal to the demands No human mind should be dependent upon or si veloping the esthetic faculties. Here, too, we acquire where their action may safely be handed over to the paragraphs of this article. It is the conscious effort but. resulting in a minimum amount of satisfaction as of fully finished artistic playing,” or in any degree servient to any other mind. “The besetting error the new point of view regarding velocity, as referring automatic portion of the mind. that wins, not the thoughtless one. Conscious repeti¬ Lio musical effects. The hungry music-listener asks adequate for real expression and interpretation. The our time is to copy or to imitate other people's me: primarily to rapidity of muscular motion in producing In prehistoric man, thinking was always, associated tion of difficulties conquers them. And no one need for bread and is handed—“a lemon !’*■ or its equivalent. use of mechanical devices may produce a certain class ods in everything, or to become blindly subserv i single tones, and only secondarily to rapid successions with physical action, as now seen in the lower animals. ; This" is more especially the case in the field of be afraid of the wear and tear of the brain in the of prodigies, capable of performing astonishing acro¬ to a book or the mind that wrote the book. The !■ ■ ■ of tones. We should never make a motion of the Action had its origin in thought. Thought was simply pianism, where one is forcibly reminded of Deppe’s process, for every close thought makes the next one batic feats and keyboard prestidigitation, but the ma¬ does not advance after it is, written.”f finger, wrist or arm without a good reason! that is, a spring of action, not a logical cogitation. Man has vivid and facetious criticism—“They play so much, easier. The brain grows on what it feeds. Give it jority of cases suffer from what one has styled “color¬ “mental guidance.” The final process is: not entirely gotten away from this original state of and know so little !” All methods are mere formula i work and it works better. Shut it off from conscious ■ blindness in the ear.” It is almost equivalent to an Study to make direct connection be- affairs, as proven to-day; for when one thinks strongly : Tradition has fastened upon us certain assertions Search for of processes. Instruction should adenoid tissue, which has been deliberately and in¬ Correlation. tween groups of tones in simple forms of some part of the body, the automatic nerve centers action and it weakens and becomes atrophied. Con¬ arid formulas regarding what is known as “Technic” Underlying the imparting of ideas, and the tentionally developed, . hampering and crippling the of technical exercises and their rhyth¬ increase the supply of blood sent to that part, making centration of thought is the root of all technical or in piano playing, which are rapidly proving to be Principles. mate object of teaching should b. normal musical perceptions. The results of toneless mic and melodic embodiment in some geupine com¬ it ready for action. aesthetic progress. mere delusions, depriving us of much real and very eliminate the necessity of a ten . training are like the efforts of deaf mutes to speak. position. All technical forms, whether simple or com¬ Think of an appetizing viand. The salivary glands necessary nourishment, musically, for both soul and Right musical training should help the student They articulate sounds which are metallic and lifeless. plicated, should be looked upon as embryo composi¬ body. come self-reliant and independent in judgment and the walls of the stomach immediately begin the The mistake we moderns make in judging old vocal Students taught by these means learn to play keys, is, after all, simply bringing the esthetic facult1 tions, divested, for the time being only, of the beautiful secretion of juices for the digestion of the possible One of the great limitations of the and to think notes and motions—not tones ! Where¬ drapery of a composer’s individual and characteristic music is that we do not understand that the com¬ Inertia. human animal is inertia: disinclina- perception and discrimination to a plain malt morsel. Do you think of running? The muscular as, actually and literally, we do not play notes. We melody, harmony and rhythm. Then, too, what is posers aimed at more than the singing of the words. tiori to make individual effort, whether fact working basis. The ability to sift principles apparatus of the legs is supplied with more blood and make the tones represented by those notes. How done in the beginning technically—that is, muscularly In fact, these were merely a text for the fullest ex¬ physical, mental or spiritual—especially if it is pos¬ processes, and to know clearly what to discar : nervous energy. Do you concentrate the attention absurd it would seem if we taught our children to —should have direct and intentional bearing upon the pression of which music was then capable. No con¬ sible, iri however slight degree, to accomplish results superfluous and what to retain as essential, requh closely on the right hand? A delicate thermometer masticate food by first chewing gum ’. elaborate complications of the most advanced forms. siderations of dramatic propriety held the composer’s vicariously. And so we grasp with avidity at any the active exercise of that faculty prosaically know placed in it will register a higher degree of tempera¬ This is directly in line with the law of “the conserva¬ scheme—from predigested foods to standards of art-— Another latter-day “delusion” is one as “common sense,” which again has been called ti. ture than one held in the left at the same time. The hand. He was bent on extracting as much music as tion of energy,” and dispenses with much of the obso¬ which can be taken into the system in gelatine cap¬ Delusion that is diametrically opposed to those rarest sense in the world. nerve centers and the circulation respond to the mental he could from the emotional contents of each verse. lete intermediary material, formerly considered neces¬ sules—(as it were)—while the brain sleeps. Pour. which have been cited, in that it en¬ direction of the thought. The actual words did not matter.—Baughan. That is “Aimless industry.” It i sary as preparation for such work. A “safe, sane and “The great purpose of education,” tirely ignores " the material side and Thus it is seen that states of body Eliminate a waste of time and energy. Do les ; sound” system of technic no longer recognizes the need Self- says Prof. Haeckel, “is to teach us to declares that all the work can be done in the- brain result from states of mind. Emo¬ all Plodding, work, but better. More accuracy i for expending time or energy in doing what is known Dependence, think for ourselves.” “But,” says the by means of thought, and “demonstrated” without tions involve bodily states; in fact, every slightest detail. More Intel as “dead technic.” The very expression relegates it pessimist—“the man who has brains training of the intermediary—the body. This might one authority says: “An emotion be called “The transcendental delusion!” “Technic is, not “How much” but “How!” Expend to the “dead past.” enough, and energy enough—(and courage enough) — less time, but more focussed concentration and moi may involve all the functions of the in a certain sense, the opposite of esthetics; inasmuch to think for himself is looked upon as a wild destroyer relaxation. Three to four hours each day should li ¬ body — circulation, blood pressure, as esthetics have to do with the perceptions of a of tradition and a dangerous "enemy of society.” And the limit, divided up into brief periods of about half MUSICAL PRETENSE. muscular tension, respiration and work of art, and technic with the embodiment of it.”* so it is declared that “Few people think. A great an hour. Never sit on a piano stool longer than an Many musical persons are blind and indifferent to glandular activities.” This has prac¬ many think they think. And a very great many only But modern technic for the piano is hour at a time. It reacts unfavorably upon the spine. all about them. ’Tis no wonder that their minds tical bearing on the subjects of musi¬ think they think they think !”* Modern both muscular and esthetic. Esthet- Rest by doing something entirely different. Josef stagnate! At the last New York Symphony Con¬ cal practice and emotional interpre¬ Technic. ically it is developed through the mus¬ Technic—variously defined in the Hoffman calls this a species of “mental unhitching* cert I heard one lady inquire of another, “What is a tation by means of music. Technic past, has been briefly summarized as cular element called “touch”—and The beneficial effect upon both mind and muscle is concerto, anyway?” The other gazed blankly at her Practice of the automatic variety Defined. “the ability to play the greatest must be invariably tonal, because only in this way can quickly noticeable and very marked. program for a moment, and then answered: “Why, does not give the physical warming . '* number of notes in the smallest pos¬ tlm esthetic faculties of perception and discrimination I really don’t know!” Now, to my certain knowledge, up that conscious thought brings to become transmuted into skill. How can one reproduce .. There must be conscious direction sible space of time.” Derived, perhaps from the Ger- that woman has been attending these concerts the muscular apparatus. In the the composer’s “tone-thought,’’ as indicated by the Eliminate all and aim for the body as well as the man Word " fingerfertigkeit." which, by a free trans¬ for years. If she had possessed even ordinary am¬ former, the muscles are, to a certain notes, unless the faculty of reproduction is developed Superfluous mind. Too much attention is given to lation, might stand for—kiting the fingers over the bition, she could have purchased, for a small sum, a extent, left cold and inert. The brain by individual effort to conceive and transmit to the Motions. circuitous motions of both arms and keys. This may be "micanique”—or “facilitique” little book of definitions which would have made every ends are quiescent; they may be in tone its true musical quality—specific emphasis (that • fingers, instead of concentrating upon . (?), but is only one side of "technique.” “Ease and word on the program comprehensive to her, in con¬ actual error. At any rate, mind, is, accent)—and proper duration for effect? Pianistic the effort of “getting there” with the least possible speed in doing a thing do not give a work lasting junction with the analytical notes on the program. conscious or unconscious—and the technic in its broad sense demands perception, con¬ diffusion of energy. Diffused energy detracts from solidity or beauty.f There are many intelligent, happy listeners in the latter results from the former-—is at This latter notion is one of the ception and discrimination, controlled and directed by tonal quality and character, as well as from that concert halls who are unable to play even a simple all times in control, and correct Delusion three principal delusions handed down, the will-power. It is “power for transmission”—the power which makes “for repose.” Superfluous mo¬ melody; and there are also many good technical per¬ action can be fixed in a habit only One. both by printed and oral instruction, ability to transmit the conception of the brain by tions result in mannerisms and affectations which, formers who musically understand nothing of the true by conscious reproductions. Ten for several generations, until, in the means of nerves and muscles. It is “skill in repro¬ always objectionable, finally become ridiculous. Ac- significance of the music to which they listen. They minutes of scale practice with present age, we have developed a sort of mental and duction”—either of one’s own conception (direct from rAT 7re °ften indicated hr of the liead have never translated the language of music; in fact, thought given to the subject with the tonal “strabismus”—without perspective or the es¬ one’s own brain) or of another’s conception which has and body than given on the tone; and swaying of the they do not even know that it is a language, or that utmost fixedness is better than an sential sense of relative values. The ability to rattle been received through the ear or the eye. But unless body under stress of emotional impulse does not ren- aer the music either more exnrp«!«sivo ; it conveys intellectual messages, as well as emotional hour of automatic meanderings over off any given formula involving the wiggling of ten it is tonal it is not music. The better way. and one ones, to those who have “ears to hear!” Such in¬ the keyboard. It is not so much a fingers over the eighty-six keys of the piano keyboard that is much more far-reaching in its musical effects, Elimination ^ ,'n"TS elementary stages of tone-production, where we should difference as theirs, such ignorance, is far more in¬ matter of “how long,” but of “how —faster than anyone else in the world—constitutes would be to cultivate and sensitize the power of much close attention.” tiq ,claim whatever to true musical ability. In fact, hearing by closing the avenue of sight! Try it! realize that owing to the peculiar constmet^n of the excusable than mere stupidity. pianoforte it is not necessary to lift the fingers even For the best results in the shortest (he* idea that it is music at all is part of the first great Progress in “music education” has time concentration of thought is a delusion, and leads directly to the second, namely: ever so slightly m order to produce tones-either Influence been retarded by subservience to tra- singly or in combination. Physicians, lawyers, and men in all occupations psychological necessity. One student “A tonal accompaniment is no more of Tradition, ditional methods and materials, such says “I have practiced five hours Delu.sion necessary in acquiring technic for the More than fifty years ago Thalberg take advantage of their society and clubs, that they as is not tolerated in any other branch may “talk things over” and thus improve their _ own to-day,” that is, she has held Ttyo'.'" piano than in learning to operate a - sisted that we must draw oil of education. Mere tradition—per se—may be traced down a piano stool that long and has typewriter or a sewing machine!” Hot Blow. sound from a piano without ever methods of doing things. Why should we not do the to generations of unthinking acceptance of arbitrary same? These men also study their business and pro¬ sent her fingers Over so many This ’ assertion has been hammered into the technical ideas and formulations. It has been called “the ac- striking the keys. “Thpv mnat feUj-ather than struck.” . . \ ..General]y fessional journals—why not we? Moreover, they plan thousands of notes. Another says “I •The Philistine. tPlutarch. •Christlani. •Mason. tMulford. ahead, for the needs of their patients and their clients have worked three hours.” Possibly Mozart. and give them directions for home treatment. the latter one has given three one- From a bust by Aurelio Micheli. 225 THE ETUDE 224 THE ETUDE charming fK ^ A good-natured reference to the great English music SHAKESPEARE AND MUSIC publisher. The composer always thinks that the pub¬ The Aim and Scope of Music for r%r;,7.rr r. S TJL SOME INTERESTING lisher will buy only at the lowest price. S““rthS unusual and unnatural, alum* uncanny QUOTATIONS : : : : : November 6, Paderewski— "Come, Philomel . . . • the Left Hand Alone CARL W. GRIMM Make thy sod grow in my dishevelled hjur.^ ana-handed. In unto » " L extent of the left-hand music literature, Shakespeare makes frequent allusion to the fiddle, See the Bume Jones portrait of Paderewski. f of same i. added. Howexer, no pretense of lute and other stringed instruments, some of them berger, Pauer), Gigue (Pauer), Ldndler (Spindler), being exceedingly apt, and suggesting a close ac¬ November 14, CtJRWEN— N construction the left hand is the exact opposite completeness can be made. otir. I Mazurka (Rheinberger), Menuettos (Rheinberger, Alhnm fur die Linke Hand, Peters, No. 2Album fiir die Linke Hand,” Peters. tion to his high standing as a musician, Sir Frederick May 22 Wagneb— money cuts no figure with me. I will take the boys— is a devoted student of Shakespeare, especially from “Sometimes a thousand twangling instruments but only on my own terms.” Pfeiffer, G., Op, 16, Trovatore. ‘Will hum about mine ears.”—Tempest, III, 2. Reese,-Fantasie, Lily Dale; Ravina, J. H., Isolde. the point of view of the musician. This fact gives “What are tuey?” he ,-> asked. Reverie ; Reinecke, C., Op. 179, Sonata ; Rkeinberger.J.. peculiar interest to the book in question, which con¬ An anti-Wagnerian suggestion. Was Shakespeare “First—that I shall take them only on trial; prophetic? Op. 113, Sechs Studien; Russian Folksong with varia¬ tains a quotation bearing on music for every day in second—that at the end of the first quarter I shall tion, in Kohler “Schule der Linken Hand.” the year. The compiler has been very happy in his May 23, Viotti— myself have the right to determine how much I shall Schmitt, J„ Etude de Chant, in “Album-fur die Linke selection, as he has been able to make the quotation “She did call me rascal fiddler, have for my ’-ork. The stupid ones shall pay double Hand” (Peters) ; Schnecker, P„ Three Romances; very aptly fit the musician whose natal day coincides And twangling Jack.” and those who give me pleasure by their progress shall with the one for which the reference was selected. — Taming of the Shrew, II, 1. Schyttd, L., Op. 75, Melodische Special-Etuden, Book pay less, for I have trouble and vexation with poor This will be clearly noted in a few that follow, some 7, Nos. 5 and 6; Seriabine, A., Op. 9, No. 1, Prelude. The “fiddler” was evidently not held in high esteem scholars.” No. 2, Nocturne, No. 3, Valse; Smith, S., Com Gentil. of them being specially applicable, from one point of by the lady. Times have changed him into violinist This sentiment will appeal to all teachers. It reminds (Donizetti), Fantasie; Spindler, F., Op. 156, Drei view or another: and artist. Viotti was hardly in the “fiddler” class. Romanzen; Op. 350, Drei Brillante Stiicke. No. 1. one of the decision of Quintilian, the great Roman notes, heavy chords skipping from one end of the misfortune to lose his right aim through a hunting Lfindler, No. 2, Funeral March ; Smith, Gerritt, Valse : January 27, Mozart— June 8, Schumann— rhetorician, who, in one of his “Institutions of Ora¬ keyboard to the other, implying all kinds of wrist and accident. Undaunted, he threw his entire energy into Sponholtz, A. H„ Op. 14, No. 4, Scherzo; Strakosch, “’Tis strange that death should sing, “Those dulcet sounds in break of day, tory," thus introduced Timothais, a celebrated flute the study of playing the piano with his left hand I am the cygnet to this pale, faint swan That creep into the dreaming bridegroom’s ear arm movements; octaves in runs and skips; and, Preghiera (Rossini's “Otello”). And summon him to marriage.” player, and a contemporary of Alexander of Macedon: and tried to accomplish with one hand what others do Who chants a doleful hymn to his own death.” above all, the most judicious pedaling, which alone Tappert, W., 50 Uebungen, Book 1, 2; Turner, A. —King John, V, 7. —Merchant of Venice, III, 2. “Many believe that children do not require a teacher would repay a careful left hand study. with two. Thus he gained a most wonderful degree D., Op. 29, Four Melodious Studies, (No. 1, Barca¬ of great merit for their first ' sons, but that for a of perfection and taste. Not choice, but misfortune, Evidently intended by the compiler as an allusion In other ways it might be profitable to a teacher rolle, No. 4, Nocturne). This is in allusion to Mozart’s “Requiem,” written time they can study with profit under inferior in¬ to possess a knowledge of the left hand literature. made him one of the most remarkable of pianists. to Schumann’s love romance. V an Tyn, S., Op. 16, Finger Uebungen und 5 just before his death, and sung to him by a few structors. I believe, on the contrary, that it is better It happened so to me. I had a pupil whose right He studied music for the love of it and never for a Capncen, 2 books. friends, a scene preserved in the familiar picture. June 11, Strauss, R.— to begin at once with the best instruction possible. hand was injured, apparently putting a stop to her profession, as he followed the legal calling; for a Weber C. M. v„ Melody in Kohler “Schule der “Melodious discord, heavenly tune harsh-sound¬ lessons for several months at least. But I proposed time he was president of the Hungarian National Nothing is so difficult as to uproot faults that have Linken Hand;’’ Melody from “Freischiitz,” in Kohler January 31, Schubert— ing.”—Poems. that she should keep up her piano practice by devot¬ Opera at Budapest. Being wealthy, he plays only been contracted under inexperienced teachers. A dou¬ Schuie der Linken Hand;” Melody Study in Kohler “A wonderful sweet air, with admirable rich Even in Shakespeare’s time there existed “music of ing her entire time to her left hand, and thus the for charitable purposes. He is a very good composer ble burden falls upon their successors, for it is harder Schule der Linken Hand;” Wehli, Home, Sweet the future;” a not inapt characterization of “Richard lessons were never interrupted. She derived great and also a poet. He has appeared in many European —Cymbeline, II, 3. and more necessary to forget than to learn anew Home; Wilmers, R„ Op. 5, Troubadour- Wolff B the Second’s” style. benefit from it, my knowledge meant money to me. cities, and his playing is universally described as Op. 257, Four Short Studies. Schubert, the fount of melody, inexhaustible and from the beginning. Therefore shall Timothais, a I had another case, that of a pupil who had a severe being unrivaled and unique. Liszt was his teacher T-ZtCh& G; „A”egretto Grazioso in “Album fiir die overflowing! August 18, WlECK— noted flute player, have twice as much for teaching attack of rheumatism in the right arm. for a time. Zichy published a set of pieces which Linke Hand; Tannhauser, Fantasie; Quatre Etudes. “Madam, before you touch the instrument, those who have studied under other teachers as for he dedicated to him. Liszt in turn praised their style The variety of forms found in the left hand litera¬ Etude de Concert, Capriccio, Allegretto Grazioso. February 18, Paganini— To learn the order of my fingering. those who begin entirely new in the art?” ture is surprising. In dance forms we have the and declared that in effect they sounded superior to I must begin with rudiments of art.” Wiener Spasse; Six Etudes, Serenade, Allegro vivace. “Here’s my fiddle-stick; here’s that shall make These words may be commended to parents who Allemande, Bourrde (in Bauer’s Suite), Chaconne many two or four-hand compositions. Nevertheless you dance.” —Taming of the Shrew, III, 1. Valse d Adele, Etude, Rhapsodie Hongroise, Le Roi A picture of the pedagogue. are choosing music teachers for their children. (Bach-Brahms), Gavottes (Bach, Kohler, Rhein- he could not resist the temptation of transcribing the des Aulnes (Erlking), Sonata. —Romeo and Juliet, III, 1. THE ETUDE 227* 226 THE ETUDE he never ventured out without his note-book t6"Tfre|! I have thought that one looking at the keyboard and composition is written in a remote key (the remote Still, as a general proposition, pupils do undoubtedly serve any fugitive thoughts that might flit—acros| guiding the left hand to the fundamentals and keys are of course the hardest) it is almost invariably find it easier to play in flats than in sharps. And it his mind. He continued humming (or rather g^owh harmonies (for the difficulty is more not.ceable m the may be that the points noted above account in a large written in a sharp key. Thus we use B, five sharps, and not Cb, seven flats; B minor, never 0 flat minor; ing) in a manner peculiar to himself any theme o| Are the Keys with Flats in the Signatures lower grades! could find the flat keys ^s.er because measure for this somewhat curious fact. which he was mentally at work. He generally r4 the naturals from which they are named can be better both D flat and C sharp, but never D flat minor; F Francis L. York. sharp and G flat, but never G flat minor. So the flat turned from his promenade only when warned by th| Easier to Play than Keys with Sharps ? Why ? seen I have thought that pupils might study more shadows that evening was coming on; then alone ij pieces in the beginning in flats than in sharps; but The finished pianist will answer at once that there keys escape the blame, although if they were used they would be harder than the corresponding sharp keys. the darkening twilight he loved to breathe to-his'Eosty =A SYJVIPOSIUM= so far as I have examined that suggestion I think the is no difference. A piano composer who writes suit¬ his only friend, his Clavier, the thoughts which^ met truth is just the other way. It is one of those matters ably for his instrument takes into account technical with no response in human sympathy.” that the ingenious and the infallible are sure to ex¬ difficulties, so that he does not write the same kind of The illustration on this page shows’ kim’ seUtedjjn plain to their own satisfaction with peculiar unction, passages when writing in sharps that he does when BEETHOVEN’S LOVE FOR NATURE. a bank with the trees around him and' his head for their explanations cannot be refuted and their writing in flats. That is, a composition that is very Of all the composers of the first rank Beethoven thrown back listening to the sounds around hiifi 'tvleft! v Harry R. Detweiler. of the higher standing keys. F, B flat and G flat are statistics (they are apt to make a learned parade of easy in E (four sharps) may be very difficult in E flat was probably the one who loved Nature the most, who he must have felt rather than heard, for' BedffifesS > more difficult, hence fewer pieces in these keys. The them) are derived from inaccessible sources of their _ (three flats). But to most amateurs there is a real Yes, for technical anil natural reasons. The majority lived nearest to Nature. This was characteristic of was creeping on him. The painter, J. Sell ini (11 foundation tones of the keys with sharps (except own experience or require for their verification an difference in the difficulty between sharp and flat keys, added the following motto: 1st es dock, 'ill's 'iCeMt' of compositions are written in one or more of the and it is invariably in favor of the flat keys. There is him in his boyhood days. Reserved in his disposition. first four sharp or flat keys, or in their relative minors, F sharp) are white keys, and are unsafe to hit, with amount of time and labor out of all proportion to the jeder Baum zu mir sprache'l' no doubt that a large part of this therefore D, A, E, B and B flat, E flat, A flat, 1) flat consequent greater difficulty, hence pupils dislike them, value of the decision. The best plan, then, as it seems “Heilig! Heilig!” (It1 deeinS ’as difficulty arises from a lack of will serve for comparison, omitting G and F, as G flat without knowing why. The keys with flats having thus to me, is to ignore the point and give the pupil wln> if every tree says : “HdlyT'Hbly !’”')'' familiarity with the so-called diffi¬ and F sharp present the same hand conditions. In attained an overwhelming preponderance, those with finds sharps difficult the more work to do with pieces One might think that this''SCefie' cult keys. Very few popular the comparison remember this: That technical diffi¬ sharps have become difficult to read by the average portrays the birth of the1 tKbflleS’ pieces are written in sharp keys, culty lies in hand position or sequence of hand condi¬ player. later used in the great' ‘"Pastoral hence many amateurs seldom have tions, and as all compositions are based on the primary Clarence G. Hamilton. We are discussing the piano only, hien entendu. Symphony.” AVe call the reader’s' an opportunity to play in these chords of their keys these chords influence hand condi¬ The keys involving from two to seven flats are since the violin and kindred instruments are mm attention to a note on the1 Ptifi1 ’ tions more than any others. easier than those involving two to four sharps for easier to play in sharps than in flats, and velocity fisher’s Page, descriptive of-'fine" But to go farther back, Why are Compare the triads (tonic, sub-dominant and three reasons, all dependent upon the principle that such as must be attained by the skilled pianist, would copies of this picture which -vve can- dominant) in all their inversions in the above keys the construction of every instrument makes the technic so few pieces written in sharp fumish for framing. be quite out of place at the organ. keys? Is it because there is an (D, F sharp, A—D flat, F, A flat, etc.),noting how they of various keys of varying difficulty. Generally speaking, there is little difference in tl affect hand position. Either with regular fingering in The first reason is that in the flat keys mentioned inherent difficulty in them? If the difficulty either of reading or playing the keys con¬ difficulty comes from a lack of fa¬ both hands, or in avoiding the thumb on black keys, the hands lie primarily on the {flack keys, and that it taining one or two sharps or flats. Beyond thes. . THE SECRET OF ROSEN¬ the result is the same—positions in flat keys are much is easier to work from these downward than from the miliarity we may properly leave however, there' is a very appreciable difference in that out of consideration. Wheth¬ THAL’S TECHNIC. more comfortable for the hand. The dominant seventh white keys upward, just ai it is easier to go down a facility of performance. For example, the arpeggh er it is inherent or not is what we “I believe that the secret of my chords of the flat keys, in the passage or arpeggio, hill than up it. When I say primarily on the black (both common chords and dominant sevenths) in th wish to learn. technic,” said Rosenthal, “lies in represent natural, easy hand positions, and this is not keys I mean that the principal scale notes, the tonic, keys of E flat, A flat and D flat are distinctly cash Technical difficulties on the my ability to think fast. If I had true in the sharp keys. dominant and sub-dominant (except the dominant of than those with the corresponding number of sharp piano are of two kinds—mental not the faculty of thinking last I The “note picture” (the image in the mind of the B flat) are black, and that these determine the hand The position of the hand, with the thumb down a notes as they look in print), from habit, aids the hand and mechanical (or physical). Is could never have found time for ‘ position. Stationed upon > these, the fingers dip natu¬ the other fingers up, lends itself instantly to fluei picture. The dominant of minor flat keys is always a there any mental difficulty when the studying I have done. I have rally to the subordinate keys, instead of being obliged in rapid passages. This condition applies also to familiar natural chord, both to the eye and to the playing in the sharp keys that one a genuine gift for rapid reading. to lunge forward and upward to the black keys, as in scales, though in a somewhat less degree. hand, whereas the dominant of minor sharp keys often does not find when playing in the I read a book almost as fast as I the sharp scales mentioned. I have referred, of course, only to the major k<-; confuses the eye and the hand on account of its “white flat keys? Some sharp keys are turn the pages. Technic, as I un¬ Second, the right hand, which has most of the in¬ The case is quite different with the minor keys, i key” sharps and double sharps. doubtless harder to think than some derstand it, is not at all what it tricate work, has the fingers on the same keys or their common chord arpeggios in F sharp, C sharp a:i Keys with flats in their signature furnish comfort¬ flat keys. For example, it is cer¬ means to most persons. To them flats in all the flat scales. In the common modulations G sharp minors being far easier than those in < . 