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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
2-1-1922 Volume 40, Number 02 (February 1922) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 40, Number 02 (February 1922)." , (1922). https://digitalcommons.gardner-webb.edu/etude/687
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New and Artistic Vocal :: SECULAR SONGS :: Offerings Four Albums of Song for Marked Concert, Individuality Home and Albums- Church Use
The Secular Songs are of PUBLICATIONS THAT HAVE BEEN RECEIVED WITH the Better Popular Type, All Being Rich in Melody. It is ENTHUSIASM BY DISCRIMINATING Songs of - the Best Singe.--- CONCERT SINGERS Encore Purposes or Lighter Numbers upon the Pro-
Seven Songs from clarity of tone of his talking machine records. Gustav Kogel, one of the best known of Fear of the sea, has, according to reports, tru of eighty musicians announces a series 'Way Down South European orchestral conductors, who visited prevented him from coming. of five concerts. This is the largest orchestra New York as guest conductor for the Phil- e famous Russian Basso, of its kind conducted by a woman—Mme.
By Lily Strickland This group of songs may be u complete cycle or the numbers of tri¬ bal melodies. This album containing programmed individually. Th the most successful numbers, such as unquestionably among the best S By the Waters of Minnetonka, By the Weeping Waters, Indian Spring Bird, etc., affords a most convenient as well :thod of acquiring
Space here does not permit showing Songs from the Celebrated portions of num¬ Yellowstone Recital Songs erous other songs Four Original and Characteristic that have gained Nature Pictures with Music great favor and By Thurlow Lieurance By David Bispham those seeking vocal Mr. Lieurance has taken a new de¬ Forty-four Master Songs selected material of any parture in this set of songs. The themes, from the repertoire of this foremost breathing the spirit of the great West American artist-teacher and arranged character are invit¬ and the lure of nature, are in the main and edited by him for recital use, for ed to send for the original, but occasionally snatches of the studio, and for the home. Every helpful catalogs Indian melodies are introduced to singer should possess a copy of this and circulars we maintain the atmosphere. superb volume. can supply. Price, $1.00 Price, $2.00
The above albums should be in the library of all singers SACRED SONGS :: These sacred songs THEODORE PRESSER CO. are suggested because they have melodies N9.75.4 BEND low dear lord 1710-1712-1714 CHESTNUT ST. PHILADELPHIA, PA. that fit the sentiment of the words and they are the style of sacred songs that a church singer can do at short A Remarkable Book notice since there are no unnecessary difficul¬ ties for either the sing¬ Every Singer, Vocal Teacher, er or the accompanist. Opera Lover, Concert Goer and Church singers de¬ Talking Machine Owner siring to become ac¬ quainted with other should read songs are invited to send for the folder, GREAT SINGERS ON THE ART OF SINGING “Sacred Song Gems.” By JAMES FRANCIS COOKE Educational Conferences with Foremost Artists
, Thursby, Werrenrath, SCHUMANN-HEINK THEODORE PRESSER CO . PHILADELPHIA, PA.