1 able hand positions and natural eye, ear and hand to nearly related keys, therefore, the same hand posi¬ tainly harder to think seven sharps it is mere mechanics, dependent and B flat. These are not, however, in nearly as rum pictures; therefore they are easier to play than keys tion is maintained throughout, immensely facilitating (key of C sharp) than five flats solely on strength and suppleness mon use (I am speaking chiefly of the earlier grades , with sharps. execution. (key of D flat). Yet the two keys of arm and finger—in a -word, the as the major keys noted above. Dr. Eobert Goldbeck. Third, it is easier in scale playing to shift the hand are identical on the keyboard. manual speed and dexterity of the But the real question from the practical point < over the thumb to a black key, right descending or left This is a mental difficulty, and the player. Now to me this is the All teachers on this side of the ocean know that view is, “Why do nearly all pupils, up to the third o; ascending, or, for the contrary direction,^to put the key of C sharp may be regarded purely physical side of the matter. their pupils prefer pieces written in keys with flats fourth grades, prefer the flat keys and fight shy of thumb under from a black key, than to perJorm cor- as harder than that of D flat, Technic, as I conceive it, is also to those with sharps. Considering the circumstance the sharp keys?” Largely, no doubt, because of the that keys with flats are much easier to play, it is ascending, or, for the contrary direction, to put the though mechanically the same. intellectual and closely connected greater ease in playing, which I have indicated. To rather singular that on the Continent of Europe, par¬ and especially when black keys have to be played im¬ Comparing the key of F sharp with with the esthetic side. It is akin a great extent, too, because young pupils find the fla i ticularly in Germany and France, no such preference mediately afterward, as in the scale of D major, the that of G flat we have the same to style. In the fullest sense it is keys easier to read. The first impression must be mad ■ is known. The young players there, let alone the progressions D, E, F, G, or A, B, C, D, in the left number of flats as sharps, and, as the power to express accurately the on the mind, then the fingers can do their part. Every artists, read and play pieces in sharps just as readily the keys are identical, there seems teacher knows that the young idea balks at tin- player’s idea of the music before as those in flats. It is easy to prove this by the fact The scales of one sharp and one flat are practically no good reason to regard one as sharped white keys (B sharp and E sharp), and still that all the great masters as far back as Bach, and of equal difficulty, except that, as the right hand plays more difficult than the other. more at double sharps. “Many pianists have mastered after him Haydn, IVlozart, Beethoven, Schubert, -with the same position as in the other flat keys, it Comparing C flat and B we Now, the only flat keys in common use which con¬ the mechanical side of their art, but Mendelssohn, Schumann, Chopin, Thalberg, Liszt, and takes tjiis position most naturally, on account of find them mechanically the same, tain a flatted white key are G flat major and E flat those who have carried mechanics our contemporary Grieg, have written as many pieces greater familiarity with it. As to the keys of 5, 6 and but mentally 0 flat much the more to the point of what I call technic or larger works for the piano in keys with sharps as 7 sharps, these are of course equally easy with their minor. And although E flat minor has in its signature difficult of the two. But as the as many flats as D sharp minor has sharps, it is very- may, in my opinion, be counted on with flats. Among the musical literature that comes enharmonics, 7, 6 and 5 flats, except that here again key cf C flat is practically never one’s fingers. The technical de¬ to us from Germany and other European countries we the impression that flat keys are the easier is apt to much easier to read. A very striking instance may be used and the key of B is not un¬ found in MacDowell’s “In Autumn,” one of the charm¬ velopment I possess is certainly cannot help noticing the large number of piano pieces, influence the mind of the player. common, we may easily be misled not a physical matter. You can see and even songs, written in sharps. Our affirmative answer, with above qualifications, ing “Woodland Sketches,” Beginning in F sharp into putting the key of B into the minor, .the composer naturally enough continues in that my hand is not of itself re¬ On the other hand, it must be acknowledged that the depends, then, upon the facts that the hand positions column of difficulties, when really markable.” [It is not. It is small, are more favorable in most of the flat keys, that the sharp keys throughout, and puts the second theme in more popular inferior writers, such as Ascher, Lange, -’ : balance lies the other way. rather than large, with fingers of right hand has the same position in all of them, and D sharp minor, though without changing the original Leybach, Bohm and many others, very usually com¬ rr.t is, B, though a difficult key, ordinary length and thickness, and that the hand-shiftings are more natural in them. signature. One of the chords resulting from logically pose in keys with fluts. is easier than C flat. in nowise unusual in shape or de¬ The piano pieces published in the United States by So far as scales are concerned Dr. Henry G. Hanchett. velopment.] “Technic, to me, lighter writers, and perhaps by the better ones also, the sharp keys are certainly the means hand and brain working in I have gathered a decided impression that piano show a vast majority of keys in flats. We Americans easier. We will compare the sharp unison.” are practical, and our publishers, as well as our pupils who would be regarded as having average adhering to this key being keys with those having the same Rosenthal had some interesting amateurs and musicians, do not hesitate, and quite talent (or less) hold almost universally to the opinion number of flats. E compared to remarks anent Chopin, whom he justly, to favor that which sounds best and is easiest. that pieces written with flat signatures are easier to A flat has much the easier scale, ranks “with Beethoven in musical It remains now to explain why the flat keys are easier read, and perhaps to play, after memorizing, than are both mentally and mechanically. A idea and melody. He is superior in. and sound better. I may say right here that the keys pieces with sharp signatures. That is to say: If a compared to E flat is the easier. D __ 1 harmony, although, of course, he which are the easier to play in, admit also of greater piece of music were written in both E flat and in E, compared to B flat has a decided ad¬ problem for the young player, surely. Had the phrase cannot rank with Beethoven as a constructor of the firmness of touch, fluency of technic and safety of per¬ without other alteration, the average pupil would vantage, as B flat is the most awkward of all the inclined to be solitary and much given to reflection he been written in E flat minor the notation of this chord larger musical forms. But the enormous artistic formance, with the corresponding result of richer regard the version in E flat as easier. scales to play or to think. G compared to F shows would stray away from his companions into the woods, quality of his smaller forms will make his recogni¬ sound, more delicate shading and grander power. Were I to judge this opinion solely by my own ex¬ practically no difference, except that in F the right the hills, and by the brookside or the waterfall, and tion certain in the end. I have always been interested Keys that offer greater mechanical difficulties are not perience with notes and keyboard I should say it is hand scale is a trifle the harder, mentally (beginning in the pure, fresh air project his imagination into the in English literature, and I was greatly interested nearly so safe and require a much greater amount of pure imagination and nonsense; but in the light of with the fourth finger in descending scales. This, how¬ loftiest flights, and gain inspiration for the master when I came to the United States eight years ago weary practice. such unanimous testimony I have been obliged to be¬ would have been, of course, ever, is offset by the scale of B in the left hand). works he was later to produce. with the culture I found here. What I liked best of The foundation tones of the three principal chords lieve there is something in it, and the time was when To recapitulate, four sharp scales compared to four When he located in \rienna he lived, by preference, . all, however, was the fact that the Americans liked —tonic, dominant and sub-dominant—in the keys of I gave the matter a good deal of thought, striving to flat scales shows on the average no choice (G to F, and in the suburbs or near some of the parks where he Chopin so well. I found here an understanding of E flat, A flat and D flat are represented by black keys discover a reason for the opinion. I have never been F sharp to G flat no difference; C sharp harder could be in touch with trees, flowers and running him that I could not find on the other side. Chopin on the piano. These stand higher than the white keys able to satisfy myself that I have found the reason. mentally than D flat, offset by C flat harder mentally water. A writer, describing his daily life, says: is my favorite composer, and it is a matter of regret and are consequently much more easily hit in the bass It seems to be like right-handedness, one of the things different matter when it comes to a quick understand! than B). The three other sharp keys compared to “Between two and three he dined, after which it was- to me that the wonderful nature of his art is not fully by the left hand. This would suffice to settle the that are so because they are so ordained. I have of the harmony. This is not to say that there are n the three other flat keys show an advantage for the his invariable custom to make the circuit of the recognized, and that he is not fully recognized in his question of preference for these three keys. But even wondered whether the flat scales were fingered so as many cases where flats are used when sharps won sharps. So it is fair to conclude that the sharp keys town twice or three times; and no weather could true place among the masters.” entire arpeggios, other passages and chords can be to lie more naturally under the hand—but F sharp is be easier reading And. of course, all this appli are the easier. Why then are they considered the keep him within doors—summer heat or winter frost, more easily run and grasped from the same reason not different from G flat in this respect. mostly to keys with six (or more) sharps or fla harder? First, because, as stated above, amateurs are thunder, hail, rain, sleet—nothing prevented this after¬ s to undertake a not so familiar with them. Second, because when a noon ramble. It was, in fact, his time for composition ; 229 228 THE ETUDE THE ETUDE -because the music was very simple and embodied but given entirely foreign to the character of the music flame. The hostess ordered the lamp to be relighted, “I haven’t even been able to teach them to ring the played. but the artist objected. “Rather, put out all the door bell,” she mnttered. ■ sxzst, -.< r «“■» candles,” he said, “the moonlight is quite enough.” A little woman, wearing a calico print and a As before said, I strongly advise any one interested striped sun-bonnet, came into the room, She had come with ghosts rising from the graves. Miss D. it Then he began to play, and sat at the piano for Class Work in MusicalvEsthetics to try such an experiment for himself, and am certain in one of the milk wagons that brought many pupils cold and saw only thick darkness. Both, as will be a full hour. And how he played. There are feel¬ that if the trial is made fairly and honestly, under to the studio on the days when the teacher was not EDWARD BAXTER PERRY noticed, received an impression commonly associated ings that belong deep in the soul which cannot be reasonably favorable conditions, that he will be finally going from house to house giving lessons. She moved with the feeling of fear, though they did not use the expressed in words. The hearers sat in quiet rapture, convinced of two facts. briskly. words fright, horror, dread, as did most of the lis- hardly daring to breathe for fear of breaking the spell. First: Music is not fitted to deal with the small, When Chopifl finally left the piano, every eye was “I just stopped in to pay you fur Sally’s last quar¬ practical details of daily life. It is too subtle, too with improvisations, to mislead any who might wholly wet, even Liszt was deeply moved. He went up to ter," she said, extending a roll of notes. HE old, much-discussed question is often raised, pure and, if you will, too abstract in its diction and T or partially recognize the music selected. The re¬ I followed the improvisation with that very real¬ Chopin and, embracing him, said: Mechanically the teacher’s fingers closed about them. even at this late day, as to whether music can idiom. sults, though mixed, as is inevitably the case, were, istic imitation of a thunderstorm from Godards “My friend! You were right. The works of so She had prepared a little speech for this woman, to be really descriptive and, if so, whether it may Second: It can, and does, express, with marvelous on the whole, eminently satisfactory and' conclusive. “Trilby.” He would be dull, indeed, who got very divinely gifted a master are sacred: it is desecration the effect that owing to her daughter’s unusual stu¬ ^legitimately be so employed. Is it not degradation fidelity and intensity, the idealized essence of every I need only give a few of the more definite and wide of the mark in interpreting this selection, and all to alter even one note. You are the true, the great pidity she—the teacher—desired the lessons to cease. of the art, it is asked, to associate it with scenes and important scene and situation in human existence, representative reports: present, with two exceptions, • set it down in varying artist; I am only a bungler.” Furthermore, she intended to decline to receive this actions in real life? Does not the same composition and, above all, every conceivable emotional experience. convey very different ideas to different listeners, etc., The first number was a Funeral March, character¬ phraseology as a storm with thunder and high wind. “No, not at all,” answered Chopin, vivaciously, we money upon the ground that she had not rendered an In other words, it cannot tell you the color of the etc.? istic, but not well known. One of the exceptions thought it was a cannonade are both artists, but in different spheres. No one, equivalent. But now that the moment had come she hero’s eyes and hair, what kind of clothes he wore To the present writer such questions seem absurd, Miss A. wrote: “I seemed to hear the solemn tolling with the roll of drums in the distance; the other so well as you, knows how to play Beethoven and cast about her for suitable words. Meanwhile the or how many dollars he had in his pocket. But it can and as pertinent and reasonable as to ask: Can of bells, the tramp of slow feet, the sobs of mourners. called it the booming of surf on a rocky shore, but Weber. I pray you, play for us the Adagio in C sharp little woman had seated herself in one of the rocking make you realize whether the personality in the mind language really convey ideas, and, if so, is it proper It was a funeral procession.” Miss B.: “It was in¬ both these suggestions were quite in keeping with the minor,* and play it as you alone can when you feel chairs drawn up before the fire, removed her sun- of the composer was masculine or feminine in type, to use it for that purpose? tensely sad, even despairing. It sounded like a good¬ in the mood.” bonnet and unpinned her shawl. afloat or ashore, mounted or otherwise, in conflict or It is a useless waste of time to discuss this ques¬ bye to hope.” Miss C., who is one of a class who Liszt played the Adagio and threw his whole soul “I can’t stay but a minute,” she said, “but I want at rest; whether the environing conditions were fair tion with those who possess too little imagination or naturally visualize all thoughts and impressions, Having had such good success thus far, I ventured into it. Another feeling took possession of all in the to thank you fur what you’ve done fur my gal. She and reposeful or dark and tempestuous, beautiful or esthetic insight to find anything in music but a series wrote: “I saw a grand cathedral, filled with sorrowing to try my audience with a few more complex and company; some wept, others sobbed. This was not a just plays them old tunes lovely, and her pap don’t people, a coffin on a bier, black-robed priests officia¬ stirring and grand; and the exact kind and degree of of more or less agreeable sounds and more or less subtle compositions, and played entire Beethoven's sweet dream such as Chopin had conjured up, these touch the bottle like he did. When he gits kind of ting.” Miss D.: “It was slow, sad music in a minor emotions experienced, whether of joy or sorrow, cour¬ symmetrical forms, and who, firmly convinced that “Chorus 6f Dancing Dervishes,” as arranged for the were the “terrible tears” of which Othello speaks. restless like, in the evening, and begins to hunt for key. It made me feel depressed and homesick.” age or fear, hope or despair, playful gaiety or loving their own limitations are universal, are too “pig¬ piano by Saint-Saens. As all know, it represents the This melody did not steal gently into the heart, but his hat, I jest winks at Sally and she goes right to There were various other reports, but all in the same tenderness, restful revery or overwhelming passion, headed” to be amenable to either logical argument or mad whirling dance of these fanatics in a frenzy uf stormed in like a powerful dagger stroke. the orgin and begins them tunes, and her pap sets general vein. Note carefully, for it is important, that, with all the varying shades between. practical demonstration. religious enthusiasm. The listeners were moved by Chopin, were shaken down a spell to listen and forgits to go out. The while-the answers differ in details and form of expres¬ All the arts have their peculiar laws and limitations, But to the many honest doubters and sincere truth- Miss A.: “A wild, breathless, whirling dance. 11 through and through by Liszt. The one played an boys don’t loaf ’bout so much as they did nuther; seekers in the realm of this comparatively young, sion, they all agree as to the general impression con¬ their own special forms of symbolic expression. makes me dizzy to listen to it.” Miss B.: “A lunate- elegy, the other a drama. Nevertheless Chopin al¬ an' the neighbors’ boys comes in to hear Sally play, and as yet little understood, art I would suggest a- veyed by the music. Music is less realistic than painting, less definite in asylum broken loose.” Miss C.: “I see a maelstrom ways considered himself as the victor over Liszt on ’stead of hangin’ round the stores evenings. Why. practieal and interesting experiment which they can One hears the realistic stiggestions, bells, sobs, detail and less philosophic than poetry. But it is seething and swirling, sucking down rocks, timbers, that evening. He praised himself and let fall the last week she played in meetin’, and Miss Jones said try for themselves, as often and under as many test marching feet. Another sees imaginary pictures, ap¬ more directly and Intensely emotional than either. It and bodies into its vortex.” Miss D.: “I feel excite,l. remark, “How angry he (Liszt) had become.” it done her more good’n the sermon! conditions as they please, till they are convinced, once propriately portraying the import of the composition, trenches legitimately, to some extent, on the proper delirious. I want to scream, and spin like a (,>]>." Liszt heard the saying of his rival and began to “Before you come we didn’t have no orgin music for all, as to what the facts really are. For an ounce that is, translating it from the audible to visible domain of both the others, but primarily it deals with Miss E.: “A boisterous revel of people who have think of a revenge worthy of an artist of Bpirit. in none of the churches. The teacher we had then of demonstration is worth a pound of argument to symbols. But all concur iji the statement that the the concentrated essence of the forces which underlie taken too much liquor and who all jump about end Several days later the company was again in the wouldn’t teach no hymn tunes. She give ’em strange music expressed sorrow, solemnity and grandeur. No every action, and which are the soul of every situa¬ throw things.” music hall. The hour was close to midnight. Liszt soundin’ things with furrin names. Sally couldn’t one for a moment confused it with a battle hymn, a tion, which form the essential vital human element Get together a number of persons, musical students Notice that all caught, however they worded, the asked Chopin to play, which, after repeated urginga, say ’em, an’ they didn’t have no tune to ’em whatso¬ serenade, a dance, a boat song, or any of the hundred in every scene in Nature, namely, the actuating im¬ or otherwise, not necessarily all players, or even all erratic, incoherent, delirious and destructive mo<„l of the latter consented to do. Liszt now asked to have ever! other things which might occur to the mind of one pulses and passions of the human heart. possessed of musical training, but having presumably who was merely guessing. the composition. I was specially pleased to find Unit the room completely darkened. Just as Chopin was ‘There—I hear them cans rattlin’. My horse has a three of the five quoted distinctly received the irnprm Some composers treat these broadly, in the abstract, a fair degree of musical intelligence. The more mixed This is a long step gained. For once granted that a seating himself at the piano, Liszt whispered a few colt home and I guess I better be gittin’ up the road. sion of a whirling or gyrating movement, as in the as Universal factors, notably the older classical school. the company the better. Then play, or have played given piece of music conveys to a number of minds the words in his ear, and himself took the place. With¬ Good-bye, Miss -; come over an’ spend the day for them, a number of different compositions of dizzy, whirling dance, the revolving maelstrom and Others, in more modern days, specialize them in the same broad general impression, its power to express out any conception as to the meaning of his rival’s some time. It will do you good. You look real bad.” various styles, giving no titles or any remarks con¬ the impulse to “spin like a top.” This quite surprised individual experience of given personages in given certain things up to certain limits is demonstrated. whim, Chopin seated himself in the nearest chair. She left the room hurriedly and went tearing up cerning them. A single portion or movement is usually me for I should single out a circular motion as an conditions, thus presenting them in concrete form The ability to analyze closely, discriminate accurately, And Liszt played. He played all the pieces that the road behind an anxious horse, with'the skirt of her better for this purpose than an entire work, as being and grasp clearly all the subtle, manifold, complex sug¬ impression exceedingly difficult to convey in music. more easily grasped by the average hearer, with more of circumstantial detail, of local coloring, and of Chopin had improvised on the previous occasion, and sun-bonnet flapping in the wind. less emotionally complex. gestions actually contained in any masterpiece of reproduced them with such mastery of tone and ex¬ Be sure, if possible, that your audience is not ac¬ I next piayed, mainly because I knew it would lie definite setting and accessories; but all alike recog¬ When the door closed the teacher stood transfixed. music is possessed only by those who have a developed pression that it was impossible to discern the change Sally Bushong’s playing keeping her father from quainted with the names of the compositions given or musical intelligence and trained perceptions. unfamiliar, the opening movement from my own “Last nize and utilize human experience as their only avail¬ of players. The same charm, the same feeling took drinking and making people forget the sermon! The their composers. For this reason professional What is musical perception but the power, in¬ Island.” It was written to portray the soft, calm, able or possible subject matter. possession of the listeners, who scarcely breathed for woman was mad, stark raving mad. But for her musicians, who would be likely to recognize any selec¬ stinctive or cultured, to recognize the inner meaning summer days preceding a violent storm on the sea- If music, their chosen medium, did not convey these fear of losing even one of these heavenly tones. Higher soulful eyes it might appear that she had come to tion given under its special title after a few bars, of melody, harmony and rhythm, through their sym¬ coast, and I kept always in mind Lafcadio Hearn's experiences to the minds and hearts of the hearers, it and so have an unfair advantage over the rest, should descriptive phrase, “Days bom in rose and buried in would be a failure as an art. and higher rose the rapture until Liszt suddenly mock her. bolic language? For music is only audible symbology, kindled a light. And what a surprise. be ruled out from such an audience. much like speech, but more idealized and more uni¬ gold.” Sighs of relief from my hearers, who had been An hour later, sitting there by the embers, the “How is this! You! But we thought we were Each selection may be repeated, if requested, to in¬ versally recognized than any spoken tongue. rather strung up by the last selection, accompanied real meaning of it all assailed her like a flash. She tensify the impression produced and give the listeners my performance. Miss A. wrote: “I can think only hearing Chopin!" saw in one glorious moment that her standards had The second number given was a “Barcarolle,” by "And what do you say, my dear friend?” asked time to grasp and classify it. Rubinstein. of that peace which passeth understanding.” Miss AN ARTIST'S REVENGE. not been lowered—only sensibly readjusted. She saw Then let each person present write out in a few B.: “The Lotus-eater’s drowsy dream.” Miss 0.: "I Liszt turning to his rival. A few recognized it, and said so. Miss A., who did for the first time that the lower forms of music can words, but as definitely as possible, just what ideas, ‘I say, as did the others, I thought I heard Chopin not, thought she heard the ripple of water, the stroke see a smooth strand and smoother sea, and over all and do appeal to some natures as strongly as higher emotions or pictures, if any, the music suggests. Col¬ (A Story of Liszt and Chopin.) playing.” of, oars, and some one singing, and that it must be a a lovely light, like that light that never was on sea forms do to others, and that unlesB it is taught with lect these reports, and read and compare them. “Do you see, my dear fellow,” replied Liszt, rising, boat song. Miss B. thought it represented the flowing or shore the poem tells about.” Miss D.: “A serene, a view to its subsequent usefulness in life, its mission The result will be found to possess great psychical “Liszt can be Chopin, when it pleases him. But can of a brook, and a wood-nymph or fairy singing beside ecstatic bliss like the Nirvana of the Buddhists.” Miss CHOPIN and Liszt, with a number of other nota¬ has proved a dismal failure. as well as musical interest and to open up a wide range Chopin be Liszt?” it. Miss C. saw a great lake with moonlight gleaming E.: "I can write nothing but adjectives, calm, tran¬ bilities in art and science, were guests at the castle Therefore she resolved: of thought. over it, and a little boat gliding over the rippling sur¬ quil, serene, bland, lovely, mellifluous.” of Count N-. The host and hostess, both highly But Chopin could not take up the challenge, and 1. That in future pupils showing exceptional talent Liszt was avenged! Of course there will be some failures and disap¬ face. Miss D. believed it was the cradle song of a None failed to catch the keynote of the mood, se¬ esteemed because of their fine social gifts, were de¬ shall be dealt with according to her own beloved pointments. A few will be present who get only very water-sprite, for she felt the rocking of the cradle, the renity. Now, if the enemies of the descriptive power lighted to see around them the creme de la ergme of methods. vague impressions, or none at all, beyond that of in¬ gentle swell of the waves, and the song sounded like a of music had the rights of it, my answers ought to their circle. Owing to the presence of the two cele¬ 2. If not, she would remember "The Little Woman definable pleasure. And there will be a few, as in lullaby. have been a hodge-podge of storms, dances, dreams and in the Calico Print.” every gathering for any purpose, so unfort nnately battle scenes. brated artists, music was the favorite diversion of the THE LITTLE WOMAN IN THE CALICO Mark again the slight differences as to detail, but hampered in the way of expression that they cannot company. the unanimity in general effect. Locality an 1 selling PRINT. get (heir thoughts and feelings into language, (hough On one occasion Liszt, who, unlike Chopin, was differ somewhat, but all received distinctly (he im¬ always willing to play for the guests, presented a they recognize them at once when voiced by someone ------—6, um -i-cei fjynt 8 pression, audible or visible, of water in motion, of a nocturne by Chopin. It was a May night, between else. And there may be one or two who lack the All who have read the drama or seen it stagec swaying, rocking movement, and of a song softly sung eleven and twelve o’clock. The whole company was courage at first to speak out their impressions, though amid quiet and peaceful surroundings. member the wild mountain fastnesses of Norway they perceive and could express well enough. in the music room. Through the open doors of the In reality the composition represents the song of the uncanny goblin trolls gathering in the twiligl Thebe must surely have been something mesmeric But in the great majority of cases there will be a pursue their mad pranks and revels until dawn. balcony the guests could see the landscape flooded the boatman on the moonlit bay of Naples, with the with moonlight, could hear the song of the nightingale, in the eyes of Bach as he gazed from the wall, for, unanimity in the reports most astonishing, especially '„at nothing bnt ghouls and hobgoblin ripple of waves and the stroke of oars distinctly and breathe in the air fragrant with a penetrating after a time, the girl, crouching before the fire beneath, to those who disbelieve in the expressive or descriptive imitated. me Miss B.: “Hallowe’en Night with all power of music, proving conclusively that it has such rose perfume. Everyone listened with rapture to the raised a teat-stained face and looked full at him. If music. means nothing, conveys no definite im¬ witches out on broomsticks.” Miss C. • “That power, and that all that remains to us is to investigate wonderful playing. But Chopin showed signs of im¬ “You could never have written a line,” she said, pression, may be imagined to express a score of differ¬ its scope and possible limitations. £ D • ‘“lr’he earth’ Pe°Pled by bei^s hum patience, because Liszt played, as was his usual habit, fiercely, “if you had been a country teacher and spent ent things by as many listeners, they might just as v,Y a gni“- Mak<* me have goose your days with stupid children and cheap, screamy well have guessed that this little work suggested a and chills down my spine.” with a great deal of variation from the text of the Let me illustrate by Citing such an experiment, one printed page. Finally the composer could no longer cabinet organs—I hate them!” of many, recently tried with a class in musical charge of cavalry or the alarm bells clanging over a The most casual reader of what I have wr contain himself and went to the piano, saying to Liszt: Again she bent her head, and this time something analysis. The members of the class were mostly burning city. cannot fail to note that the mood, the emotional “I pray you, my friend, if you do me the honor very like a sob filled the shadows that were closing young ladies, themselves piano students, but there niftcance of a composition, was unerringly ca Next followed a short improvisation, intended to to present one of my compositions, play just what is in about her. were some outsiders present who were not players or convey the abstract mood of intense fear, represented printed, since Chopin alone has the right to make “Nothing but hymn tunes,” she continued; “hymn at all familiar with musical literature. by means of the usual stereotyped devices of tremolo alterations in Chopin's music.” tunes, scales, an exercise or two and a fifty-cent folio After explaining the nature and purpose of the ex¬ effects and a combination of minor and diminished “Good,” said Liszt, with a slight show of anger, of vapid nothings. They don’t seem able to get be¬ periment, I proceeded to play portions of several seventh chords, so familiar to all opera goers. The “play something yourself, then.” yond that, or want to get beyond it.” familiar and unfamiliar compositions, interspersed result was most satisfactory, the more so, doubtless, “Gladly,” said Chopin, in his usual phlegmatic An energetic thumping at the studio door brought manner. At the same moment the light was extin¬ the girl to her feet. Gttdo of Arezzo. guished by a night moth, who lost his life in the a pioneer in teaching singing from note. First to vue the ‘“Moonlight" Sonata. syllables It, Be, Mi, Fa, Sol, etc. THE ETUDE 231 230 THE ETUDE which contains many ideas new to this department, Now we shall proceed to his other compositions for the entitled. piano These are also fine—some of them superb—but Silent Practice. all of them could have been composed by another than Beethoven, which is not the case with the sonatas; yes, that is just what I mean. Practice before you Anton Rubinstein in his Class Room from the first to the last he only could have created go to the piano. As the music must be conceived in them ” He then played several bagatelles, a polonaise, the mind before the fingers can bring it out of the an interesting fantasy, and then took up the variations. instrument, so it is necessary to first use the gray [Parts land II of this series were published in The Etude for February and March. It “Beethoven brought the variation to a height un¬ matter. This can be done at the earliest stages of lessons described in these articles that Rubinstein showed his splendid educationalai powcis mid his ability to stimulate pupils-to the bes* kind of work. The writer was an the class.—Editori dreamed of before him. Even his very first variations music study. The beginner can mentally run the are composed in different keys. This was a novelty. scale. For example, think out your major scales Previously the only changes made were between and their arpeggios. After taking them in their major and minor; it was thought a great advance to order by fifths, vary the ordinary method by going- III. a great deal about Beethoven’s three styles—in my over in your mind the arpeggios according to the opinion there are only two: his period of health and vary to a parallel key. Now I shall play some varia¬ CONDUCTED BY N. J. COREY keys of the piano, thus: C, E, G, C; D, F sharp, EUBINSTEIN never omitted an evening; lie even the period of suffering, when he withdrew from the tions which you will find not uninteresting—on the came, as usual, on Christmas Eve (1888). He theme of the last movement of the Heroic symphony. A, D; E, G sharp, B, E, and so on. After you have world and lost himself in the visions of an abstract thoroughly memorized this, take up the minor scales began with the sonata in G, Op. 31, No. 1, He must have been fond of it; he used it four times: VARIOUS TOPICS BY VARIOUS TEACHERS. solos and duets for almost any voice, and essays on universe. historical or biographical subjects, ancient and in the same way. You will be surprised how much which lie characterized as the weakest of all Bee¬ in a quadrille, in the ballet ‘Prometheus,’- in these HERE is little question at the present time in “In the sonata, Lea Adieux, Op. 81, we find for the T easier the scales will seem to you after this practice. thoven’s sonatas. “Of course we find Beethoven in it, first time program music which expresses emotional variations, and in the symphony.” regard to the desirability of semi-public work modern. A Study Plan. The same practice will be found extremely helpful but his elevation is lacking. In the Adagio he pays feeling. The first theme, Lehewohl (Farewell), is full for pupils. Most teachers would like to have also with finger exercises, etudes and pieces. toll to the spirit of the times.” Then followed the of the sadness of parting; fond glances, the pressure Another letter full of practical suggestions is from pupils do more or less playing before others. Some For the advanced pupil such practice can hardly sonata in D minor, Op. 31, No. 2. I remembered of hands, kisses—all are here. In the Adagio, Miss H. Annie Titman, of Georgia. She is perplexed have well-organized classes for this purpose, while be considered other than a necessity. Take a new von Billow’s playing and explanation of this sonata, others are somewhat uncertain just what may be by the same old problem, how to manage with pupils Alwesenheit (Absence), there is longing after the piece before you have “tried it on the piano.” Note and awaited with intense interest to hear Rubin¬ After the well-known thirty-two variations in O . best to be done under the given circumstances in who are trying to learn to play the piano, and yet absent one; in the Allegro, Wiederselien (Return), is the signature, the tempo, and analyze the major and stein’s conception of it. Contrary to expectation, the minor he played the less familiar thirty-three varia¬ which they have to work. The Round Table has have seven or eight studies in school, spend several pictured the rapture of reunion. What a storm of minor parts, and study the runs in regard to their two agreed perfectly. While the former played the received an extended article from Miss Lottie M. hours in the school room, must study at home as well emotion in the last movement! scale relations. Divide the piece into sentences, short1 largo in the first movement he spoke of “visions,” White, of Canada, on this subject, and which only as attend to the little household duties that are ex¬ I have so lived in this sonata phrases and periods. Trace the theme through the lack of space and duty to other correspondents pre¬ pected of most children. How can music be worked that I could give the meaning intricacy of variations, and the recurrence of the vent us from printing in full. She at first treats of in with this, especially if the child is to have any of every measure in words, but theme throughout the composition. Think out the the benefits to be derived from such recitals by the time for play, a decidedly necessary item? —there is only one step from harmonic treatment, the tonal quality of particular pupils, using in illustration a hypothetical pupil whom “But,” she says, “what is the music teacher to do? the sublime to the ridiculous, so passages, and try to mentally give the requisite touch she conducts through a number of recitals. The As a result of six years’ experience I adopt the one we would better not take this to bring out the correct expression. After you have practical part of her paper, however, is that which hour a day study plan, and find it remarkably suc¬ step.” thoroughly gone over the composition in this manner, our readers will be most anxious to peruse, as all cessful as far as the hour goes, only is it enough? Like von Bfilow, Rubinstein go to the piano, and you will find that the mechanical likened the sonata, Op. 106, to are on the lookout for suggestions. It is as follows: Very few pupils can practice for an hour at a time to good advantage. Therefore, we have divided the part will come much more easily, for your brain is the ninth symphony. “The already charged with the subject matter, and is con¬ Adagio,” he said, “is the great¬ Recital Ideas. hour into half-hour periods. Oftentimes, as I am passing through the streets, I hear my pupils prac¬ sequently master of the hands almost immediately. est work that has ever been Let us try and look at the pupil’s recital from the I have often done this with The Etude music when composed. Words cannot de¬ ticing, and am thus able to encourage them for so teacher's standpoint. Very little, in fact almost noth¬ I first received my copy from the mail. It is a pleas¬ scribe its beauty.” He drew industriously attending to their work. ing,, is gained by the teacher who works without defi¬ ant exercise, and invariably pays in the ready con¬ attention to the variety in the “I give a study plan to each pupil. So many min¬ nite plan. The beginning of the term is the time ception one gains of one’s work before trying to working out of the theme in the When all thoughtful teachers should begin to form utes for hand formation, five-finger exercises, scales, make it audible. last movement, a gigantic fugue. chords, simple arpeggios, etc., and so many for plans for their class work. It is not best to conduct I am not writing this for the professional musician, “That is a fugue which Bach all one’s recitals in precisely the same manner, but etudes and pieces. They very quickly learn to adjust who does not need my help, but hope to help the would never have thought of, their practice to these periods. Because of the com¬ ;it is well to vary them in different ways. younger students. The average pupil, of the first though Bach is the type of the mon dislike of pupils for practicing on Saturdays, I In the small towns where a teacher may have a three grades at least, goes to the piano with very little fugue. It is a wonderful con¬ large class of from thirty to forty pupils, of all allow them to review old pieces during this hour, thought of the why and wherefore of that which he ception and unspeakably beauti¬ grades, from the lowest to the highest, it will be thus making it more interesting to them. is about to do. He is very apt to begin to go over ful.” The playing of this so¬ found easier to vary the recitals. At the first re¬ “Each Wednesday we have a class lesson, during his work in a perfunctory sort of way. He is slow nata took forty minutes. “To cital let every pupil who has developed any capacity which, as an incentive to technical work, we have to awaken to the fact that he must use his mind as of musical phrases in “blue major,” “yellow minor,” quiet you I shall play one more whatsoever prepare a number, either a solo or a scale tests, chord tests, sight reading, ear training, actively and thoroughly in his music as he does in “white major,” and Rubinstein played it so that it sonata, Op. 109. It is tragic ■duet,- with one of the other pupils. Let all the etc. This lesson is preceded by a talk concerning his school studies. What would you think of the sounded like a vision and the phrases actually seemed from beginning to end. Such numbers be short or the evening may prove tiresome. the manner in which great musicians practice. I carpenter or machinist who tried to do a delicate blue, yellow and white. “The Adagio of this sonata,” variations as we have in the Let each pupil invite in her parents or guardians, so then examine the pupils’ practice records, which are piece of work before he had thought out how it he said, “could be called a ‘moonlight adagio.’” Finale we have not heard be¬ that those who have them in charge may observe just marked plus for full time, and minus for less. In should be done? It is a principle that applies with The sonata, Op. 31, No. 2, was magical in effect, fore.” what work they are doing. This you will find is al¬ case of a minus sign, it is only excused on the equal force in every department of work and study. particularly the Scherzo and the Finale; they were With Beethoven we also be¬ most necessary for the growth of your class, as it ground of sickness, and must be made up except in The mind must direct the hands if the result is to be like a forest stream in springtime, dashing fresh and gan the New Year. Rubinstein keeps the home people in touch with your work. extended cases. Two days’ loss of practice must be successful or profitable.—G. W. Fulltcood. sparkling over rock and stone. “When this sonata opened with the colossal sonata For another evening, let the young ladies and gen¬ made up; two weeks’ practice cannot be made up, Mrs. L. C. Ray, of Missouri, thinks that an ap¬ was published,” Rubinstein remarked, “Beethoven was in A flat, Op. 110. “It is fortu¬ tlemen of your class prepare an attractive program, neither can the pupil receive a gold star. At the peal should be made to the artistic sense of pupils blamed for the undue technical difficulties of his works. nate for us that Beethoven was and invite in a number of their friends to hear it. end of a month a gold star is added to every record during their early years, and that this can best be done He therefore composed the two little sonatas, Op. 49, deaf,” he said. “Being thus Let me suggest, however, that you do not make up that can show a plus sign, and the owner’s name by an appeal to their imaginative powers. We are of which the first is the prettier. It would indeed be cut off from the outer world, your program entirely of advanced classics, for your written in gold letters. Nine gold stars place the glad to give the readers of the Round Table the hard to find a more charming theme for a rondo than he could concentrate all his audience is almost sure to be a mixed one, and while pupil in the ‘firmament,’ for which due credit is given. that of the G major sonata, Op. 49, No. 1.” powers on his creative faculty. the standard of the class must be kept up, and music “Few teachers find it practicable to give daily fif¬ benefit of a short article which she has sent in, en¬ Anton Rubinstein conducting. titled. In the Finale of the sonata in C sharp minor, Op. 27, The Adagio of this sonata ex¬ of an inferior nature not encouraged, yet it is not teen-minute lessons, but I have found it very advanta¬ No. 2, he played with such force that the platform presses the suffering of humanity. No aria from any geous, especially for the pupils in the lower grades, tions on Diabelli’s waltz. “These are the m< wise to give people that which they cannot under¬ Teaching on Artistic Lines. trembled. “I do not know why this sonata should be opera by any composer can be compared to it, and for and those who are careless or indifferent. Every wonderful variations!” he exclaimed. “Among var stand and enjoy. A professor of music recently said to me, “I no called the ‘Moonlight Sonata,’ ” he said. “Moonlight this reason, in my opinion, instrumental music stands pupil learns more at the lesson than when alone, tions they are what the ninth symphony is amo In this recital, of course, the children have been longer try to teach young children on artistic lines, awakens a lyric feeling, while this music tells of a higher than vocal music. The deepest feeling, the and, therefore, a daily lesson stimulates to more in¬ symphonies, the sonata, Op. 106, among sonat; left out, so let the next recital be given by them, per¬ for there is no money in it, and I am out for money. heaven covered with heavy, leaden clouds; in the greatest grief, the most exultant rapture, can find ex¬ dustrious practice. When pupils are careless, re¬ Beethoven conceived his variations from a mush haps during the afternoon for an hour or an hour Besides, children do not have any sense before they Finale the storm breaks—only the short middle move¬ pression only in tones and not in words. How may peatedly striking wrong notes, I compel them to point of view, not from a technical standpoint. Aft and a half after the schools have closed. Let them are fourteen or fifteen years old, and all they are ment is lyric—to call the whole work after this move¬ we interpret Beethoven’s following this deeply touch¬ copy the measure twelve times. They soon learn to prepare as pretty a program as they can give, and capable of learning is how to hold their hands and ment alone is absurd. Beethoven knew nothing of ing movement with a fugue—the coupling of reason Think•Mr“ITTfal iDt0 UMer deS«eracy. Hei take more pains in order to avoid copying. Think of it! Herz also composed variations. Lai invite in their Bchool friends. fingers in good position, and to read and count notes this title.” Of the variations in the sonata. Op. 20, and science with such a god-like melody! It is “I substitute sugar-coated pills, in the way of they came to a certain rehabilitation through Mende It is also a good plan for the senior members of correctly.” he observed that they were the first really musical cynicism, bitterness—as if he would say, ‘See what I pieces, for the despised etudes when I can find such sohn and, above all, through Schumann’s Etta your class to form themselves into a musical club, What do we mean by teaching on “artistic lines?” variations. In all he played eight sonatas. The can do—suffer and weep, and yet be so clever as to as are suitable, much to the satisfaction of the pupil. devoting certain evenings to different composers. Let Perhaps I can convey something as to my idea of it Finale of the Appassionata, Op. 57, he took at such show my learning.’ The final fugue means victory— Wlw C8a be « with thes, I find the study of the relation of hands to keys, pointing to those before hi™ one evening, for example, be entirely devoted to Men¬ by an example from my own work. A little girl a dizzy pace that we fairly held our breath; half of he conquers! Beethoven’s prophetic instinct for the soundless exercises, various finger gymnastics, etc., delssohn and his works. One pupil who is taking up pupil brought me for study Heller’s “Hunting Song.” his hearers rose from their seats, the excitement was technic of the future and for modem improvements in wonderfully beneficial to the majority of pupils. I history may give a short and well-prepared paper on We talked about the name first. We pictured the so intense, and at the end a deafening burst of ap¬ the mechanism of the piano is astonishing. In the seldom give an exercise without explaining the reason KEEP THE EYES ON THE MUSIC Mendelssohn’s life and works. Another pupil plays forest, the men in hunting garb, the eager hounds, the plause greeted him as he left the platform, apparently fifth measure of the Adagio life felt that a time would the Concerto in D minor; still another sings the for it, and I try to impress upon them the necessity half-dazed. . _Y“UOb s,tref 011 the point that, even in the fretting horses, the blowing of the horns, the gay come when the tone could be ‘sung;’ he wished it to “First Violet.” Two pupils play the Capriccio of perfecting each step in order to form the complete Ives flT^d Practice, the pupil should keep laughter, and then suddenly singing the opening New Year’s Eve—still Beethoven; with him we be sustained a long time—and we can now ac¬ Brillante, and so on, the evening’s work giving the and perfect whole. closed the old year. Rubinstein played seven sonatas, complish it.” eyes fixed upon the music; after the opening i chorus, beginning so fine and strong. We noted and listeners a far more comprehensive idea of the com¬ “Lastly but not least, I try to visit the homes of beginning with the charming one in F sharp major, have been found and are played the pupil is not to tested every tone-value. We became excited over the Adagio poser and his work than they previously possessed. my pupils twice each year, in order that I may bet¬ Op. 78. He expressed his delight in the first move¬ crescendos, gradually increasing in volume of sound Mbl the piece has come to an Do not devote all your time to the old composers, but ter understand them, and thus help them to get the ment, and drew our attention to the conciseness of the until the fine climax on the first page. How she en¬ rte aeCeS?a?’ practice the left hand and alternate with those who are modern and living. most out of their work.” second movement. “How much Beethoven says in a joyed the galloping of the horses when off and away, the ev T hands are used together. Fi In recital work, no matter which grade is giving the few words 1 As Liszt says: ‘It is the avarice of the the eyes on the music demands: First, Readines in the staccato movement, and the blare of the horns program, we find The Etude a valuable accessory. Directly in line with what Miss Titman says in rich.’ The sonata, Op. 79, Beethoven called Alla After the sonata, Op. Ill: “Now we have heard all reading the notes, and, Second, Teaches the fin<-« in the big chords. The home-coming after the chase, In fact, whole programs may be given directly from regard to “soundless exercises,” and which may be Tedesca, probably because it is written in waltz of Beethoven’s sonatas and have found that they are fine sense of touch, so that they are able as If iuv in the evening shadows, softer music, soft blowing the pages of this journal, including piano solos and said to be an amplification of this idea, the Round rhythm. It contains a wonderful Andante. We hear really worth while. They are among his best works. horns, ending in the sweetest pianissimo. Then the momS6 tentadeS' t0 find ^ right keys duets, violin solos with piano accompaniment, vocal Table has received a very practical article, and one {Continued on page *71) THE ETUDE 233 232 THE ETUDE PRIZE ESSAY ANNOUNCEMENT. DO is a word in greater favor than “don’t” with educators and others who are concerned with Gbeat interest was manifested in the prize contest the formation of character. Gov. Hughes, of which closed March 1. About 300 essays were sub¬ A Mademoiselle Angele Spilmann New York, put the matter very aptly when he said: mitted, the topics chosen covering a very wide range “One ‘do’ is worth a thousand ‘don'ts’ in the de¬ of musical knowledge and teaching experience, and ex¬ struction of evil or the production of good.” Stated cellently written, with but few exceptions. The suc¬ SONG OF THE SPINNING WHEEL less epigrammatically, we can say that constructive cessful writers were: Mr. Robert Brain, of Springfield, work is by far the most useful; constructive criticism, 0.; Mr. Charles A. Fisher, St. Paul, Minn.; Mrs. QHANSON DU ROUET not destructive carping, is most helpful to those who Mary Gregory Murray, New York City; Mr. Carl G. are to oe built up in art or science. Schmidt, New York City; Miss Hannah Smith, New PAUL WACH3 There is sound pedagogy in Gov. Hughes’ statement, York City. Two of the essays are published in the and The Etude hopes that every teacher who reads present issue, the three others will appear in the issue Remittances should be made by post-office or express these words will resolve to give the idea a thorough for May. Vivace money orders, bank check or draft, or registered trial. Tell a pupil in a few words, but clearly, ex¬ We take this opportunity publicly to thank all who letter. United States postage stamps are always received for cash. Money sent In letters Is dan- actly what you want done and keep him at it until wioirinor Hip pnntpst a success, in the num- arrival Snd W6 ale not resP°nslble for Its safe he understands the aim of the exercise. This is bet¬ DISCONTINUANCE-If yon wish the Journal ter than to be cautioning him frequently, as teachers Stopped, nn explicit notice niiint be sent us by do. The power of suggestion over the mind is very letter, otlienvfiNc it will be continued. All sir- great, therefore be careful to suggest the correct thing PRAUD MUSIC PUBLISHERS. RENEWAL*!—No'receipf’^s'sent r renewals. On and say no word about the wrong idea. Particularly the wrapper of the next Is.____ The country at the present time is flooded with Is this true in work with children. They are very be printed the date to which your subscrip- advertisements of concerns who offer to set verses to tion is pnld up, which serves as a receipt for amenable to suggestion, and if an idea is presented your subscription. music, and also to publish musical compositions. * to them as a base cf action it should be put in posi¬ MANUSCRIPTS.—All manuscripts Intended for publica¬ These advertisements may be seen in many of our tion should be addressed to THE ETUDE, 1712 tive, not negative, form. Chestnut Street, and should be written on one side leading magazines. They offer would-be composers of the sheet only. Contributions on topics con¬ The above remarks are, in part, prompted by the nected with music-tenching and music-study are tenor of many of the essays submitted in the contests and poets the most flattering terms for publishing solicited. Those that are not available will be re- recently conducted by The Etude. About three hun¬ their works. In most cases these firms are fnkes and advertising HATES will be sent on • application. dred and fifty essays were submitted. A large number impostors, not worthy of the confidence of the public. Forms close on 10th of each month for the suc¬ We wish now to warn our patrons not to send ceeding month’s Issue. were discussions of practical topics connected with the their verses or manuscripts to these fake concerns; THEODORE PRESSER, teacher’s work. Yet most of these were negative in 1712 Chestnut St., Philadelphia, Pa. character, suggesting that the contestants had failed in the end the composer or the poet is the loser, and Entered at Philadelphia P. O. as Second-class Matter. to grasp the idea that training is a matter of “do” the company the gainer. These concerns send out the rather than “don’t,” of inculcating good habits most flattering circulars and make extremely favorable WHAT will you do with your musical educa¬ rather than lopping off bad or useless ones. The offers, sometimes a royalty as high as fifty per cent. tion? is a question Tiie Etude asks of all readers of The Etude want practical ideas and sug¬ In the first place no publisher can afford to pay more those who will finish their studies in May gestions, and those that can be taken up by the than ten per cent, royalty; second, these companies or June. Some of you will enter the teachers’ ranks. greatest number and used with the least preparation, know they can offer a large royalty because there will Be sure to study the situation well and locate your¬ or in ordinarily favorable environment, do the most be no royalty forthcoming. In most cases these firms self as wisely as possible, both as to place and good. What a teacher has done, and done success¬ have no outlet whatever for their productions. They the character of work that you take up. Some may fully, is much more valuable to a fellow-teacher than are not publishers in the true sense of the word, but choose college work. Improve yourself all the time in a picture of what would be very well to do if the have a room in some large office building, and the matter of general culture and scholarship, that circumstances were favorable. A few months of the simply get writers to send their worda to them which you may stand on equal ground with other teachers. teaching season remain. Try to fill the time with they set to music in a machine-like fashion, and then Others will .remain in the amateur ranks. Help your things done, and drop out of sight that nagging word, charge a large amount to get it out. All the writer professional friends all you can; hold up their hands gets is a few copies of very badly written and printed in ail undertakings for musical improvement in the music, and there the matter ends. ROSPERITY seems to be in the air, although community. Be the real amateur, the lover, of music, P If any of our patrons have music manuscripts we and be a worker as well. There are certain things warning voices are not wanting, telling us to prepare for the lean years that often follow the advise them to send to legitimate publishers. If the that can best come from one who is disinterested, pro¬ manuscript is rejected by several publishers, it is an fessionally and from a business point of view. What¬ fat. Put your house in order and be ready for the strain that may come, is the burden of the critics’ writ¬ indication that it should not be published at all. But ever you do, make up your mind to do something in no case pay for the publishing of your own manu¬ practical and helpful, musical service for your fellows. ings. No matter whether these previsions are well grounded, or will not be realized in the near future, scripts. If they are not worth paying for by a pub lisher, they are not worth publishing. DO something for music in your community, your the fact remains that it is well to lay by for a rainy school, youV college, even in your own circle. day. The improvident man or woman is usually so The Editor’s correspondence shows plainly because in the time of plenty no store is laid by for that teachers all over the United States, .in city, in the days when need may be present. bo me months ago we appealed to the musical pro¬ town, even in rural districts, are anxious to raise the The music teacher who gives forty, fifty or more fession for a contribution toward the Stephen Heller musical standard and to increase the range of musical lessons a week, and also has an income from choir Monument in Paris. We urged upon the profession activities. The best advice we can offer is to work work, should put in savings funds or safe investment with some other teacher, or with several, on a com¬ at least one-third of the weekly income. The season the interest that is taken in this monument by everv mon plan, with or without formal organization, but of teaching is hardly more than eight months of the country. Heller’s popularity in our own country should with a good understanding as to what each may do. year, leaving four when there is little or no income to call forth at least a fair contribution from the mem¬ Join your State Music Teachers’ Association, and also be gained by professional work. bers of the profession here. Our appeal a few months the National Association, and thus keep in touch with The question of vacation also figures. The teacher ago, the second we made, resulted in some contribu¬ all plans to promote the interests of music and the needs a change of scene and company, and is justified tions, but we were rather disappointed that more small musical profession. Other teachers and educators are in spending forty or fifty dollars in the endeavor to contributions were not sent in. There are a number at work and have somethin ' to offer; A teachers’ asso¬ put the body in vigorous condition for the next sea¬ of teachers and amateurs in various parts of the ciation forms a convenient exchange for ideas in addi¬ son’s work. Then, too, teachers frequently wish to use country who owe a great deal to Heller. The first tion to the stimulus from the knowledge that others a month or six weeks in study with some artist ?rti8tic feelinS haa come, in a large are working with you for the general good. teacher. All these expenses ought not to be under¬ measure through h» popular studies. Op. 45, 46 and We are prompted to these remarks by reading the taken until all bills for studio, music and personal and SireT* W rSt a h0Useh0ld word in America last report of the proceedings of the Music Teachers’ items are paid. The teacher who has no debts is free rime S v 8Caree'y a pupil who does not, at some National Association, including the papers read at the indeed. The way to keep free is to save a reasonable session. Every reader of The Etude who has at amount every week, t> that the idle summer season is cbaSgaricrcome undw >■—- heart a devotion to the cause of music should have a provided for. A significant feature of the present copy of this book and make himself roaster of the financial situation is that savings banks in various plans presented therein for the elevation of musical cities have raised the interest rate one-half per cent. work everywhere in this broad land. If, in addition The teacher who is not building up a reserve, even if to reading the book, he will put himself in touch with it be by small additions, is on the wrong tack. Turn the officers of the Association to be ready for such about and try the saving plan now while business con¬ work as he can do in his own city, he will be doing ditions are favorable. saSft.aSSsnrj his share, and what others may, of right, expect of him. Instead of less than a thousand names on the The real difference between the musical and the list of members, the number should run up into the non-musical is that the first in listening has his mind thousands, for there is strength and enthusiasm in full of musical ideas so that his consciousness is taken forwarding to the committee at PaH? /!'*"1.!. 'D ment will be made to each Wwj Acknowledge- r numbers. Work of great value to music education will up by thoughts on music even if the actual music per¬ he presented at the next meeting, in New York the leading musfdaM^^Pa^^^,aof°^"*>,,tor‘ A" formed does not claim all his attention, and that the among whom are; the c°mmittee, City. Thorough organization on several lines is under second has so very little musical subject-matter in his way, yet there is room for more in the work. Write 'to mind that he even cannot listen to music unless he nac! pio^rthVV116 C°nSe™-: A. Uavig- the President of the Association, Prof. Waldo S. Pratt, associates it with some other idea, unless, of course, 1’iternational Copyright secured Hartford, Conn., for information, and put yourself in the music so carries his mind away that all his mental Member of the Institute i^PwTiy J' tMaSS,enf’ Copyright 1907 by Theo.Presser- touch with the opportunities for work. faculties are concentrated.—Baughan, Conservatoire; A. Sehmill ' D,I^t0r of the Professor at the ConseSire 503"' ^ W,d0r’ La. 237 THE ETUDE A TSiE ETUDE * o%yy FINALE V" FINALE Etude Symphonique R. SCHUMANN, Op. 13 brillante m SECONDO Allegro M..«J-=66 m k £ Pv. • i ♦=T£r:R ^'>1, i -^==2 !r « /: r p Trf1 ■ f J-'-aP ah B * c 2 | ^' * 13 3 t ^ * % • ■ #4, 5 f 1 i 2 . . . 1 2^ :il