An Encore Song (for low Voice) KING SOLOMON AND KING DAVID By J. F. Cooke (Price 30 cents) Repeatedly scores hits when Department of Recorded Music _ __ Album Leaf ... introduced at leading concerts by Bispham, Scott and Werrenrath "The King i )lomon Song went over very big a- E~S*’ rhe newspaix s made special comment upon it. 1 It was warmly applauded™0 Wolfaohn°Musical Bureau, 2V.V. SENT ON RECEIPT OF PRICE TO THE PUBLISHERS THEODORE PRESSER CO. PHILA., PA. THEODORE PRESSER CO., - PHILADELPHIA, PA. 1 «£■ si 92 In Dreams Alone—Vocal!2. .E. ^F°Upotter 122 Hylan, of NewPYork, upon their earrival.y° THE ETUDE FEBRUARY 1922 Page 75 THE ETUDE Page 74 FEBRUARY 1922 A Guide for 1922 Music Buyers-A Selected List of Dependable Publications A Careful Reading of these Lists Will Repay Teachers fesiring to Strengthen and Modernize their Teaching Systems
PIANO COLLECTIONS VOCAL COLLECTIONS PRIMERS—RUDIMENTARY WORKS PIANO TECHNICS AND STUDIES ADVANCED rSTUDY PIECES. LITTLE HOME PLAYER. Piano or Organ $( ARTISTIC VOCAL ALBUM FOR HIGH VOICE. Pieces of technical value as well a ARTISTIC VOCAL ALBUM FOR LOW VOICE BILBRO, MATHILDE. Spelling LANDON, C. W. Writing Book for Music Pupils, lie Preludes and Fugues MASON, Dr. WM. Touch and Technic; Part I, MacDOWELL. EDW. 6 Poems after Heine, Op. 31 1 BERWALD’S MEN’S CHOIR Book II. . .^ .„. The Two Finger Exercises; Part II, The merit in 4th, Sth and 6th grades. MASTER PIECES. The 21 best compositions from Scales; Part III, The Arpeggios; Part IV, ALBUM OF DESCRIPTIVE PIECES the greatest masters. 1 BISPHAM, DAVID. Clebratet The School of Octaves. 4 Books each. .. $1 MATHEWS, W. S B. Standard First and Second ca? du^^ter s^kadhig ^oW”fu if knowledge One of the most remarkable works in the Grade Pieces. . 1 CECIL1AN CHOIR. Sacred two part Songs.... entire range of pianoforte pedagogy by an “ Standard Third and Fourth Grade Pieces- 1 CHOIR BOOK FOR WOMEN’S VOICES. MARKS, E. F. Writing Book. BERTINI, H. 25 Studies lor Pienolorte, Op. 29 “ Standard Fifth and Sixth Grade Pieces. 1 CHURCH AND HOME. Sacred Songs, High Voice Has pages alternating with staff ruling and ’’ 25 Studies lor Pianoforte, Op. 100 Large collection, for teaching and recreation “ Sacred Songs, Low Voice. BIEHL, A. Element, of Piano Playing, Op. 30 . BEETHOVEN, L. VAN. Selected Son, M0RMs7mTs? wirting0Primetr.t!0n.‘. ■ Selections from Piano Work. . . •' Standard’compositions, Vol. I, Grade I to FLORIO, CARYL. Four Songs (Small BILBRO, MATHILDE. General Study Book. ” Easier Piano Compositions. Vol. VII, Grade VII, each. Beginner learns the rudiments of music by “ Melodies in Difficult Keys. MENDELSSOHN. Songs Without Words (Com- EVANS, M. G. Primer “ 25 Melodies lor Eye, Ear and Hand Training “ STANDARD GRADED COURSE OF STUD- y Rhyme olete). I SUTOr"aDELE? eNorte Spelling Book. BLOSE, JOH. M. Pedal Book 1ES. 10 volumes, 10 grades, each. MODERN DANCE ALBUM. This is one of the most successful devices BUGBEE, L. A. First Grade Studies. Easy This is the original, and in spite of dozens CELEBRATED COMPOSITIONS BY FAMOUS MODERN DRAWING-ROOM PIECES. 1 original, melodious study pieces. of imitators, still the one universally used COMPOSERS . 1 MOSZKOWSKI M. Favorite Compositions. FOUR-OCTAVE KEYBOARD CHART (Cloth) TAPPER, THOS. Children's Biographies ol Second Grade of Melodic Studies. course of piano study, combining and suggeet- CELEBRATED PIECES IN EASIER ARRANGE¬ MOZART, W. A. Sonatas, 2 vols., each. 1 (Board*). Bach, Mozart, Schubert, Schumann, Han- MENTS . 1 “ Sonatas, Complete. 3 JOUSSE’S MUSICAL CATECHISM (PAPER) . knowledge of, as well as finished skill in, piano CHAMINADE, C. Album of Favorite Composition. “ Album of Favorite Compositions.. 1 KILLOUGH, G. C. Gibbon’s Catechism ol Music ^iohn, Jdaydn, Verdi'and' Wxgn™’. Ends" .. BURGMULLER, F. 25 Studies, Op. 100. CHOPIN, F. Complete Waltzes. 1 NEW AND MODERN SONATINA ALBUM. 