p -1. IIT—1 =m —r4=—kiUilH- 4— -L rT*T4f£Cf-’r mmi '.± • 1 * —

Copyright 1007 by Theo. Presser. THE ETUDE 239 238 THE ETUDE 240 THE ETUDE

SOUL OF THE NIGHT NOCTURNE HENRI WE 11

£.opyright 190.7 by Theo. Presser British Copyright secured, THE ETUDE 243

242 THE ETUDE

To Estrella Marina Bravo y Pme; ESTELLA WALTZ GUSTAVO A.QUIROS,Op.7,No.2

Moderato m.m. J= 160

Animat* 0 • f ; .. • 0 .0—

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Copyright 1906 by Theo.Presser-3 Uritish Copyright secured

d 245 THE ETUDE

244 the etude

HEART’S DESIRE HERZENSWUNSCH

SONG WITHOUT WORDS H. KAROLY, Op. 15 f I

I

Copyright 1907 by Theo. Presser 247 the etude 246 THE ETUDE

DANSE ORIENTALS Tempo giusto ERWIN' SCHNEIDER Allegro imnetuoso m.m.

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f

> 1—• 1 2 3 4 5 4 3 8 i a 3 4 3 1 5 3 *-^4 5 __ 5 c/ A A 4^5^ \ * A •'f* T 4 ^3 4^-

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Copyright 1907 by Theo.Presser British Copyright s«scur»d

d 248 THE ETUDE

LE CARILLON POLKA BRILLANTE

LEON-RINGUET, Op. 19 Allegretto non troppo.M. M. J=ti>6 251 THE ETUDE 250 THE ETUDE

OF COURSE SHE DIDN’T ENCORE SONG

WM. HENRY GARDNER GEORGE LOWELL TRACY

fill ^_

Moderato grazioso Oh, there nTI.K il-.-f—T----r [fTfckVi* J&ry 1? 4-4—rr • J J- .—F'J^nrr =b 3G± f-J*• J m -1 jV 7 t—L—g*«-~i— =1= ft— fi—i 4—tr-4— "—I -w-- ) ,nfrs -■US- i.g ...i< ff j „ K. .'.— ^Mt W-fr 1 P.r.p ^ f > > l; l J J I I I !• J i J J1 * I was a lit - tie mai - den, and her heart was hea - vy la - den, For a -

Copyright 1907 by Theo Pres British Copyright secured THE ETUDE 253 252 THE ETUDE

THE MOUNTAIN VOICE .

HERBERT J. WRIGHTSON HEINRICH HEINE

“Is there no rest then in the world for me? Is there no rest then in the Undist nur im Grabe die Ruhe .f Hr mich? Undist nur im Gra- be jhe^

world for me? Then the rest of the grave will be well? ‘Then the rest of the grave will be Ruhe fiir mich? So ist mir im Gra - be wohl uSo ist mir im Gra - be

weu. The. voice from thejnoun-tain fell The voice from themoun-tain fell The WohV' Die Stimm’ er md_- ert hohl, Die.Stimm? er wid- ert hohl

grave Will be well!’ “.The grave will be welll’i- Gra - be tvohl” lIm Gra be wohl!"—

4 THE ETUDE the etude 254

berceuse

G. KARGANOFF, Op. 22, No. 3

Copyright'1907 by Theo. Presser 257 THE ETUDE tone which shall be perfectly free from pressure All tone made with pressure is uncouth to a great® or lesser degree. By this you may know where tone loses unnecessary and injurious pressure, tone is unfelt. We deal with unconscious body. Lan OCAU you make any kind of tone you wish to use m song with unconsciousness of tone production? 1 > LPARJtt&NT you can sing. If not, there is something to live for. AGREEMENT IN VOCAL METHOD. The Vocal material In the present Issue ""as prepared by M T NTERESTING, indeed, is the fact that less of Frank H. Tubbs, of New York City. Mr. W. W. Gilchrist, of Phila¬ 1 controversy on vocal methods is known in tnese delphia, will be In charge of the May issue. days than formerly. Controversy never heips, a circular issued by that teacher would, perhaps, give although frank and honest search with opinions com¬ the secret of his work: “The highest privilege of the pared does good. Controversy made recrimination teacher is to vitalize and inspire the student wth the among vocal teachers a decade ago very general; to¬ THE SINGERS consciousness of his own powers and the determina¬ day the kindliest remarks are made by teachers, each tion to bring out the best of which he is capable. about the other. All this is good. Have we reached * * * The corner-stone of our work is a simple, a platform on which teachers unite? Probably not, God sent his singers upon earth direct means of rousing the mentality and vitalizing but we have perceived the honesty of intention and With songs of sadness and of Mirth, the work of the student. Inspire the best in every are willing to let those less enlightened than ourselves That they might touch the hearts of men, grow without cutting them down as cumberers of the And bring them back to heaven again. REMOVAL OF PRESSURES. ground. Of course, each considers himself in the highly enlightened class, but any man who has ar¬ T N an article on “Initial Tone,” in The Etude for rived at any conclusion and made for himself a prac¬ March, the present writer. pressed the thought JL tical working vocal system knows that he has come that to secure it all forms of pressure on the * * the great Master said, “I see out of a bank of dense ignorance. But that he has tone-producing organ, the larynx, from whatever “arrived” somewhere makes him worth something. No best in kind, but in degree; source they might come, must be removed, something Get from him what he has and improve on him if you more can be said.. Suppose initial tone is faulty I gave a various gift to each, can. Ask any vocal teacher what his vocal method must it not follow that all additional tone must be To charm, to strengthen, and to teach. is and he will explain it to you. It is his hobby and faulty? Thus a song sung with faulty tone must be no one, who has anything good, will withhold it from badly sung. Its general effect may be good and the the common fund. (One who refuses has nothing to “These are the three great chords of might. singer may receive praise for his song, but one who knows has the feeling, “Oh, if he only knew how to give.) And he whose ear is tuned aright On three points teachers agree. That tone must use his voice!” A popular teacher of the last gen¬ Will hear no discord in the three. eration had a group of singers who always pleased, be beautiful in quality, generous in amount, and that range shall be sufficiently extensive to cover the But the most perfect harmony.” and yet not one of them ever made a tone which would music written for the kind of voice. Now, there are answer the demands of modern vocal science. It was —H. W. Longfellow. demonstrated long before that teacher passed away just three things which gain all this. There is voice culture, simplified. Yet, within those three things is that his method was wrong, in spite of the pleasing a world of knowledge and a lifetime of persistent singing, because his pupils lasted so little time. They effort. The basic principles of voice culture are easy EDITORIAL TOPICS. were brilliant for a few years, but soon their voices were gone and they stopped singing. Of course, each breath control, free throat (open channel) and vi¬ nad his own reason for stopping and probably none bration, and the greatest of these is vibration. That BY FRANK H. TUBBS. of them would believe that bad vocal method was the is something which every vocal teacher seeks to get, and which every singer must get to be a satisfactory MENTAL DEVELOPMENT. cause—such was the hypnotic influence of taat teacher. But the real cause was that all tones were vocalist for public appearances. The secret of it is NE of the important benefits from the study of O made under pressure. A throat which could endure “make ample, nicely poised tone.” The way of voice is the mental development which assists the force put upon it and still exist could sing the getting it is what makes vocal method. Before tone the student in all study. Certainly, well and music. Naturally, continued wearing under pressure can be made ample it must have vibration, and before correctly directed vocal practice demands concentra¬ must bring deterioration. And all that could be it has vibration it must be nicely poised. Then, the tion of mind such as few other engagements require. spared by the simple device of removing pressures when first duty in our work of teaching is to “poise" the A student at school, who is having vocal training of voice. And that is one of the things few vocal the right kind, surpasses his fellows. At a college learning to make tones. When shall the teacher train the pupil to remove teachers can do for their pupils. which has a glee club (reference is made to a par¬ A pupil who had graduated, after a five years’ pressure? From the very first note which he makes ticular case), the singers are in advance of other course, from a college, and who had had finishing at the lesson. And keep at it until every tone can students. Concentration is the “slogan” of the day, lessons (?) from two noted teachers, came for lessons. “float on the breath.” Yes, indeed, it requires pa¬ and be who is expert is always in demand. In using tience on the part of both teacher and pupil. But She had never had the voice placed and knew no more music we are compelled to concentrate or our musical what is worth doing at all is worth doing well. And about voice culture and singing than a babe. Why? work fails. Now, if we analyze concentration we find no matter what time is used or how much patience is The organs used in singing did not adjust themselves in it will-power, directing force and determination. required, it pays. At this moment, in an adjoining to each other for doing concerted work. Mr. Edmund Nor are these all, for back of their use lies the knowl¬ room, a teacher has just begun a lesson. The first J. Myer, in his writings, uses the term “right ad¬ edge necessary for applying them. And that might tones, are they for preparing the voice? No. It is justment,” and it contains a treasury of worth. The lead into differentiation regarding the several depart¬ an aria. Beautiful music from the lovely collection pupil criticised above had breathing apparatus con¬ ments of work which go to make up vocal training. of sixteenth century growth, but the voice is not tracted, with very small compass and vibration cham¬ Teachers sometimes hesitate about receiving all making the artistic tone which belongs to that aria. bers abnormally enlarged. Result: Combination of pupils who apply for lessons. In their minds they That voice should be in the masterful control of the squeal and hoot, which could not by any concession classify applicants according to talent. Those who singer before it is applied to any music, and that answer the generally accepted conditions of good appear to have little talent they think they may not delicate art of the sixteenth century is especially ex¬ singing as given above. Amplifying the breathing, receive. But, why? In view of the immeasurable opening and freeing the throat and shaping to normal benefit obtained in vocal education and training why acting. Now, pupils will not do good and exacting practice conditions the vibratory department, soon made her classify pupils? Every one of them has talent- unless the teacher demands that at the lesson. There¬ voice a very different affair. And, in every ease, the some more than others, to be sur^-but each has in lies the responsibility of the teacher. An experi¬ first two of the requirements—breathing and free his own form of talent, enough for the beginning. ment tried by the present writer showed him that throat—must be gotten before vibration can come on Find that; discover the form in even the one least with all his care pupils were lax. He so arranged the voice nicely poised. It does require “right ad¬ talented, as the common view would have it, and that when he went out for a time he left a student justment” of all parts which enter into tone pro¬ grow that into what is possible, and you will have (and followed it up till he had tried a dozen) in the duction. done a beautiful work. If you could know the be¬ studio for practice. Then he took place just outside Vibration is first felt in the resonance chambers of ginnings of many prominent musicians you would learn the door and listened to see if his instruction was the mouth and face. At first, when it comes, it will that often they were told that they had no talent. being carried out. Not one did anywhere near as he be felt. Later, even that becomes an unconscious act. Riding in a stage coach in the country many years ought. The most important word of instruction which When it first comes the tone will be small. If there ago was a phrenologist. Opposite sat a lad The Mr. Shakespeare used to use was “No.” And he re¬ were time it would be interesting to enlarge on that man was discoursing on his favorite theme He re¬ peated it again and again until the pupil satisfied remark. Let it be impressed on every vocal teacher marked: “There is a boy who cannot whistle a tune. him. Many times the pupil thought he was doing that when pure tone is first obtained by each and He has no music in his make-up.” But to-day that all right, long before Mr. Shakespeare’s gleeful every pupil it will be small. This remark may boy, grown to be a man, is a teacher of music of “That’s it. That’s right,” came. This recalls that startle some teachers, but that only shows they need national reputation, who has written books on music one day when a pupil insisted that his tone was a startling. And if it is a new idea, think it out to a which will be quoted after you and I are gone. It good one before Mr. S. said it was (and the pupil was result. For it is truth. Pure tone, made with rightly is probable that the very training needed to make him rather obstinate) Mr. S. ordered him out of the room adjusted parts, will be small at first. But it will be a musician made him greater in all other lines of his and refused to give him another lesson. We must beautiful. Every note will be like a pearl, and a life work and, further, had some teacher acted on exact perfect work at the lesson in order to get any¬ scale a string of pearls. the phrenologist’s belief and refused him because his where near perfect work at the practice hour. And Then begins the work of “making ample, nicely talent was so obscured, we would have lost one of the the basis of perfect work is making correct sustained poised voice.” Do so by enlarging the circles of vi- cleverest thinkers in musical circles. To quote from 259 THE ETUDE the case is different; they must make rhythm a sub- THE ETUDE minds for two or three hundred years without being 258 of persons who are willing to divert the functions of modified beyond recognition, and I very much suspect those organs to something more artistic than that ^to^addftion'to Se'rhythmical variations of colora- where to use outbursts of expression and make effective that if we knew Poipora’s method as well as he did bration. A stone dropped into a quiet pool of water with which they are usually accredited, and pay the tJe passages previously climaxes. This is the very basis of musical education causes circles which extend outward, larger and larger, originator of the indigestible idea for showing them himself we should have to remodel it in order to fat tice to this end is the tapping of 'nt"cate rhy““S ° until stopped by obstruction. (If spent in distance and it is just such education which makes the singer m it to this age. This eternally digging up the past and a table or piano lid. This has the advantage of using sure of himself. Nor is one able to sing with confi¬ «« r^;,z nr z how. offering it to the public as superior to the present is they have met the obstruction of distance.) The il- contact TUcre mat Must Attract Attention.—An advertisement must the eye instead of the voice, thus sparing the singer dence without he is sure of himself—his voice, his questionable. It says on the face of it that we are lustration of the stone in the pool is valuable. Our not be written at haphazard. If the advertiser would the strain of repeating whole phrases, often in th music and his artistic delivery. No student should be ***** <«“' IT very pctniclona. degenerating, which is an unwarranted assumption. vibrations of pure tone are first felt, as said, in reso¬ practice of singio, ^ Q^.J inde[leudently of make the reader believe that he wants, needs and allowed to sing before any audience until he has this In going before the public one should avoid that follows: Tap the beats of nance chambers of mouth and face. Vowels, by The aspirate is f pr0i0nged whisper. must have that particular thing, he must follow cer¬ intellectual preparation. If one knows he can give which savors of supreme superiority. For example : themselves, vibrate pharynx and mouth. Consonants tain principles. The first of these is Attention. the measure regularly, at the same time recfating; the pleasure to his hearers he need not hesitate to sing, “Specialty made of prevention and cure of voice lai - vibrate those parts, the lips, face and nasal chambers. An advertisement is useless unless it is read. Con¬ text in a subdued speaking tone according to t lie gives to his audience the choicest of artistic gems, nets ?-5as ure” sounds a little like “Specialty made of restoring By cultivation one becomes able to command on all sequently it must attract attention the instant the eye of the melody. Mark well what syllables fall on ea h tone that what the consonants call into being shall be lie arouses highest emotion and ennobles the thought ratnZSTc"”^ P—. voices ruined by other teachers.” If I were looking separate beat; those coming between, being shoiter of all who hear him. This thought helps him master rests upon it. If it attracts the eye and holds the extended to and returned in all tone. Then tones are attention until it is read, the first step has been suc- for a teacher I would pass this one. value, will of themselves drop into P'ace enlarged into phrases, and words are applied. But stage fright and gives him confidence. Some advertisers carry modesty beyond the limit. If rhythm, the greatest initial difficulty, is con Physically, stage fright is a “case of nerves.” Some cessiully taken. This one- “A limited number of pupils accepted. all of that is in the realm of initial vibration. We ”iU, ,b. Lwt action “» * *5* Interest. Desire. Action.—If, in reading the ad¬ quered in this way the singer can learn the most exact- have not gotten to amplification of vibration. A years ago it was a fad of vocal training to relax all larynx and the connecting muscles. It will be seen, Between the lines it reads this way: “Now stop tins tog parts in a-few days with comparative ease, and parts of the body. We don’t hear much about that vertisement, the INTEREST is aroused the second singer who makes pure tone and has “right adjust¬ then that two of the three department. of voice step has been successfully taken. If the matter is rush and don’t crowd. I can’t take care of al save himself unnecessary wear and tear of voice. now, but it plays a useful part in securing self-pos¬ vou. Get in line and take your turn.” There is no ment” which permits nice vibration which can be culture are brought into direct use in the aspirate sufficiently attractive that it arouses the interest to session. Analyzed, relaxation is mental direction of record of the police having been called in to disperse carried into phrases with words is a pretty good and they are used in the delicate manner which best the point of DESIRE, then from the advertisers ON STYLE. singer and will be called satisfactory. But it is not physical condition. It may be a kind of self-hypnotism serves cultivation of the voice. standpoint things are progressing satisfactorily. The such crowds. . There is much to be said about style, but the men¬ satisfactory. The voice is generally worthless, com¬ but, if so, it is useful, for it is in the right direction. It is probable that pupils will not use the aspirate Such a card as the following would not, in my next step is ACTION, and the teacher should re¬ tion of one thing may enable the student to grasp wha mercially, but that is not the worst of it. The singer It is the denial of wrong assertion of physical parts. long enough to do any good. To get them to use it opinion, attract the most desirable class of students: Of course, stage fright is fear, and fear is of the ceive a call soon after. Many advertisements are is perhaps the most important phase of this branchof has failed to do all he can with his inherent powers. it is well to have them imagine they are placing tones dead from the beginning. They do not attract atten¬ “Vocal lessons. Physical culture a specialty. lower mind. That mind is what operates deleteriously Physical culture is all right, but somehow it does the art of singing. This is: Let there be economj When larger voice is desired most singers begin to on the various notes of the scale. The larynx tion. Many die at the second step. When they are apply physical force. Is not that true? Well, physi¬ on the body. Relaxation is commanding the lower changes its position for each note just as if singing. not fit with artistic interpretation of the song classics. in contrasts. , . _ . read they arouse no interest. Only a few stimulate By this is meant a certain prevision of the effect cal force will not amplify vibration. It will place ob¬ mind to cease its harmful effect on the body. I have Also, have them seek to lessen the amount of breath When I think of physical culture there rises before known singers, at the time they are preparing for interest to the point of desire, and of the number thus desired. For instance, if a piano or pianissimo pas¬ structions which stop vibration in the same way the used’ with each succeeding aspirate. me a man whose frame is heavily upholstered with public performances, to carry the principle of denial affected only a small percentage act. So it will be sage is to be made particularly prominent care must rings made by the stone in the pool are stopped by ob¬ At one time the present writer was so placed that muscular tissue, and who puts one through a s un so far as to say constantly: “I am not nervous,” and seen that of the whole number reading the advertise¬ be taken before it occurs to sing somewhat louder, 1 structions. Keep away all physical effort. Ampler audible vocal practice could not be engaged in. lie that requires a Turkish bath immediately afterward. to repeat it over and over again that they might wipe ment, only a fraction of one per cent, orders the goods. the same way the effect of a forte or a vibration must come from the mind and not from the did not stop practice but went through his exercises I recall distinctly, once during my college experience, out of thought the opposite belief, which is the fear If every reader of an advertisement should apply for greatly enhanced by decreasing the force of that whmh body. The body will respond to ampler mental de¬ in aspirates, using all exercises which he ordinarily standing in front of this man, and in an inconceivably in the lower mind. That form may be used, or any lessons no professional man could possibly take care precedes it. It is hardly necessary to add that m mands and produce ampler tone, but the cause of vocalized. The result was even better than when short space of time he knocked the buttons off my ampler tone lies in mind, and by its use must the other may be adopted which gets the effect, but such of the business. clothes and landed me in the opposite comer of the neither case should the singer’s intention be so marked singing. This led him to practice songs in whispers, Honest in Statement.—In offering his product to enlargement of the voice be acquired. That means mental command brings self-possession and that is the room. I think I did not sing so well the next day. as to be perceptible to the hearer. thinking the melody just as if singing. It was fully the public the teacher will do well to keep that same that the conception of the tone must be enlarged; foundation of confidence. Now, this principle of re¬ The following is guilty of a discrimination which Almost more important than contrast in tone is as good practice as any which he ever did and it is public in mind. There are some things it will not see it larger, hear it larger, believe it is larger, think it laxation, or driving from the mind the fear which ought to kill it: “School of singing for women, contrast in tempo. An unvarying tempo makes a very warmly endorsed. But, anyone will realize that stand for. He should be honest and not offer more into the various parts of the body larger, observe the causes lack of confidence, can be used so constantly artists and amateurs.” Refusing to admit women to mechanical impression; a change of movement that is unusual judgment must be exercised to gain the best than he can deliver. It is not difficult in reading an enlargement of the rings (those in the pool) as they as to keep one always, all the time, in a calm and the list of either artists or amateurs is too much like awkward or occurs abruptly without apparent justifi¬ from it. advertisement to tell whether the teacher is sincere go from throat, face and nasal chambers down over self-contained mind. It makes calmness a factor of saying “Ladies and gentlemen and tenors. This cation is undignified and inelegant. or whether he is angling for suckers. Catch phrases the body until they finally reach the whole body. Of living. It seems self-evident that one who cannot would not draw largely from the soprano and alto Tempo, too, requires modification according to the master his nerves cannot use the machinery with should be avoided. For example: Italian method has character of the voice. A strong, full voice is heard course, this implies removal of all obstructions. Rings HOW TO ADVERTISE. class. cannot enlarge if they run into stumps. Rigidity of which he sings properly. Nor can he be sure of him¬ been overworked to such an extent that whenever I to especial advantage in a slow tempo; the effect to see that embodied in a singing teacher’s advertise¬ How to Make Advertising Pay. any member stops the vibration at that member. It self when before the audience until he does master BY D. A. CLIPPINQER. the ear is much the same as that of the quicker move¬ may be in the neck and shoulders. It must be re¬ his wrong mind. ment I shy at it. I somehow feel that the teacher The real nature of advertising is oftentimes mis¬ ment, which is more appropriate to a lighter vocal is having a hard time making a living, and is trying moved as soon as discovered. If then it is found Then, experience. Some teachers, when their pupils How to market his product is the problem confront¬ understood. One places his card in a music journal organ. to get pupils by unfair means. I associate him in my lower, remove it. How many singers refrain from say “I am so nervous,” pass the matter off with “Oh, ing the musician no less than the manufacturer of and if business does not immediately begin to flow from you’ll get over that.” In a measure that is true. But mind with one who is obtaining money by question¬ having rigid limbs while singing? Nearly every one -who pianos. The piano maker has pianos to sell, the it he condemns the medium. Advertising will never GENERAL HINTS. it is almost brutal treatment. For a student to over-^ able methods. It is bad business from every stand¬ reads this will recall how stiffly he often stands. But vocal teacher has lessons to sell, and both must find make a good music teacher. It remains for the come nervousness by going through many fits of point. The class of persons of most value to the It will be found advantageous to preface long-sus¬ that rigidity is obstruction. Remove it by exercise of a purchaser. Each may have the best possible article teacher to prove by his work that what he says of nervousness appears brutal. But, when he is properly teacher does not believe in such nonsense, and by tained tones by the same tone sung staccato. This will. And when it is removed let tone flow (the of its kind, but if no one knows it the financial return himself is true. He himself must make his advertis¬ prepared in his training, all-round training, then his such trickery he is driving from him those who can prevents a heavy, spasmodic attack. circles enlarging) into the parts where it could not can be expressed by—X. The teacher may have a ing pay. His card is worth nothing until he does experience will enable him, if he studies his feeling do him most good. In offering his professional skill The habits of speaking at a high pitch and of shrill, go before. method that will remove all vocal defects along with something to prove it, and the more be does the with each appearance, to eliminate, step by step, what¬ to the public, one should not be too extravagant m tittering laughter are injurious to vocal development, And when tone can take complete possession of the original sin, while you wait, but before it can exert its more valuable it becomes. ever harasses him. That is the point. Eliminate by his estimate of his ability. To agree to do things vet these faults can be remedied at the cost of some whole body it will be generous enough for any pur¬ regenerating influence to material advantage, some I conclude, then, that if one has something worth recognizing what is wrong and cutting it out, every¬ no one has ever yet succeeded in doing is, to say the attention by slow, distinct speech and a determination pose. Is not that a reasonable theory? But it is not one must know about it and want it. Most persons while to offer, selects the right medium, states in an thing which annoys. That is, again, part of the least, doubtful advertising. For instance: When I honest, straightforward manner what he can do and to succeed. theory alone. It has been worked out in practical will agree, then, that what the teacher needs is pub¬ education of the singer. It is this kind of experience read of one who agrees to take .people anywhere be¬ then does it and keeps everlastingly doing it, he will A wilful change of vowels for the sake of conve¬ demonstration again and again. Theory which will licity, and the cry is constantly ringing in his ears, which tells, and not that unthinking kind which some tween the ages of three and sixty and give them the nience and a careless pronunciation of the consonants not work out is no good. Also, he who has demon¬ advertise. And he does. Not always wisely, perhaps, make his advertising pay. think lets the singer get over the nervousness. To voice of a Patti or Planqon, I think of dishonesty and result in an indistinctness of enunciation which is a strated the truth of a theory is the only one who hut in many cases continuously. knows the theory. Of course, very much more might sum it up: Know yourself—what you are to do, and quackery. Of course, only the weak-minded, bird- particular fault to the modern declamatory style of Advertising has become a fine art. Sometimes the be said on the matter of vibration, for it really in¬ how to do it perfectly; master your mind, which con¬ witted portion of the public will be caught by such a APHORISMS ON THE ART OF SINGING. writing for the voice. Only in the highest register, art in preparing the copy exceeds that of the product cludes the whole of voice culture. Singing is another trols your body; grow into perfect confidence through snare, but to take advantage of such unfortunates is where tonal effect is all that is required, may the offered. However, this is a matter of individual opin¬ matter. Yet there is use of things of singing—like studious experience. ON STUDY. singer be allowed a modification of vowels. In such ion. Schools whose business it is to train young men unprofessional. phrasing, use of words, agility, embellishments, etc.— “EYES” AND “ICE.” Specializing.—Another mistake the advertiser cases the sharpest possible delivery of the consonants and women to write irresistible advertisements have In order to learn a new and difficult work with sur¬ in all voice culture. The latter is a science and sing¬ SINGER used a song in which the word “eyes” should avoid is that of offering to teach everything in is often of great assistance. A sprung up like mushrooms in the past few years, prising rapidity study it in small sections. The harder ing an art, but the two blend. They are inseparable occurred several times, but always pronounced the curriculum. In these days of specialists the man As an aid in avoiding an uncertain attack a gentle, but I doubt if they have profited much from the the task the smaller these should be. companions, at least, and they twine their arms it “ice.” Now, it is not nice for one to sing who does one thing well has his hands reasonably full. unconstrained sinking of the head may be recom¬ musical fraternity. A cardinal fault with many students is the prac¬ around each other in all their walks. However brilliant and accomplished one may be to a song to “My lady’s eyes” and speak of them as ticing of a work in too large divisions, or as a whole. mended. The Medium,.—The thing first to be considered in offer himself as teacher of piano, organ, composition, “ice.” What caused the change? In the case of By taking small, even minute, portions for separate SELF-CONFIDENCE. advertising is the medium. The publication must singing, violin, mandolin and guitar, is laying himself HE public singer appears self-possessed and com¬ “eyes” vocal tone is being made in the larynx while study all details are impressed on the mind with such STOCKHAUSEN AND THE WAGNER STYLE T reach the class of persons interested in the particular liable to serious misunderstanding at least. fortable. The student, making his first appear¬ the consonant is being formed in the mouth; in “ice” clearness and sharpness that the memory retains them IN SONG. thing the teacher has to offer. The paper which cir¬ Clearness.—The advertisement should not be mysti¬ ance, is generally nervous. Some quite lose pos¬ the consonant is formed, but no vocal tone is sus¬ with a faithfulness impossible to secure by the un¬ culates most largely among musical students would fying or of doubtful interpretation. The following Stockhausen recently said to a German correspond¬ session of their directing force and are overcome by tained. Discontinuance of the vocal tone demon¬ fortunately more common but slipshod and wasteful strates tightness of throat and wrong vocal method. naturally be the best medium for the music teacher. always affect me in the opposite way from that de¬ ent: He who speaks of Sprachgesang (declamation) “stage fright.” How may one gain self-possession and method of practicing in large sections. If it does not reach the student class it is practically sired by the advertiser: “Voice training according to makes a false assertion; one must be able to sing in quickly appear as does the artist? There are some If' tone stops for so short a time as a fraction of a But after this preliminary preparation has been worthless. It goes without saying that a great deal physiological principles,” “Interpretation according to just as finished a manner for Wagner as for the Ital¬ singers who, in spite of all appearances, are never at second pure legato is lost and, by just that much, the thoroughly carried out the work must be practiced as of money is wasted by a lack of discrimination in musico-declamatory principles!” And this one. ian masters. That the Wagnerian style (as they say) ease, but they have so mastered appearance that no singing is faulty. An old writer said, “He who speaks a unit from beginning to end. Details requiring atten¬ selecting the medium. “Voice training through physiologico-phonetic meth¬ uses up the voice early is not the fault of Wagner but one discovers the nervousness. But, can one not con¬ well sings well,” but how few of us realize all the tion should be passed over for consideration later; it is Preparing the Copy.-The next step is preparing ods.” They always suggest to me something like of the method, of the belief that persons with a gift trol himself so as to be truly comfortable as well as to remark implies. Perfect word production gives per¬ fatal to accustom oneself to repeated interruptions for the copy. There is more psychology in writing an electro-magnetic baths, located on a side street and for song, a voice of wide range and a noble figure, can appear so? Yes. The case is one of perfectly know¬ fect tone production. That assertion is not too strong. the sake of improving detached passages in the course advertisement than the average individual suspects. necessarily sing Wagner. That is not so. With Wag¬ ing what to do and how to do it, and then to do it And it is by analyzing the differences between such which smell like a laundry. of anything that calls for continuity. Such a habit In several universities with which I happen to have ner one must first of all leam to speak and afterward so often that to do it well and right becomes “second words as “ice” and “eyes” that we arrive at causes exercises a most unfortunate influence on its public some acquaintance, the classes in psychology have Selected Sentences from Advertisements. to sing, then only will one become a Wagnerian sing¬ nature.” To know what to do and how to do it. of incorrect tone production, and by removing the made a serious study of the construction of advertise- The following possesses sufficient mystery to make it performance. er in the Wagnerian sense. Not because Wagner de¬ “There’s the rub.” How many students know—really error where it is caused then we improve the voice. ments in order to discover the principles involved. attractive: “Lessons in the traditional school of mands great power and tone does the voice quickly know—how to sing? Very few. They ,are not, as a A complete vocal method could be devised on that singing.” This gives the teacher an opportunity to become used up, but because most Wagnerian singers rule, trained to know how they sing—they are only one remark of the “old writer” if one chose to follow l ,w ‘nS PfS is a trite Si*r!n*- ^ is safe ON RHYTHM. do or say anything he likes without fear of contra¬ just because they have not learned to speak—(enun¬ trained to sing. it back into its center, and then radiate outward from *°J?y.th ? “arket Can be created for almost anv A fine style, distinguished and unexaggerated in its product, good or bad. if the right kind of an adver¬ diction. What is the traditional school of singing. To know how to sing permits one to know before that center to all points affected. characteristics, depe- ds upon a clearly defined rhyth¬ ciate), overtax themselves both in voice and articula¬ tisement is placed with the right medium. I have No one knows, and every one knows he doesn’t know. he utters a sound just how that sound will come. He THE ASPIRATE. mical outline. Rhythmical temperament is far more tion. On that account we have no longer any Mozart When any one speaks of the traditional school of knows just what he will do with any phrase of-a song. ECENTLY the question was asked: Has the warmtlTthat th°° WR°h advanced considerable rare than musical temperament. With instrumental¬ singers, because after a year’s study the young people R singing he wishes us to understand that thereby is He knows just the meaning he will convey. He “Aspirate” any place in voice culture? If so, v^oT Ll V esTop,llaffUS and stoma<* are the only ists, especially orchestral players, training makes up believe they can sing and speak. That means a decline vocal resonators. I have no doubt if this were suf¬ meant the old Italian. Every one knows that no knows the relation of phrases in his song; preparatory why and how? It certainly has. As the ex¬ for natural weakness in this respect, but with singers of the art of singing. ficiently advertised it would not only sell the book method of voice culture can filter through human phrases and contrasts; where to spare his force and planation, to be of value, must be freed from com- ut also create for its author a profitable following 261 THE ETUDE