1 499 Questions and Answers. Notation, “ 12 Brilliant and Melodious Studies, Op. 105.. “ Etudes [Ops. 10 and 25; cr-1 time values, intervals, scales, keys, chords, er Compos is for Plan PALOVERDE, M. Songs and Dances from Foreign embellishments, etc. ’’ 18 Etude, de Genre, Characteristic Etudes, Lands. Second Grade Piano Pieces. LANDON. C. W. Writing Book Complete. VENTH.c" °MusiM°Theor, and Writing Book Op. 109. PARLOR and SCHOOL MARCHES. 1 “ Writing Book for Music Pupils, Book I. CHORDS AND ARPEGGIOS (Orem). PIANO PLAYER’S REPERTOIRE OF POPULAR CLEMENT), M. Gradus ad Parnassum. 1 studies by st PIECES. 39 Popular Pieces. CONCONE, J. Selected Studies. 1 eabbog. CLEMENTl, M. Sonatinas (Ops. 36.37. 38V 1 POPULAR HOME COLLECTION. 46 Pieces... “ Op. 24; 37, each. PALOVERDE, M. Left Hand Facility. COMPOSITIONS FOR THE PIANOFORTE BY POPULAR PARLOR ALBUM. PIANO INSTRUCTORS “ Op. 25; 30; 31, each. WOMAN COMPOSERS. 1 POPULAR RECITAL REPERTOIRE. 31 Pieces . COOKE, J.F. Mastering the Scales. 1 CRAMM, H. M. New Tune, and Rhymes for ROGERS, J. H. Toy Shop Sketches Enables the teacher to start scale study PARLOW, E. First and Second Grade Study Pieces Little Pianists (with words). ROWE, DANIEL Tone Stories for Boys and Girls ABBOTT, Mrs. A. T. A Method for Gain KOHLER, LOUIS. Practical Piano Method, Op. with very young pupils and carry it on to the PERRY, E. B. Lyric Studies. “ Pleasant Pastimes (with words) To play or sing. Large notes. Perfect Knowledge of the Notes. 249, Vols. I. II and III, each. $ highest degree of proficiency with advanced “ Wrist Studies. “ Sunny Day Songs (with words). SCHOOL AND HOME MARCHES.. BATCHELLOR-LANDON. Musical Kinder! LANDON, C. W. Foundation Materials for Piano. students. Practice material fully written out. PHILIPP, I. Exercises in Extension. Unique DE LEONE. F. Little Tunes for Little People SCHUBERT, F. Impromptus, Moments Musicals. Method. Leads to solid musicianship through an Many original features found in no other work. studies. Strengthen and stretch the hand DUTTON, THEODORA. The First Progress. SCHUMANN, R. Selected Works. 1 For the nursery and classroom. This easily graded, pleasant and interesting EASY DANCE ALBUM. is unique in its design. CRAMER, J. B. Fifty Selected Studies. 1 “ Op. 60. Finger Gymnastics . CZERNY, C. One Hundred Studies, Op. 139. 1 “ Preparatory School of Technic. Daily practice ENGELMANN, H. 24 Pieces for Small Hands ... BEGINNER’S METHOD. Theo. Pressor.. . ,C. I. Adult Beginner’s Book. 1 in technical essentials.... Intended for the youngest beginners Suggestive studies for music lovers. “ 100 Easy and Progressive Lessons.. perfectly adapted to their needs and insi SCHMOLL, A. New Piano Method. In Two “ 101 Short Exercises in Passage Playing. Op. not only pleasant but rapid progress, Books. Each. ] 261. i One of the most popular Piano methods of “ School of Velocity, Op. 299 I ' The New Grad i ad Parn room pieces, including “Melody of Love” 1 nomenally popular with teachers who ins' ” School of Velocity. Op. 299. 4 books, each FIRST DANCE ALBUM. SMITH, HANNAH. Rhyming Tune, for Little the present day. FIRST PARLOR PIECES. BEYER? F. PElementary School of Piano PI STUDENT’S BOOK. Theo. Presser. School of the ’’ 6 Octave Studies, Op. 553. Book I. Left Hand Technic; Book II, Right Pianoforte. 1 ’’ First Pianoforte Instructor, Op. 599. Hand Technic; Book Ilf. Hands Together; FIRST RECITAL PIECES. I SONATA3 ALBUM, Two Vois.. each.. ! FIRST STEPS IN PIANO STUDY ...... Intended to follow Mr. Presser’s enormousiy ’’ Preliminary School of Dexterity, Op. 636 Book IV, Arpeggios; Book V, Double Notes; FIRST SONATINAS. SONATINA ALBUM (Louis Kohler). 1 “ *rt of Finger Development, Op. 740. i Book VI, Octaves and Chords; Book VII, FIRST PIECES IN THE CLASSICS . 1 SPAULDING, GEO. L. Souvenirs of the succeed any elementary instructor, "fhe ma¬ ' Op. 74i The^Trill; Book VIII, Various Difficulties; GODARD FAVORITE COMPOSITIONS. 