260 THE ETUDE The selection of music to Liszt when Mason played it to him. It is called ting that terrible backache which follows pedal prac- “Amitie pour Amitie.” The first phrase is a duet h , ..Von in on the seat and has THE MOOD play for opening, offertory for soprano and tenor (Oboe soprano and Double FROM CHURCH e it this way or that. OF THE and closing is a very difficult o lift the whole leg t< VOLUNTARIES. question; particularly so in Flute, 8-foot, for tenor) with the Dulciana set on the PROGRAMS Eugene Thayer’s exercises for pedals alone a small cities with organs none Choir, if you have one, for later use. Soft pedal ful; and she should at once start in with Bucks too complete. It must be confessed that there is a staccato. The second phrase I play as solo, with Dul¬ ORGAN MUSIC “Pedal Studies,” beginning with No. 3, and working great deal of extremely superficial music arranged for ciana accompaniment. Third phrase as before, fourth at it until it goes pretty well; then the last one in organ, music which has no inner right to be heard in like second. In repeating, take in place of the Double the book; then No. 1, and then No. 5, and so on m church service. And yet, what are we to do? Flute the Great Organ Flute of 4-foot, which brings f]HOIR^ any order she likes. I think a certain command ot A church treasurer used to tell me that the “con¬ the voices close together. Also change the Oboe for W'DC*?rK YT^ftAND' the pedal board is obtained in a shorter time by this tribution box” piece made several dollars difference the Open Diapason in the Swell; it is even better. H' “’c^ntral^PresbylerkfrT'churchrNev^r’k, N. J. H- MV.D.UNHAMt Prccessional.^ way than in any other I have tried or seen tried. in the collection; when he did not like it he con¬ Among the old-fashioned bits by English organists While she is acquiring her organ seat and indepen¬ sidered the collection to be “shy” from five to ten I still would cling to the March from Costa’s oratorio dent pedal, she must confine her practice, mainly, to of “Eli.** It is a right good organ march; and the The ORGAN DEPARTMENT in this issue was preplared by Mr. W. S. B. Mathews, of Chicago! dollars; and when he did like it he always mentally the Great Organ manual, and to music which makes Trio is a very charming melody. So also the Minuet ill be in charge of the issue for May. credited me with the like amount for having made a Mr. Wm. Horatio Clarke, of Reading, Mass., w from Handel’s “Joshua” is a good bit. Many of pedal demands. lucky selection. This piece should be short, just long Wm. C. Carl, New 1 For pedal exercises I advise triplet forms like those enough, rather gentle and tender. When the congre¬ Handel’s choruses make good voluntaries at times; ARTHUR FOOTE. Past but in place of one of the modem accompaniments, Clifford Demarest, B ooklyn,N After so many years’ writ- wonderful. They tried him by concealing the pedal in Plaidy's technics (do-re-mi, re-mi-fa, mi-fa-sol, gation is being denuded of that which the minister ARTHUR FOOTE. Fest..=. -—- take the old one by Novello, which practically gives J. Hermann Loud, Brookline, Mass. THB PERSONAL ing for The Etude, as a piano board with a sheet, and were astonished to find that etc.), all the way up the scale and all the way down rightfully speaks of as their “substance,” pretty ' you the whole chorus in place of merely the accom¬ ARTHUR FOOTE.^Nocturne.^ EQUATION. teacher, for me to begin all he hit the keys just as surely. reversed; also all scales and all triad arpeggios, music is ah anesthetic of prime importance. paniment to the voice parts, as Best gives you. over again, for this occasion The strangest thing in pedal practice I ever knew played with alternate feet. Later, two notes with In the so-called “evangelical” churches we have There are a lot of short songs by Schubert, Franz, ART4,S?Sie' Ne??-o£:N. Y only, as organist, certainly gives me reason to pause. about was Clarence Eddy’s work in Berlin under each foot. The trick of toeing and heeling up an ar¬ gotten over a great deal of the old type of solemnity; and even Brahms, which by a little practice the or¬ -Let it be understood, then, that although a great part Haupt. Eddy ordered a pedal piano upon his arrival we come before the Lord, not only with joyful singing Schmidt’s Standard Organ Collection. 33 peggio is a very useful thing to have around. ganist can play from the piano copy—first consulting of my public musical career has been with Various in Berlin, but it could not be delivered for six months. Fugue playing will not come immediately. It and a mirthful noise, but occasionally almost with a Compositions $1.50. Specially Adapted for the Buck for advice on choir. accompaniment. studies relating to the pianoforte and to the art of So he practiced upon an ordinary piano and tramped makes too great demands upon the mental equipment. grin. And yet we agree that the idea of the church Church Service. out the pedal part with his feet on the bare floor. is always that of meditation, worship, and a culture teaching the same, nevertheless for upwards of forty- But if the young woman, after beginning to get Among the later publica- Send for List of Contents Prom this practice upon a Bach fugue or Men¬ of those moods and aspirations out of which the five years a rather important part of my livelihood handy upon the pedal board, will take up a fugue not OTHER REPERTORY tions I notice a book of or- delssohn sonata he went up to the church at his les¬ ideal becomes visible, realizable. And so it is the or¬ Arthur P. Schmidt came from my work as organist. During the last too difficult, and memorize a division of it, she will SUGGESTIONS FOR gan music by Jas. H. .BOSTON LEIPZIG NEW YORK. _ son hour and recited it upon the organ. This would ganist’s duty to feel this mood himself; and above all 136 Fifth Ave. twenty-five years of this period, closing in 1893, I then soon learn to play it comfortably. To give an AN ORGANIST. Rogers, in which there is 120 Boylston St. played the same organ, a beautiful-toned, three-manual not have worked, however, with any student who had idea how long it takes to learn one of the great to embody it in every part of the music. It is always an open question whether an organist a very attractive arrange¬ organ by Hook & Hastings. It had the now dis¬ not a close natural sense of location—in other words, Bach fugues, such as we often hear, Eugene Thayer does better to magnify his office and blaze away after ment of Walther’s “Prize Song” from Wagner’s placed pneumatic lever and a magnificent body of six¬ a pedal-board instinct. Any young organist will dis¬ told me that he worked a year on the large Bach G the benediction with a Bach fugue, with full organ. “Mastersingers.” The same book contains the March teen and eight-foot diapason tone, and an appointment cover by trial that a few hours of careful work at minor before he could play it, and then he broke I doubt. Many Handel choruses make good volun¬ from the “Mastersingers,” Prelude to “Lohengrin, The Latest Success of about thirty-six sounding stops. During nearly the piano will do most of the technic, provided she will down the first time. I mentioned this to Dudley think the pedal and go through the motions strictly. taries, because Handel had moments of what somebody etc. It is handy to have around. * all these twenty-five years we had a chorus choir, my Buck, and he said that he thought that be himself The voluminous set called “Arrangements from the The mental conception is the first thing to get, and spoke of in the table talk of Samuel Taylor Coleridge duty being simply that of organ accompaniment, with had worked longer tnan a year on it; but, he added, Scores of Great Masters” by the late W. T. Best, con¬ when this is vivid enough the feet will do the rest. as “moments of the blest and intelligible.” A Bach my solo “efforts” at the strategic parts of the service. it went when he tried to do it in public. But when tains many extremely valuable numbers for repertory. Church Hymns and Tunes So much from the side of history. The personal As soon as the young woman gets over her first fugue, if really well played, played for all it is wortn, you get two or three good fugues so they will fairly as Guilmant plays it, and as I suppose Cesar Franck In No. 72, there is a little March by Fritz Spindler, equation in this instance is the desire to help some troubles concerning the proper stop to stop with at go, the others will come more easily. The superior arranged into an admirable semi-orchestral organ the proper time, and the whereabouts of a few im¬ used to play them, Dudley Buck at times. S. P. War¬ organist knowing less than I do. clearness and elasticity of Guilmant’s playing of a piece, and practicable upon any two-manual organ. portant pedal keys, she is ready for tasks which will ren now and then, to do it well, is worth doing; and Bach fugue are due to his clear tbinking and his ex¬ The first piece in this book, however, while very beau¬ It happens that in working test her natural suavity more severely. These will I do not think a congregation minds it now and then. Send 375 “Church Hymns and Tunes.” cellent technic. His main superiority is his mentality tiful, is also very difficult. It is the “Adagio” from Dane Street Church, Beverly, Mass. THE YOUNG off along the line of least re- come when she stocks up with a lot of first-class vol¬ Whatever of expert organ music the organist ven¬ for the organ. Beethoven’s Trio in C minor, opus 3; No. 43 has an LADY ORGANIST, sistance the affections of con- untaries, registered for a three-manuel organ of good tures in the closing voluntary, will be most of it lost; Send 200 “ Church Hymns and Tunes.” Let the young woman understand that I admit but here and there a listener will remain to the end Adagio from Haydn’s 4th symphony, also two move¬ First Congregational Church, Rockford, III. “BY THE GRACE gregations are often placed appointment, and tries to play the music on two ments from Bach sonatas for piano and violin—ex¬ OP GOD.” upon attractive young lady manuals, scantily appointed; or even upon one, as there may be many other and better ways of getting and will find themselves repaid. Send 300 “Church Hymns and Tunes.” at what she lacks, a knack of the organ; but the way The two halucinations which the- American organist cellent practice; No. 5 has the Beethoven “Larghetto” First Presbyterian Church, Penn Yan, N. Y. players, who are organists “by sometimes happens. Here she will discover that her from 2d symphony and the Handel chorus, “Let Their the grace of God,” as we might say, rather than from only friend is that industrious master, Mr. Dudley above is certainly useful and not difficult, and she has most suffered from are these: (1) That Very re¬ Send 400 “ Church Hymns and Tunes.” can manage it herself quite well, if she dares. ligious music goes with one leg; and, (2) always with Celestial Concerts all Unite”—a very strong piece. Washington St. Baptist Church, Lynn, Mass. real instruction in the art and avocation. If I were Buck, who, in the book I have mentioned, discusses Among the difficult but profitable selections there a girl, unexpectedly promoted to this position of re¬ precisely the modifications constantly needed. a tremolo. With pump handle obligato. Send 400 “ Church Hymns and Tunes.” is, by the late Frederic Archer, an arrangement of Broadway Congregational Church, sponsibility, and unable to go away from home to In the same valuable friend in need she will find the Beethoven “Andante Favori” in F, the one writ¬ Norwich, Conn. take lessons properly (as many of them are not), I directions how to compromise between playing her We seem to have quite ten for the “Waldstein” sonata. It is very pretty but would instantly set . about forming for myself a valid hymns in a good rhythm and not disconnecting the THE SELF-PLAYER before any long time every IN ORGANS OF two-manual organ will be A FEW PLEASING passed out of the stage where by no means easy. No. 57 in Best’s collection is also Sample Copy Submitted on Request organ technic; that is to say, I would try to work chords, as one does on the piano. As to the pedals ADDITIONS TO the empty Batiste composi- a good one. It contains Handel’s Overture to “Esther” TWO MANUALS bought with a self-playing up some pedal practice, teach my left hand to cease in her hymns, I advise either staccato or semi-stac¬ THE ORGANIST’S tions appeal; we are now and the “Andante” from Mozart’s 5th Quintet, a AND OYER. mechanism inside. A good meddling with the bass voice unadvisedly, and learn cato. The continual growling on very low pedals is REPERTORY. mostly buying our organ charming cantabile movement. Another number (No. A. S. BARNES & CO. one opens to the young or¬ the possibilities of my instrument in the line of reg¬ unpleasant to hear and very discouraging to the music “made in Germany* 22) contains the “Variations” from Beethoven’s Sep¬ NEW YORK CITY ganist the entire repertory of the instrument, to 11 East 24th Street, istration and the use of the organ for accompanying. rhythm. Either play the low bass pedals staccato, or and England. But any organist who has not already tet. It also contains the Overture to Handel’s “Oc¬ whatever extent and completeness the operator is Owing to the curious neglect of ear-experience in if the hymn is capable of a good solid rhythm, play made use of them will find the Batiste arrangements casional Oratorio,” which sounds a great deal more music study, our girls do have curious misapprehen¬ a half pulse motion in broken octaves, with the pedals. clever enough to administer it. One of these instru¬ of fragments from Beethoven’s 1st symphony, 5th difficult than it is. sions regarding tone-qualities. For instance, I once This will often keep a congregation up when no ments is now supplied with a most valuable bluff symphony (the Andante), and 6th and 7th sym¬ HUTCHINGS'jj happened to be giving a lesson to a very smart girl, manual trick will at all do. towards something which previously had been sought phonies extremely available upon even a quite small who seemed to me to have taken what I had told her It is not of the slightest use to try to hurry up the in vain. There are two levers before the player, like organ of two manuals. If the player has a musical with soulful appreciation, in respect to the four kinds rhythm with manual chords; only the pedal staccato the tempo lever on the Pianola, and they slide at friend who tells her that these things are too frag¬ S-VOTEY?/ of organ tone—in other words, the color of the tones. is of any use at all; and one needs to know how to pleasure entirely across the music sheet. Whatever mentary, and that she ought to play Beethoven in a Just when her guesses had been most promising, I do this. Above all, you must have confidence in your perforations fall between these two levers come out ORGAN CO. more complete way if she plays him at all, why then HIGH GRADE I drew the Great Organ “Trumpet,” a very large own metronome. At the same time, this is to ad¬ as solo. Thus it is easy to bring out a voice any¬ she is at liberty to fall back on the arrangements of § “Trumpet” with a tone according, and asked what mit that it is impossible to keep a large congrega¬ where in the compass by simply following the holes the same by Best. But Best had enormous technic, § PIPE ORGANS | ? PNEUMATIC-ELECTRIC Y LaN she supposed it was. She hesitated a moment and tion up to time in any of the usual old tunes; the in the roll. One may miss now and then and bring and his arrangements are as much too long and too blandly answered that she thought it was a flute! large congregation swings more slowly. out a chord note, but the knack is not difficult. elaborate as Batiste’s were too fragmentary. Still ^BOSTON NEW YORK ffffl PITTSBURG CHICAGO fl Very good musicians find themselves “presiding at The only time I think I ever heard any considerable Owing to the relative unimportance of what is Best’s arrangement of the si iw movement of Bee¬ Send for Booklet IT 11111111 the organ” sometimes without knowing the trick of number of singers sing together elastically and called “touch” on the organ—that is, its absolute dis¬ thoven’s second symphony is a beautiful addition and “presiding” presidingly. So the first thing to learn rhythmically, without in the least dragging, was in a connection from dynamic quality of the tone—the can be cut to available length. is the names of the stops and the sound that goes Tonic Sol Fa celebration in the Sydenham Crystal self-player plays as well as any organist can if only As a standby for keeping up her pedal technic, I with the names, for an organist who does not know Palace, when a chorus of about 2,700 sang some of the roll is perfectly cut. think she will get a good deal of satisfaction out of Church Organs his stops by sound, whether alone or in twos or threes, the Handel choruses with wonderful elasticity. They Geo. W. Morgan’s arrangement of Handel’s Har¬ LATEST IMPROVEMENTS cannot expect to do intelligent work in accompanying. had the rhythm inside themselves. JL?*? tbftt bef°re loPS something will be done in monious Blacksmith.” He puts it in D major, and BOSTON NEW YORK PHILADELPHIA The easiest place for the young woman to get up Perhaps I ought to condescend to more careful par¬ suftl rnr 68 Ir “on the or^aa the artistic re- the running work is excellent pedal practice. Then CHICAGO LOUISVILLE ST. LOUIS this part of her equipment will be from Dudley ticulars as to her first steps, for the benefit of the “SLo.”eS-P°r g tOth0Seof self-player called the for times of church concert, Buck’s arrangements of Mignon in Germany, a player which has rolls ex- Buck’s “Art of Choir Accompaniment”—a book which young woman condemned for a time to pose as organ¬ certain overtures are very useful. Main Office & Works Mass. contains just exactly that previously unwritten ist without having been qualified. The first thing is allThe n aned/°r D’Albert’ Carrefio’ Pu«“° and Among the “Huyler” elements of her repertory she Hook knowledge of the organist’s profession, which all the to get the proper seat, which will be at that place goes on whhlS6W When PUt int0 the instrument ought on no account to miss Buck’s “At Evening, a ASTINGS CO. good ones know and use every hour they play, and along the bench where she will be precisely in front light wirll Bny ass,stance (except the electric charming little organ nocturne. Apropos to the pedal Fair Prices.Established 1827.All Sizes none of the new ones know at all, or can learn in any of D next above middle 0. As she will be probably I on in Ml it t CU1'ren‘) t0 rePro our companiment. That unison music can be thoroughly him I had seen in the print shops, I pictured Paganini unquestionably so correct as to afford a safe and sure a profession, he or she would find these rich and OF SCALES. readers to scale work, b ilie criterion of accuracy or error? I should like to en¬ effective, however, is shown by the impressive beauty RECREATIONS FOR VIOLIN AHP PIANO growing towns a splendid and remunerative field. a tall, meagre man, with a nose of immoderate dimen¬ subject is, to us, at least, of the Scotch folk melodies. Hucbald invented another sions, and long, thick hair failling over his shoulders tirely free them from such arrogance as would lead There is not a single good violin teacher in all these such a vital one that we cannot resist askir ill system of notation by drawing a number of lines and in true Irving-like luxuriance. My introduction, how¬ them to make such a claim. On examination, it may parts outside of Denver, and there are many young serious students to read the following article, 1 Mr. using the spaces to represent the scale-tones. Each ever, dissipated the creation my imagination had be found that their sentiments, to say nothing more In the First Position people glad to pay for instruction.” syllable was then written in the space where it should formed, and showed me Paganini a middle-sized, en¬ William Henley, in his book on “The Violin of them, are far too indeterminate to be used as a From our personal knowledge of musical conditions be sung. Over a century later the famous Guido of F. A. FRANKLIN, Opus 40. feebled old man, Quixotic in appearance, with dark “I think,” says Mr. Henley, “that I am o the standard. All the difficult and classical concertos in the far West we should say that our corre¬ Arezzo employed lines, as well as spaces, thus convert¬ 6356 1, Off for the Front. March. Grade II. .50 brown hair, certainly of very unusual length, thin whole correct when I say that the. practice of scales can only be performed by players possessing a fine spondent’s statements do not exaggerate the facts; ing Hucbald’s second system into a staff. It was 6357 2. Summer Night. Waltz. Grade 11. - .50 and slightly curling, and a nose perfectly ‘in keeping.’ is very much neglected and even forgotten by ■ >me. technic. The artist is of no use without it. Adhere and what he has to say on this subject should prove this Guido who first used syllables to represent the 6358 3. Swing Song. Grade 11..40 “Paganini has evidently once been a handsome man. “This neglect arises from various and obviou rea¬ strictly to the cultivation of technic. I can refer to interesting reading to young teachers. tones of the scale. These he took from the Hymn to 6359 4. Meadow Queen. Schottische. Grade II .50 To the compliment which superior talent claims from sons. The attention of writers on violin plnyn lias violinists of the first rank in both the classical and 6360 5. In Mischief. Polka. Grade 11 - - .50 The young teacher, as a rule, longs to settle in New the brilliant schools of playing who hold the same St. John, whose lines began with notes ascending in strangers on introduction, he politely, but briefly, ex¬ never been directed enough on this subject. Th have regular order, and with the syllables: Ut, Re, Mi, Fa, york—a laudable but mistaken ambition. It is easy pressed his acknowledgments. That ceremony finished, views as I maintain. I do not wish anybody to con¬ 0.6356 OFF FOR-THE FRONT chiefly confined themselves to facts on matters which Sol, La. to understand that the musical activity of a large city a promenade in the garden, prior to dinner, was pro¬ fine themselves in their practice too much to scales, like New York should prove irresistible to most ear¬ teachers only can properly impart by practical lus¬ Having the staff, it became necessary for musicians posed. Paganini, who bore all the appearances of ex¬ trations. I do not attach blame to any one indii ual. I only say they must be the basis of playing. nest young musicians, and that the thought of settling “It is as obvious as it is undeniable that all wise to fix upon notes of definite length. This was done treme languor and exhaustion (although I understood It has become a fashion of late to write para-i-iplus in some small Western town must seem to them too and solid teaching embraces both sides, and conse¬ by Franco of Cologne, soon after Guido’s death, al¬ he had not taken any exercise that morning), alone in strings or series of detached propositions. ■ out hard, if not actually intolerable. But they little know quently they must be blended together according to though the English monk, Walter Odington, must remained indoors, and, huddling himself up in a comer subjoining a continued argument or regular d: na¬ in their inexperience what it means to get a footing their mutual relations. The abuse of any one branch probably be credited with the invention also. The of the sofa, was, on my entering the room shortly tion to any of them. From the imperfections 1 >n' in this great unsympathetic and congested city; and of study, and the omission or comparative disregard names of these notes are still seen to-day in the terms afterwards, enjoying a comfortable nap. nature we are always liable to pervert some i u: i as breve and semibreve, which the English apply to dou¬ could they realize how few among the unknown new¬ “At this time I had a favorable opportunity to ob¬ of others, must destroy one’s performance as a whole in one way or another; to go to this or that ex: i-me: ble and single whole notes. The word brevis means comers eventually succeed, and that, of these, the serve his countenance, which, in my idea, had not that and tend to diminish its influence. We can only ex¬ greater number succeed only to the extent of earning to confine our attention too much to particu! i for short, but the shortest notes of the early system were decided stamp of the mens divina I expected to have pect the fulness of technic to be put forth in the full which we may happen to have a strong predii. on. equivalent to our longest ones. With the development a bare living; could they realize that a fair success witnessed; he presented the appearance of the cadaver development of tone; thus defect in one must have a in New York means years of anxiety and privation; Some acknowledge nothing but classical playir. and of accidentals from the old signs for low and high B, of an emaciated being; an appearance which was tendency to produce a corresponding defect in the they would gladly turn their efes westward and seek others only technic and brilliant playing. T1 are and the invention of the bar-line shortly before 1600, much heightened by his want of teeth (he having had some small town where their services, so much needed, the antipodes to each other. An impartial person w ill , musical notation became much as it is at present. fejaFT 1 ■> 1 hH 1 .1 1 l-a 1 II M53 the whole of them extracted a short time previously readily discover the error of both sides, and " ill would be suitably rewarded. at Dover), and by the tuft of hair he suffers to grow justly conclude that tone and interpretation not EUROPEAN MUSICAL TOPICS. The fiftieth birthday of Wilhelm Kienzl, the noted The mistake which most young teachers make under his lower lip. His dress was an old-fashioned the only things in violin playing, for there m be Austrian composer, has been the occasion of many f when they come to New York too often proves fatal. suit of black, which hung loosely about his spare execution; and execution is not the only thi'n' for BY ARTHUR ELSON. tributes to him in the musical magazines. Studying Experience alone teaches them that it- is an all but figure; the red riband, which designates the rank of there must be tone and intelligence. Scales a with Liszt at Weimar, he served his musical appren¬ useless struggle. The opportunity to contribute to the Chevalier, was appended to the buttonhole of his coat, real existence in violin technic, purely mecliai I A learned article on Boethius and the Roman let¬ ticeship as theatre director in Amsterdam, Crefeld, musical life and activities of New York is generally and the short Continental cut of his flapping trousers and fullness of effect of piecescasUn muchJLarge/moulds. ^As indicated by denied them; and as for earning a living within a admit, but necessary. Tone has also a real exist, nee. ter notation, in the Journal of the International Mu¬ Hamburg, and Munich. At one time symphonic con¬ added to the general eccentricity of his. appearance. sical Society, brings to mind the fact that our present ductor, in Graz, he later made that city his home, de¬ reasonable time after taking up a residence in the It was not till we sat down to dinner that I observed Both are necessary. It follows, therefore, that r > be great metropolis, why that would be a remarkable, if a good and sound violinist our attention must be di¬ notation, crude as it is, is still an immense advance voting himself to music as critic and composer. THE0. PRESSER, 1712 Chestnut St., PHILA., PA. the unusual length of his fingers, and the. peculiarity Kienzl has written several operas, among them not a stupendous, achievement. rected to both; since the connection between them over that possessed by the ancients. The Greek sys¬ of the thumb of the left hand bending backward as “Urvasi,” on an oriental subject, “Heilmar der Narr,” Our statements refer, of course, to the young or un¬ is such that unless both are duly regarded, neither of tem, which was afterward- adapted in large part by well as forward; his hands resembled those of an with a magic plot, and the comedy “Don Quixote.” known teacher, who has neither a well-filled purse nor them is regarded rightly. the Romans, was made up of letters taken from the invalid, and his whole frame indicated considerable alphabet, an idea that has survived to the present. But he is best known by his “Evangelimann,” a work influential New York friends. But we know of a “The neglect, then, of scales .must, in all fairness, weakness, which I have no doubt he experienced, as he But the Greeks possessed nothing resembling a staff, that has been translated into many languages and per¬ Teachers, Attention! number of instances of' gifted and reputed musicians be acknowledged a defect, and if young indolent players made use of one of the sofa pillows to support him and a mere succession of letters has no meaning to our formed throughout Europe. Its plot, founded on fact, who. in recent years, struggled desperately for several remove that defect in consequence of reading these If yon have not seen a copy of the Max I. Flshet Scale on the chair while he sat at table. I had imagined eyes. The first eight letters were used; but, instead of deals with two brothers, Mathias and Johannes, who and Technic Studies for the Violin, we will send yon years before they were able to establish themselves, remarks, they will so far be profitable. . Do not be¬ him to be between sixty-five and seventy, for his ap¬ starting from the lowest note, they began with the both love the same girl, Martha. Her preference for a copy gratis, upon receipt of your Business Card and before they could boast of even a modest in¬ pearance would lead you to that conclusion; but come prejudiced partisans on one side or the other, highest, and proceeded downward. Mathias enrages Johannes, who sets fire to a bam Catalogues and Discounts on request come, in this musician-ridden city. forty-seven is. I am informed, his right age. but reflect on the whole of their own peculiar quali¬ The Romans copied their notation from the Greeks; where the lovers are meeting, and then denounces Our correspondent is right. Good musicians are “A young lady having arrived at the commencement ties. Lay aside all prejudice and study first one and but while the latter often placed the letters in vary¬ Mathias as the incendiary. Martha’s efforts to save needed, greatly needed, in the smaller Western towns. of dinner, operated as a charm upon the Signor. His then the other with a calm and deliberate mind. We TELLER PUBLISHING CO. ing positions, to indicate chromatic intervals, their her lover are in vain, and he is sentenced to twenty There it is possible for them to create a musical at¬ eye, till then dim and inexpressive, brightened into ought, as violinists, to be more or less familiar with 6060 State Street - Chicago, Illinois less artistic followers used only one line. They ex¬ years of imprisonment. At the end of his term mosphere, to earn a good living, and to win the re¬ brilliancy—his attention to her was marked and as¬ every form of scales, with innumerable bowings, tended the system down the alphabet for successive Mathias finds Johannes on his death-bed, and offers spect of some desirable community. Here, all the siduous, and he evinced a spirit of gallantry of which, fingerings, and so forth, so as to feel in some degree octaves, sometimes proceeding as far as O. Boethius, him forgiveness. chances are against them. The attempt is at best a from his previous deportment, I should not have at home when similar passages occur in concertos and often called “the last of the Romans,” lived at the Thjs is but one of the many European successes lottery, and the winners are few, indeed. thought him capable. In the short space of half an concert pieces generally. But the common fact. I ap¬ time of the downfall of the Western empire. His that we never hear in America. Massenet’s “Jongleur YOUR MUSIC IS TORN!!! The following article, for which hour the furrows of twenty years seemed to have van¬ prehend, is that there are hundreds of players who are de Notre Dame” is another. Goldmark’s “Heimehen ished from his brow—time appeared to have taken a treatise on the art is our chief source of knowledge of It will take one minute to repair it by using PAGANINI we are indebted to the Violin invariably only imperfectly acquainted with these the Roman music. His influence lasted well into the am Herd” is a third. Our operatic public, to be sure, refluent course, and a complete revivisceney was IN SOCIETY. Times, is an interesting descrip¬ matters, and who are unable to give a sound and cor¬ Middle Ages, and perpetuated the complexities of the is too often content merely to hear a famous singer at MULTUM-IN-PARVO BINDING TAPE tion of the great Italian virtuoso manifest in him. Still, I must be understood to speak rect performance of a scale at even a moderate tempo. an infamous price; but certainly there are enough real comparatively, and with reference to the torpidity earlier Grecian system. 5-yard roll of white linen or 10-yard as he appeared to the writer at a social function. “Where does the blame lie? To this question I im¬ A more effective system was evolved in the so-called music-lovers in our great cities to make it worth while roll of paper, 25c each, postpaid. before remarkable in Paganini. Even the excitement Some features of this description will prove more than mediately answer, Not, at any rate, not principally, Neume notation, which flourished from the eighth to for opera managers to present at least a few of the If your music dealer does not carry it SEND TO the presence of the lady I have just alluded to had ordinarily interesting to our readers. Indeed, almost with these careless students, but with their education the tenth century. This is often spoken of as they interesting novelties from abroad. We hear many new produced in him bore no analogy to that electric furor Theo. Presser, Philadelphia, Pa., any anecdote which concerns this wizard of the finger¬ with indifferent teachers, who, I will venture to say, “fly-track” notation, a term that gave an excellent de¬ symphonies and symphonic poems from across the board finds eager readers even to-day, when Paganini’s which he exhibits while performing on the violin— or Multum-ln-Parvo Binder Co., 624 Arch St., Phila., Pa. know all except the foundation of playing. To these scription of its irregualr lines and curves. It was de¬ water; why not a few oew operas also? art is no longer the “mystery” it was sixty years ago. the change had made him only moderately sociable— men I mainly trace the neglect of scales, and conse¬ Please tion THE ETUDE when addressing The writer says: he was roused from his ordinary reserve. quently a large part of the weakness and uncertainty 265 THE ETUDE the etu de 264 of the Reformation on the Etude Music Club. Pupils of Lulu Haynes; What was theJflect 0^ appUcation o£ Equal month’s work, report practice, play scales, chords, Other points according to pleasure. motto, “Steps to music;” colors, gold and green; organs m Eng When were pedals firgt arpeggios, selections from studies, etc.; recitals for Inform the pupils that you intend to make mistakes flower, yellow rose; meets every other week; has Temperament to the orga were the great in all the above points, some of them in each number, parents and for their child friends. “I depend a great biography studies, little compositions, and will begin introduced mto England^ ^ ^ ^ and that they are to act as judges and grade you on deal on The Etude ; do not see how I could get along to study current events in music. The Etude is a organists of what is meant by “tracker all these points. For example play one of the pieces without it.” composition action,» by the “combination all out of time, hold down the pedal through changes Young Musicians’ Club. Pupils of Miss Mary A. great help. of harmony. Etude Music Club. Pupils of Rose Sanders; knob ”’ by the electric actions? Which is the best Billings; meets once a week; motto, “A long pull, a After this number call on some pupil to give her strong pull, and a pull all together;” members wear pupils in first grade have music spelling lessons, view of your interpretation and show all faults, telling musical dominoes, ear training in major and minor aCWhJre and when was the first organ built in the stick pins, “Never B flat, sometimes B sharp, and how they might be overcome. After this play some triads, club song and yell, rhythmical exercises, toy America? Where and what the size (number of pipes) always B natural;” program consists of questions and number and give the most careful rendering you can, symphony, singing, playing, etc.; colors, light pink and Of the largest European organs? What can you learn answers on the subject of the evening, piano solos and and then ask the hearers to express themselves on the blue; Mozart pin; pupils in second and third grades of the following organs in America: Boston Music playing. Katherine Morgan. readings, musical games; five cents fine for non-per¬ Hall organ, Chicago Auditorium organ, Garden City formance of duties assigned. have lessons in harmonizing, transposing, musical goes to London. Why was shorthand, keyboard harmony, club song and yell; Cathedral organ? What of the Sydney (Australm) Sharps and Flats Music Club. Organized De¬ Handel not in favor with A writer in the Journal of colors, light green and pink; Beethoven pin; reads organ, the Seville (Spain) organ, the St. Louis Ex¬ cember, 1906; meets semi-monthly; club is divided into George I? .The “Water position organ? What is reputed the largest instru¬ TALKING ABOUT Education makes the sugges- from The Etude; has musical games in terminology, two sections, having appropriate pins, “B sharp some¬ Music.” Its effect. The ment in the world? Is the largest instrument neces¬ THE LESSON. tion that it is diverting to pupils, signature game, conversational music history game, “Harmonious Blacksmith sarily the most effective from a musical standpoint? and a help as well, to change times and B flat never.” Each member brings to the recites poems about the masters, lessons in simple story. Handel’s successes as Name several great modern organists, American and from the usual recitation plan and have an informal meeting a question relating to music, something he or harmony, etc. an operatic composer. His talk over the subject matter of the lesson somewhat in she does not understand, and places it in the question Etude Musical Club, Russellville, Ky., had a St. experiences with his solo the way that graduate students in the universities are box. The captain of one- side draws a question from Valentine Recital, very much appreciated by friends singers. Name some of his accustomed to. Let each child tell what he or she the box and passes it to some one on the opposite side, Readers of the Children’s Page of the club. operas. Handel under learned from the lesson and ask questions of each other who, if unable to answer, will pass it to the next pupil, A MUSICAL may have heard of games of chess To the Editor : Our club meets once each month; George II. His troubles as well as of the teacher. The main thing is to place and so on; if no one on the side can answer, it goes to pupils are excused from practice on club meeting day. with his singers and with PASTIME. played on lawns or in halls by persons the burden of initiative on the pupils; it is they who dressed to represent the different the other side, who, if they can answer, take one per¬ At the October meeting an article about Verdi was rival composers. What was must- decide what has been most interesting to them son from* the opposite side. This stimulates the read, how he worked as a boy; as a consequence a his first oratorio? His visit characters, king, queen, bishop, castle, etc. A cor¬ and what they think the most important to remember. children to trying to win for their own side. If the pupil is doing some despised technical work so^ as to to Oxford. His financial re¬ respondent sends a suggestion that may interest the The best teachers, nowadays, try to get pupils to think question cannot be answered by any one, it is held out be able to play a selection from “Trovatore.” At verses. Their cause and members of the various children’s clubs. It is novel about their work. The pupil who memorizes a lesson for looking up and answer at the next meeting; a Thanksgiving and Easter seasons the club entertains effect. Near imprisonment and will make an attractive feature for a recital or and then recites it parrot like, carries away with him blackboard is very useful in scale writing. The club parents and friends; at Christmas and the close of the for debt. What were his public meeting at which guests are present. __ The but little permanent good. The pupil who tries to season a public musicale is given; quite a pretty second and third oratorios? suggestion is along the line about which The Etude train himself to think will, by that very effort, impress colors are pink and green; motto, “Practice without picture the girls make in their white dresses, with Ilis trip to Dublin and the has frequently written, namely, that teachers make the subject on his mind and will be far more likely to warning.” performance of “The Mes¬ report of devices, games, program novelties, etc., they shepherd’s crooks, from which float the club colors.— retain it. Beethoven Club. Pupils of Mary V. Lazarus; siah” there. What success may invent and arrange for the benefit of the mem¬ meet once a month; study the great composers; Miss H. Annie Titman. did it have in London? What bers of their clubs. A good thing should be puss d Beethoven and Mozart have been taken up. A Letter from Calcutta, India: “It may be are the strong points of the on to others. “Have you a good gratifying to you to hear that, following the hints in work? What oratorios fol¬ Lay out on the floor of the studio or meeting place CLUB CORRESPONDENCE, thing?” Then pass Musical Coterie. Organized January, 1906; club The Etude, I began to form a club, calling it the lowed this one? Why is it two staves, one for the treble, the other for the boss it along to some one flower, red rose; colors, red and white ; motto, “Musical ‘Loreto Crescendo Club.’ Our colors for the seniors customary to rise during the clef. These can be made of white ribbon or tape and else. The Etude has for its idea the gathering of rule of three—Patience, Perseverance and Practice;” are cardinal, with a treble clef; for the juniors, “Hallelujah” chorus? What fastened to the floor so that they cannot be kicked practical tests and devices used with success by meets once a month; the program for January, 1907, emerald green. The motto is ‘Perseverance is the hospital was largely bene¬ up readily. Let the club members be named by letters, teachers in all sections of the country. The Children s was made up of selections from French composers, road to success.’ Our first meeting was in September, fited by “The Messiah?” by numerals, even by syllables, each one having several Page wants to be helpful to the utmost possibility to with an interesting talk on Gounod. at which we had a lecture on technic, followed by a What great physical calam¬ letters or other names, thus: A, 3, re. If the degree those who are working with children, and interesting VOICES OF SPUING. Mozart Music Study Club, New York City. Pupils scale emulation test. Second, we talked over the part ity overtook Handel in 1751? A be the one required to make a scale, a chord, or to in the extreme to the young readers. This is a work of R. E. H. Terry; twelve boys, students of piano and of history in music in connection with the construction The last years of his life. Who was his close carry on a given melody, the pupil who has that that calls on the experiences of all. So pass along the Apbil is the natal month of harmony; colors, red and white; meets every two of various instruments. Third, we had a most en¬ assistant? What fortune did he finally accumulate? letter, as her mark, should step on that degree on t he NOTES ON APRIL a number of musicians of good things you devise. weeks. Lives of musicians are subjects for papers, joyable sketch of Beethoven and Field, the inventor of His final illness and death. His will. Handel’s staff. If the exercise be according to numerals, the MUSICIANS. eminence, although it can Interlude Club. Pupils of June Bright; in ex¬ and two prizes are awarded for the best compositions; the nocturne. A program novelty was a Musical personal appearance. His bachelor life. His love pupil must take appropriate place when that numeral claim but one of the greatest istence five years. Class pin, a small gold lyre; meets grand operas are studied and illustrated, the members Soiree, with composers ending in the same ‘key,’ that of the table and the witticisms his appetite brought is needed: so also with the syllables do, re, mi, etc. masters, Haydn. Those who have read the Haydn once in two weeks. The study of the lives of the of the club attending performances at the Metropolitan is pieces by Kouski, Leschetizky, Sobeski, Tchaikovski, number of The Etude (January, 1907) will recall on him. His style of language and his rough manners. For example, the class is to work out the tune “Amer¬ Borowski, Kowalski, Paderewski and Moszkowski.’— His religious disposition. His wonderful abilities as great composers is a feature of the club’s work; and Manhattan Opera Houses alternately; musical that there is disagreement as to the hour of Haydn’s ica,” first by letters, then by numerals, then by syl¬ special attention is given to each composer’s style, with games are used. Sister M.- Christina. birth, some putting it just before midnight, March 31st.- an organist. His business talent. The style of lables. The letters will be F, F, G, E, F, G, etc.; Handel’s piano (harpsichord) compositions. What his influence upon those who succeed him; at intervals Apbil Musicians: Haydn, Volkmann, d’Albert, the numerals will be 1, 1, 2, 7, 1, 2, etc.; the syllables essays are written in history of music; each member Caffarelli, F. Lachner, Gumbert, Reinken, Busoni, was Handel’s rank as a composer of opera in his day ? will be do, do, re, ti (or si), do, re, etc. Of course As a composer of oratorios? What was his greatest has a note book in which she keeps a record of what Spohr, Tartini, Bennett, Suppe, Martini, R. Hofmann, the key must be decided beforehand. she has looked up. Harmony is studied, a little at a work? E. Van Dyck, Dragonetti, Halle, Mattheson, Bossi, An ear-training exercise can be made of this if the time, but very thoroughly. " Gaul, H. Richter, Tosti, F. Kullak, Gericke, Flotow, Works for Reference: “Handel,” by C. F. A. air is played slowly on the piano, the pupils taking Williams; “Life and Works of Handel,” by Mrs. Fortnight Music Club. Directed by Miss Brock- their places as the notes are played. Otherwise, Erard, Lassen. Julian Marshall; “Life and Works of Handel,” by W. hausen ; twenty-three members ; meets every fortnight; The following questions will add interest to a study letters, numerals and syllables can be interchanged : S. Rockstro; “Life and Works of Handel,” by V. studies harmony and the lives of the great composers; thus, when the letters are written out on the board, of these names: . Schoelcher; “A Score of Famous Composers,” by N. What countries are represented by the nationalities the pupils arrange themselves according to numerals has a short musical program. II. Dole; “Anecdotes of Great Musicians,” by W. F. and syllables; when numerals are written out, by Saint Cecilia Club. Miss Clara Ivoons, Director; of the musicians named? Gates; Elson’s “The Great Composers;” articles in When were the musicians born? letters and syllables; when syllables are used to increased membership this year; held a public meeting Grove’s “Dictionary of Music and Musicians;” Nau- In what branches of music were they prominent indicate the melody, the pupils arrange themselves on in December, presenting music and readings from the mann’s “History of Music;” Baltzell’s "History of (composers, pianists, violinists, singers, writers, etc.) ? the staff according to letters and numerals. December Etudes of various years. Music;” “Famous Composers and Their Works.”. Who are living to-day? Scales and chords can be worked out in the same The Etude Club. Pupils of W. DePrefontaine; Name pieces by any of these men that you have way, very much to the satisfaction of the children. meets monthly; a feature of the program is “A Defini¬ played or heard. A forfeit should be exacted for error either in omit¬ tion Bee;” The Etude is studied for suggestions, and OUTLINE FOR AN Article on the organ in ting to take place when the pupil’s letter,’ numeral or found very useful; almost all the members are sub¬ OUTLINE FOR What tw i great com- ESSAY ON THE Grove’s Dictionary; Hopkins syllable is called for, or in taking place on 'he wrong BIOGRJPH1CAL posers vere bom within DEVELOPMENT and Rimbault s “The Organ ;” scribers. degree. lupils can be marked or graded for (heir Mozart Club. Fourteen members, pupils of Miss ESSH5. IV—Hi NII EL, a mouth of each cthei? OF THE ORGAN Gales’ “Pipe and Strings;” work, «nd the percentage calculated. The objtcl is Mayo; motto, “B natural all the time, B sharp some¬ These outlines ha-ie been W liicli first' What year, BY w. F. gates. Lahee’s “The Organ and Its to cause pupils to have an accurate and ready knowl¬ prenared by Mr. W. F. Gates, •^rjiere was Handel born? Masters chapters in Balt- times, but never B flat;” colors, yellow and blue; meet¬ edge of scales and scale names as a help to reading as a help to little musicians ings are held semi-monthly ; the program consists of one in studying composers’ lives What of his family t zell’s and in Naumann’s histories of music. music and to memorizing. -Tkey.wiH also Earjy Jove for music. History of the Organ : Where is the organ first scale, one duet or solo, one musical game, occasional utUne- W . CTeachers His fatheris attempts to mentioned? What was the earliest form of it? Can staff match (note reading) and biography; will com¬ can divide the w you find any statements concerning the early Christian mence to learn a cantata soon. parts, thus maki Youth is the time to form for each writer, organs? What great king introduced the organ into PUPILS AS CRITICS, the habit of listening with Beethoven Club. Twenty-two senior pupils °* cause music was performed there. Carries a clavi- France? Into Germany? How were the bellows an understanding ear. I Mrs. L. P. Eberhardt; meets semi-monthly; different chord to the garret and practices there at night. De¬ worked in the early days? What was the size of the present a little plan that any teacher may try, I hope composers will be studied; a quiz will be held on cur ^ scribe size and action of clavichord. Handel follows keys? When did keys supersede slides in governing with success. Fix an afternoon, and play for your rent musical events; motto, “Success crowns labor. his father to visit a relative at court. Describe his the wind? What do you find concerning the Win¬ pupils, rendering only numbers they have heard before, The junior pupils have organized a Saint Cecilia Club, chester, England, organ of the tenth century? Con¬ experiences there and the result of the Duke s hearing and, if possible, pieces they have played. Now give with twenty members. him play. His early musical education. Enters cerning the Halberstadt organ?- What of letters on to each pupil a slip of paper with these words written: Burbowes Etude Music Club. Pupils of Mrs. University of Hall6 to study law (1702). Forsakes the keys? Speak of the introduction of stops. What No. 1 No. 2 No. 3 No. 4 No. 5 Bennett; meets once a month; colors, gold and myrtle was the effect prior to this? About when were pedals 1. Time law for music. green; motto, “Success crowns persistent effort; had Trip to Ltibeck. A bride attached to an organ invented? To whom attributed? Can you tell Bach’s 2. Technic position. Handel’s early operas. Goes to Italy. Ilis and Handel’s early experiences in seeking organ posi¬ 3. Accents a “Valentine Social,” February 13th. contest with Scarlatti. His life in Italy and his tions? What of the automatic contrivances in the 4. Rhythm Mozart Etude Music Club. Six pupils of Mrs. reputation there. Returns to Hanover, and thence early organs, such as birds and angels? 5. Dynamics S. T. Hallman; meets once a month; badge. Mozart CLASS WHICH USES “THE ETUDE” IN ITS WORK. button; at meetings the members review the previous 267 THE ETUDE time there will be no more trouble from them. One 266 THE ETUDE become musically intelligent when he reasons out laws TEACHING PUPILS TO THINK MUSIC. need have no fear of rust attacking the wires if the in music and deduces causes from effects. As an appendix to a pupil’s recital the teacher piano is properly wrapped. In cleaning the bf*t®r programs have their value ■ and are often the only If we are to become a musical race we must train PSYCHOLOGY OF THE PROGRAM. nlaved the well-known arrangement of the German grade pianos furniture polish should be avoided. ones practicable. Let us have them, but others as well, BY EDITH L. WINN. the young to be musically, not necessarily technically, folk-song, “Comes a Birdie a-flying,” in which the Nothing should be used but a slightly dampened founded on the plan indicated. They will be found to intelligent. The fault lies partly with teachers who BY L. S. FREDERICKS. melody is paraphrased in the style of different com- chamois cloth, and after the case has been thoroughly cast a new light on the significance of the art as a posers-Bach, Haydn, Mozart, Chopin, Schumann, are prone to presuppose that the student has an under¬ “One criticism I would make upon American pu¬ cleaned with this it should be rubbed dry with an¬ means of culture and education. Verdi Wagner, etc. The pupils being furnished with standing of the science of music, or who have no sys¬ The epicure in planning a dinner sees that the pils,” says Madame Hopekirk, “is that they do not other piece of chamois. For the daily cleaning a little paper and pencil and a list of the names represented tem based upon a psychological understanding of the courses follow in an order calculated to bring out the Musical Forms. feather dusting is all that is necessary. were told to write down the one they thought intended think music; they depend too much upon the key¬ processes of musical development in accordance with best points of each; he knows that dishes which do Above all, the piano must never be touched with To give a few practical examples: Beginning with by each variation. This not. only afforded great en¬ board. The child should learn to sing long before he the limitations and susceptibilities of the child mind. not harmonize one with the other are prejudicial to anything that is hot. In the better grade of pianos, Bach, the development of classical forms—the Fugue, tertainment but served to point out distinctive can play.” All knowledge which the student cannot assimilate be¬ digestion as well as to enjoyment. A musical program those having a high polish the surface resembles glass. the Rondo, the Sonata, can be shown through Em¬ peculiarities of certain composers and their works in While a student in Germany I was much im¬ comes mere ornament. I am reminded of a school represents a succession of mental and emotional For months and months the varnish has been put on, manuel Bach, Haydn, Mozart, and Beethoven. It is a particularly definite manner. Another time pressed by the manner in which Mr. Becker, who catalogue in which music is called an ornamental states; its psychology demands at least as much at¬ each coat being carefully rubbed down to perfect smoth- quite feasible to give a sonata recital which by means Reinecke’s beautiful cycle, “From, the Cradle to the was then the leader of the famous Dorn Choir of branch. Music as a mere ornament is at best desul- tention from the musician as the physiological condi¬ of suitable selections shall be far from monotonous. ness until at the end of six months or so the pores of tions of a meal receive from the epicure, but this is Grave,” for piano and a reader was given. This con¬ boys and men, in Berlin, trained his pupils to think tory. It is not necessary to play entire works, especially if sists of sixteen musical pictures representing man’s In the higher stages of development music must be the wood have absorbed the varnish thoroughly and the too seldom the case. intervals. Even very young boys were able to sing surface is like a transparent shell. Therefore, if any the object be instruction; different movements can be life, from the infant lying in the cradle, soothed by a allied to the evolution of musical science. In the ele¬ the famous old chorals, marvelously, at sight, and oil or polish is applied to this surface, it not only fails An Abtisticaiay Balanced Program. chosen to illustrate the points under consideration. gentle lullaby, to the aged man sinking to eternal rest, mentary stages let the teacher study the order of the choir, both at rehearsals and in public, used no to polish, but removes some of this carefully-applied A rondo program can also be made the basis of an soothed by the same tender melody. Each number is development from sufficient data and knowledge of Musical thinkers, however, have always realized the interesting exposition of this most common of musical instrument. One who knows the demands of choir varnish. importance of an artistically balanced program. preceded by a short poem which describes the scene, psychology. Pupils properly prepared should not dis¬ forms. A profitable pupils’ recital was one in which the whole forming a musical commentary on the great training will realize just how difficult the work of like harmony. Call the processes music building, Mendelssohn at one time contemplated writing a each played something by Bach, an etude, and a facts of existence—birth and love,, life and death—. training such a body of young boys is when one con¬ music education, musical knowledge, ear training— series of works which should embody his idea of the modem composition. In a sonata recital given by the which touched the youthful audience deeply. siders the character of the old chorals and motets. anything you choose, nothing is gained without logical WEBER AS A DUELLIST. art of program making, but unfortunately never car¬ same class additional interest was supplied by the as¬ In this way much can be done to open the eyes of We may say that the singers of the Dom Choir have From the French paper, Le Monde Artiste, we take ried. it out. Programs made up of the works of one sistance of a violinist, so that two of Mozart’s sonatas reasoning. the young to the universality of music; to mak. them absolute pitch. We may say that Mr. Becker uses To understand music one must know the meaning the following anecdote which shows Weber as the composer are not uncommon, but so far as known no for violin and piano varied the program. This recital musicians in heart and soul as well as in bran and staff notation. That is not enough. He trains his of major and minor scales, the relations of keys, tone, one has ever attempted this unique scheme of demon¬ was prefaced by a talk on the sonata form by the man of finest breeding and knowledge of the world, chord formations, in fact, the underlying principles of strating his ideal of a consistent, harmonious program. teacher, and such an explanation of whatever feature boys to think music. Again, I observed the logical displaying those qualities by which he aided so musical science. Again, the hearer and the player The. question is one which more or lqss concerns be taken for illustration is indispensable .to a clear development of pupils in the music classes at Strass- strongly to raise the musical artist from a higher must learn to apply his musical knowledge. Why do every musician. Comparatively few are called upon understanding and enjoyment of the occasion. THE NECESSITY OF HARMONY STTTE TO burg. In the normal school, every young student is menial in the service of the aristocracy to equality in to prepare programs for symphony concerts or for PIANO STUDENTS. obliged to play the violin. The students are trained I ask my pupils to pick out a motive at the Symphony social life. Concert, and tell me what section (the string, brass or events of large musical scope, but it is worth while Nationality in Music. in classes of fourteen. When they go out to teach they While a guest of a well-known family in London to consider the principles involved and to see how they BY DANIEL BLOOMFIELD. wood-wind) play it? Or why do I ask them to tell rue in which there were several young ladies, a boating Programs arranged according to nationality are are' not only surprisingly familiar with music, as can be applied to the more modest affairs familiar to in what tempo a movement is played before they have party on the Thames was arranged. Weber, who- among the most attractive to audience and partici¬ taught in the public schools, but they have learned us all—the piano recital, the studio musicale, the looked at their programs? pants. For these much admirable material has be¬ How many piano students (especially those of by logical processes how to lead the child to think jJlayed the flute very well, entertained his host and pupils’ concert, etc. The point to be particularly em¬ Simply because I wish them to think music, and to the company with his instrument. While the music come accessible within the last few years. Albums of “private” teachers) can analyze the pieces the lay music and to express his musical concept in tone. phasized is the desirability of at least occasionally apply their knowledge of music to the clear under¬ was going on, another boat, containing several young Russian, Scandinavian, and Slav composers—to men¬ or hear? Perhaps one out of ten. The answi ia.v While a teacher in the South, I met many students planning them under the influence of some unifying seem somewhat surprising to the reader, btv is standing of large forms. The great problem is how to officers, drew up unperceived. When Weber noticed thought, which shall be presented in logical develop¬ tion those nationalities whose music bears the most who played with exceptional taste and feeling. They teach pupils to value what they possess. It is not the strongly marked characteristics—are now to be had the result of long experience and contact with ; a - had heard little music save the models of teachers. the inquisitive listeners he stopped playing. ment or connection, so far as means permit, thus link¬ number of piano students. Out of fifty piano si nts how but the why of music study that counts most “Why don’t you keep on playing?” asked one of the ing the numbers of a program together by a common and will unveil a new world to those of limited musi¬ They also knew little of the science of music, but they whom I have met from time to time only fivt old highly in musical development. You can play F strangers. interest. In this way it can be made to rise above the cal experience, abounding as they do in rhythms, har¬ expressed what an inward poetic feeling prompted. I analyze pieces not exceeding the sixth grade ni i two double sharp. Can you think it? Better, can your “For the same reason that I began,” said Weber, plane of mere entertainment and to materially further monies, and accents totally foreign to the music with met other students who failed to express themselves pupil think it? Let us strive to make pupils more which we are most familiar. Most of this music is could analyze, but not without a great deal o- hesi¬ as musically, but Who were susceptible to the science who was never at a loss for a retort. a broad musical culture. musically intelligent. not technically difficult; even a busy teacher can find tation, pieces not exceeding the fourth grnde. me of music. The latter always accomplished more in the “And that is-?” The pupils’ recital in particular may thus be re¬ had no idea at all of harmony, as is illustrated !>., the lieved from much of the technical aspect it is apt to time to prepare s"hort lecture recitals for his pupils end, because those gifted with facility of execution and “Because it pleased me 1” following brief conversation: bear. For younger pupils tbe connecting thought may which shall stimulate their imaginations and open endowed with a vivid, imagination failed to grasp the THE CARE OF THE PIANO. “Very well,” said the officer, sneeringly, “but l “Do you know anything about harmony?" I ked ■ be one of romance or sentiment; for those more ad¬ their eyes to the fact that, as the Germans say, idea that the study of musical knowledge is an abso¬ advise you to begin playing again, if you want to a girl who possessed a good technic, but la- I a A good piano will be serviceable for many years, vanced it may be of an educational or historical char¬ “Behind the mountains are also people.” lute necessity. save yourself a bath in the Thames.” knowledge of music. but care must be given it. While the instrument acter. In either case the effect is to draw attention to The question now comes: Shall we neglect to teach Weber was desirous of avoiding trouble in the Historical Recitals. “Yes,” was the reply, “I can play it." should be closed when not in use, it must not be left the expressive or instructive possibilities of an art the science of music? Most certainly not, however shut up for too long a period, and should be opened presence, of the ladies and began playing again, but which is too often pursued unthinkingly as a mere The historical recital presents so wide a field, its There are hundreds of students. like the one ra¬ gifted a pupil may be. And then comes the mooted kept his eye on the aggressor. When the party of tioned, who, because they know so little of the s. re occasionally, so that the daylight can strike the keys. matter of keeping time or of moving the fingers scope is so obvious, that it need only be mentioned. point: Does not too much study of theory and too Otherwise the ivory of the keys will turn yellow. the latter reached the landing, Weber stepped ashore aright. Measure and technic cannot be ignored, but Here, too, much can be found for illustration that ten of music, do not see any bad qualities in "p< much reasoning make dry players? at the same moment and accosted the officer in steady music and therefore are continually buying tra,: . When this occurs the only way to restore the color though they must be the beginning they should not be years ago was entirely out of reach. Every year sees What do we see in music? First, a picture is im¬ is to have the ivory scraped and polished by compe¬ made the end of study. The tones our hands draw a deeper delving into the treasures of antiquity, and The uninitiated can have no idea of the keen : I- pressed upon the receiver, or mind, through the audi¬ “Lieutenant, out of consideration for the ladies tent workmen. lectual enjoyment one experiences when playir or tory nerves. The gifted receive instantaneous and of your party, and especially for those in my own. from a musical instrument are not music, even though every year it becomes more and more evident through It is in every case desirable that an India rubber they succeed each other in the prescribed order and listening to a work he can analyze mentally. ’ correct impressions because the “receiving box” is I passed over your arrogant conduct. But now I this revival of the past that there have been no gaps or cloth cover protect the case from bruises and are produced with the required freedom and fulness of the indifference with which an ignorant play- s demand satisfaction. Meet me in Hyde Park to¬ in the progress of the art, that even the greatest are specially sensitive, accurate, perfect. They do not scratches. Nowhere are these water-proof covers through a piece. He sees nothing else but morrow morning at ten o’clock. Seconds will be indebted for something to their predecessors. A prom¬ listen. They grasp at once. Less gifted pupils see more necessary than at the seashore, for dampness Three Principles. printed on staves, with a few marks of expr- ion inent publishing house has begun to issue a series only half as much, hear less and receive less. This is a piano’s most dangerous enemy, causing the strings, unnecessary.” here and there. Punctually to the minute the two appeared at the - Music in its essence is the emotion awakened by the of volumes devoted to works written for the precursors is the difference between the artist and the plodder. It tuning pins, and other metal parts to rust, the cloth He does not know why the composer wrote h appointed place. But' before the officer could draw concord of sweet sounds—not the sounds themselves. of the piano—the virginal, spinet, harpsichord, clavi¬ is with plodders that most of us have to do. We are used in the construction of the keys and action to chord—by the masters of the sixteenth, seventeenth, and such a succession of chords. lie cannot ; s- to give them something tangible in music and lead his rapier Weber placed a pistol to the former’s breast The intellect, to be sure, is concerned in judging of its swell, whereby the mechanism will move sluggishly or and eighteenth centuries, carefully edited and adapted cern the many beauties which modulations, Suspenei is them to a clear understanding of musical science and with grim determination in his face. structure; the ear has a right to pass verdict on the even stick. Continued dampness will also injuriously for modern performances. This facilitates the giving and cadences impart to a piece. In short, he kn s “What, you will murder me here without witnesses?” beauty of its material, but in the last analysis the feel¬ a love for what is intrinsically beautiful. affect the polish or varnish of the outside case, es¬ of illustrative recitals on this important branch of he is either playing a very difficult or a very • -y “Quite the contrary,” said Weber, calmly. “I am ings deliver the ultimate award. The first stumbling block is this; Our pupils do pecially if the latter is rosewood, a tropical wood musical history, coupled with a description of the evo¬ piece, and can only criticise it as being “very pret.y going to ask you kindly to throw your sword away Let all three, therefore, be considered in framing a not see as we do. Now, try as hard as we can, we with large open pores. Dampness will also swell and lution of this best known of all instruments. or “no good.” If he does not understand it be dc s and begin to dance a minuet; otherwise you are a program. Let those young in the art understand the teachers cannot see with the eyes of pupils. We can raise the soft fibers of the sounding-board, forming Musicians are apt to forget that what are common¬ it “classical,” meaning by the word, anything wlboh dead man.” The lieutenant took but a moment for necessity of form and beauty of tone, their growth and only strive to impress upon the minds of the young, a ridges, which by an inexperienced observer are mis¬ places to them are generally unknown to those outside is full of “exercises” and has no catchy melody. refleetion, for he saw that his opponent was bitterly development at different epochs, and the fact that they mental picture akin to our own, and make our own taken for cracks. In reality these are the best proof are as much the result of an orderly evolution as any of especial musical influences. The more need there¬ Now where are we to look for the cause of this perspective more accurate and beautiful day by day. in earnest, and danced the minuet, which the composer possible of well-seasoned wood. process of the physical world. This points to the his¬ fore for taking advantage of the various means I deplorable condition of matters if not to the piano To me the development of the child mind is the most accompanied by his flute. While it is impossible to keep dampness out alto¬ torical program with its manifest divisions into have suggested to remedy this lack of knowledge in teacher? Many private teachers know absolutely wonderful study in the world. One child hears noth¬ After the dance had ended Weber said in quiet tones: gether, a rubber cover will do much toward protect¬ periods and nationalities. Another classification is those around them. They will find whatever labor nothing of the grammar or science of music, ami if ing in music but sounds; another recognizes tunes and “Yesterday, my dear lieutenant, you forced me to ing the instrument. There are times, however, when one according to style, and a third according to emo¬ they expend in this direction amply repaid. they do know anything about it, have not enough harmonies; still another is so finely organized as to play the flute; to-day you have danced for me in far from being a protection it is an absolute detri¬ tional content. interest in their pupils’ welfare to devote a litrb recognize the artistic intention of the composer in some return. I think that we are now quits, are we not? ment. When moisture gets into the piano, this cover Combinations of these elements may be made to Suggested Topics. extra time teaching how to analyze what they study. But if you have a different opinion, I am ready to degree. will hold it there. The cover should be taken off yield a fascinating variety. Intellect, ear, and feeling A graceful way of drawing the attention of the By teaching the principles of harmony, the instruc¬ A musical education to-day requires three things: give you the satisfaction you wish.” and the piano opened wide frequently so that the in¬ all have a part, but in varying degrees, conditioned by young to the expressive possibilities of music is to tor not only benefits the pupil but himself as well : 1, to make pupils open to musical ideas; 2, to make Instead of any further talk the lieutenant, half terior is aired and thoroughly ventilated. the standpoint chosen. For instance, take period, take a poetic or romantic thought as the basis of a for “while we are teaching we are learning.” ns pupils musical by instinct; and, 3, to make pupils ashamed, half touched, embraced his opponent and Pianos made of the most thoroughly seasoned wood nationality, and style as determining factors. For one pupil’s recital. Thus, for example, it would not be Seneca observes in his “Epistles.” After studying mentally musical through the logical processes re¬ asked the latter, in future, to honor him with friend¬ program, music of a given period with change of style; hard to find pieces of but moderate difficulty which harmony the pupil will find much less difficulty in are necessarily the ones most affected by dampness, ship. In fact, from that day until Weber’s death quired in serious music study. the absorption being more rapid. Protracted humidity that is, compositions of different forms and national¬ should tell the story of the year—its changing sea¬ memorizing pieces; he will know his lessons better: Let the child reproduce the sounds which he hears: broke the bond, both men were the best of friends. will cause dry-seasoned rosewood to swell and force ity. For another, composers of a certain nationality sons, its holidays, its festivals and sports. Even a he will see how weak the material of “popular music” the sleigh bells, the church bells, the rushing river, the varnish out of the pores, giving the outside case but differing in style and period—the latter, of course, single season will afford scope for such a recital, for is, and henceforth will shun it; he will enjoy practic- the sighing pines—let him dwell upon the hum of bees a checkered whitish appearance, necessitating revar¬ in historical order. An interesting variation is the il¬ example, Spring, or Winter with its Christmas’and mg. The teacher will then discover what wonders and the lowing of cattle. When he can distinguish nishing and repolishing. Bach, in his old agei was once asked to what he lustration of the same style by music of different New Year’s festivities. Similar programs may also a little knowledge can work in a short time. musical sounds from other sounds, music is beginning The piano should not be placed very near an open ascribed his great knowledge pnd the inexhaustible periods and nationalities. be gotten up with fanciful titles which go a great way to stir his emotions—to awaken him, as it were, to a flow of his creative activity. He replied: “Unceasing It will be seen that many changes can be rung on with children in investing their music with a glamor kind of tonal receptivity which is the beginning of true fire or a heated stove, or against the hot air of the “It is not necessary to teach all that must work is tjie cause of the superiority you recognize in these ground ideas, all affording a broader and much of sentiment. Thus: “Things with Wings,” in which music education. Again, the child is becoming in¬ furnace. known in lessons directed especially to that me. Constant analysis, reflection, much writing have more comprehensive view of music and its development birds and butterflies flutter musically; “A Hay in stinctively musical when he can reproduce tones and Moths are very destructive to the cloth and felt given me continual improvement—that is the only as an art than can be secured through the program of Fairyland,” which shall picture fairies, elves, and shZ v T aDd Cultiv'ate abil|ty in the pup melodies, and when he can separate the harsh, discord¬ used in the pianos, but if a little bag of camphor is the average recital. Not that I deprecate these or show him where to find sources of help; then he dwarfs and all manner of little folk; “A Flower ant and unnatural from the melodious. The child has suspended on the inside and renewed from time to secret of my knowledge,” would do away with them altogether. Miscellaneous Festival,” devoted to flower pieces, etc. myit r.,m0rC thaD *» the ^sons and legesZZ in the world can teach him.”—Dinter THE ETUDE 269

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Recital Programs TEACHERS’ FAVORITES The Pupils'Library GRAND PIANOS Faelten Pianoforte School Yol. 1.35 Easiest Pianoforte Pieces $1.00 Manufactured on the Exclusive Yol. II. 31 Easy Piano Pieces - • 1.00 FIRST GRADE MASON & HAMLIN BOHM,CARL. The Soldiers areComing, March.30 The Pupils’ First Etude Album ■ 1.00 DANA, ARTHUR. Carnival Galop . .25 SYSTEM 52 Easiest Pianoforte Etudes GURLITT, CORN. Lullaby, Waltz . . .25 ARE PIANOS WITH AN GURLITT, CORN. Peasant’s Frolic . . .30 The Pupils’ Second Etude Album 1.00 INDESTRUCTIBLE HUMMEL, J. E. The Rose Festival, 35 Pianoforte Etudes Waltz.30 (A sequel :o THE PUPILS’ FIRST ETUDE ALBUM) LYNES, PRANK. Cinderella’s Wed¬ ding March.30 TONE LYNES. FRANK. Curly Locks Waltz .30 Selected and arranged in progressive order They are Beyond Musical Compe¬ LYNES. FRANK. Darby and Joan . . .30 tition, and this fact is recognized LYNES, FRANK. The Forest Echo . . .30 By FERD. MEYER and admitted by the artistic world MOREY, F. L. Away to the Woods . . .40 SEND FOR LIST OF CONTENTS RITTER. G. P. Happy Birdling . . . .25 SCHNECKER, P. A. The Cuckoo’s Song.25 ARTHUR P. SCHMIDT BOSTON LEIPZIG NEW YORK 120 Boylsion SI. 136 Fifth Are. SECOND GRADE _B O S T O N_ ALETTER, W. In Stately Measure, Minuet .40 BEACH, MRS. H. H. A. Gavotte .30 BEACH, MRS. H. H. A. Harlequin . . .25 BOHM, CARL. Hunting Scene.40 BOHM, CARL. In Merry Mood.40 BURG, A. Through the Meadows . . . .60 DANA, A. Return from Vacation, March .25 DENNEE, CHAS. Hide and Seek . . . .40 FOERSTER, A. The Soldiers are Coming.25 FOERSTER, A. The First Ball.25 FRANKE, MAX. In the Boat.40 GURLITT, CORN. {|°^m Leaf ! ! } 25 HUMMEL, J. E. In Graceful Rhythm . .30 LVNES, FRANK. Salterello.30 LYNES, FRANK.’ Paul Revere’s Ride 1.00 LYNES, FRANK- Harlequin March . . .25 LYNES, FRANK. Tarentelle in A Minor .40 MORLEY, CHAS. Maybells, Schottische .25 PARLOW, EDW. Telling Fairy Stories .25 PARLOW, EDW. Cuckoo and Quail . .25 SCHYTTE, L. Greeting from Italy . . .50 SCHYTTE, L. A Village Dance.40 WILM, N. VON. Full of Frolic.40 WILM, N. VON. Free from Care . . . .30 THIRD GRADE BOHM, CARL. Fairies’ Song.3° BOHM, CARL. Love’s Strain.30 BURG, A. Carmencita, Bolero.60 BURG, A. Flowers of the Forest, Waltz .60 BURNHAM, CHAS. S. Desire.30 DECEVEE, E. Polonaise Brilliante . . .50 EGGELING, GEORG. Valse Brilliante .65 EGGELING, GEORG. Forest Solitude .60 EGGELING, GEORG. Hungarian Dance. 40 Grand Prix Paris IQOO The piano of ESIPOFF,STEPAN. Whispering Zeph¬ The Legion of Honor De Pachmann yrs, Broken Chords.40 Pugno GRIMALDI, F. Beside the Brook . . . .60 Grand Prize ®&e flt'ano Hafiuiin Sembrich GRIMALDI, F. Night at Pausalippe . . .40 St. Louis IQ04. LACK,TH. Caprice Tarentelle .... .60 LACK, TH. Song of the Nymphs . . . .60 The Beauty of the Baldwin is many-sided, to no Of tone-volume, it is well understood that there is no better test than the diminuendo pianissimo; LYNES, FRANK. La Gondola, Bar¬ The perfect flow of tone, pure, smooth and the Baldwin tone, reduced to such a delicacy that carolle .25 force-sustaining, never blurred nor colorless, makts one hardly knows where it comes from, is neither LYNES, FRANK. Spinning Song . . . .50 this piano the idol of those who worship technique. thin nor fine drawn but full and round and vibrant. ORTH, JOHN. Sylvan Dance..50 And a brilliant singing quality—the sine qua non of In the following cities D. H. Baldwin & Co„, SCHYTTE, L. With Castanet and Fan . .50 emotional power in instrumental music—enriches have their offices and warerooms : even the softest pianissimo. For 4th, 5th and 6th Grades Cincinnati, Chicago, New York, Boston, Phila¬ see May “Etude” Pugno’s playing of the Baldwin, its power and delphia, Indianapoli-, St. Louis, Kansas City, Dal¬ variety of tone-color brought out by the artist’s las, Denver, Louisville, Terre Haute, Memphis, virile art, inspires the music lover with a desire to San Francisco, and Los Angeles. range the whole field of pianistic literature. In addition to the above they have representatives Arthur P. Schmidt Under the witchery of de Pachmann’s exotic in many of the cities and towns of the United States. art, the Baldwin tone reveals subtleties of feeling BOSTON LEIPZIG NEW YORK not before dreamed of outside the realm of the Address nearest office for catalogue and full 20 Boylsion St. 136 Fifth Avenue violin or ’cello or possibly the human voice. information.