1 HUDSON, MRS. H. B. A B C of Piano Musi terial is all. bright and sparkling, melodious . GREENWALD, M. Children's Songs and Games Studies. Three “ Melodies of the Past . ‘ ‘ Melodi esW ith out°INofes . °..... The contributions of Isidor Philipp, of “ Juvenile Play Songs. the Paris Conservatory, to the literature ‘ Children’s Rhymes from A to Z. 1 pianoforte study occupy a front place Popular traditional children’s songs and in modern p “ Well-known Fabloa Set to Music (with i BENDER G.C. Bo.ine__. JB st widely used works are GRiaEG,SED>nFirdstapMr Gynt'lulte, Op. 46. STANDARD ADVANCED ALBUM. 28 Fieo CLARKE, H. A. Harmony, A Text-Book MUSICAL BOOKLET LIBRARY. 9 vol... each DORING, C. H. School of Octave Playing. O, ' Album of Miscellanea. STANDARD AMERICAN ALBUM. 42 Pie. Intended to enable the pupil to grasp easily OREM, P. W. Harmony Book for Beginners | PIANO COLLECTIONS -FOUR HANDS I STANDARD BRILLIANT ALBUM. 27 Ptect DUVERNOY. J. B. Ecole du Mecanisme, Op. PISCHNA. Sixty Progressive Exercises. 1 GURLITT. Album Leaves for thr and comprehensively the facts and rules of the The plainest and most elementary harmot " Ecole Primaire, Op. 176 “ Album of Selected Compositl STANDARD ELEMENTARY ALBUM. 82 art of Harmony. book ever issued. Adapted for private or da PLAIDY, L. Technical Exercises. 1 HAMER, G. F. Old Rhymes Wit! STANDARD FIRST PIECES. 72 Pieces. . “ Key to Harmony, A Text-Book. teaching, especially suited for self-instructii SARTORIO, A. Instruct!,. Four Hand A GREENWALD.M. 20 Progress;. rade2 1 STANDARD OPERA ALBUM. “ Pleasant Hours, Eight Instructive Four GURLITT, C. Easiest Velocity Studies. Op. 83 PRESSER, THEO. First Studies io Octave Playing HANDEL ALBUM (Presser). “ Counterpoint, Strict and Free PERRY. Descriptive Analyse, of Piano Worka. HARTMANN, A. Fifty.one Old Hi Melodies from the great operas arrany “ Pronouncing Dictionary. .. Pieces, Op. 1042. ’’ First Lessons. Op. 117. “ Selected Octave Studies. Equal develop, “ Studont’s Pocket Dictionary. “ Stories of Standard Teaching Pieces., , . CHILDHOOD DAYS (Hzrthan). Instruct;,. Duet. “ Recollections ol Youth, Op. 1064. “ 35 Etudes Faciles, Op. 130. ment of both hands, flexibility and strength. Playable versions of old fc for Teacher and Pupil. “ School of Velocity. Op. 141. ranged by a master hand. COOKE, J. F. Standard History of Music... well-known and standard compositions. St SPAULDING, G. L. You and I. RANSOM, E. Through the Major Keys. HAYDN, J. Sonatas, Vol. I. CONCERT DUETS. “ Nursery Tale. Retold. HABERBIER, E. Etudes Poesies, Op. 53, 59 .... STANDARD STUDENT’S CLASSIC ALBUM.. ’’ Just We Two. HANON.C L. Virtuoso Pianist. Complete.. ROGERS, J. H. Octave Velocity. Short, interest¬ “ Sonatas, Vol. II. acquainted with these books. ing, musical studies of great technical value 1 HEINS. CARL. Album o! Pianol SUNDAY PIANO MUSIC. ... ■ .. • HEINZE, L. G. The Piano Beginner HUDSON. O. Musical Poems fo Dignified piano music, especially useful Pianists on Piano Playing- " The Progressing Piano Player. " Double Note Velocity. ] conferences on technic, infcrpr, STANDARD DUET PLAYERS’ ALBUM . “ Musical Picture Book SKINNER, O. R. First Year in Theory. ENGELMANN FOUR HAND ALBUM. HELLER. STEPHEN. Thirty Selected Studies. SARTORIO, A. 12 Instructive Pieces in Melody KERN, C. W. Mississippi Ri.< and style with our most distinguished SCHMITT, H. Pedals of the Piano. FOUR-HAND EXHIBITION PIECES. STANDARD OVERTURE ALBUM. The best studies from the most popular opus Playing and Expression, Op. 368. 1 STREATFIELD. Life Stories ol Great Compost FOUR HAND MISCELLANY. 160 pages, 10 famous overtures, ir " 10 Melodious Studies in Velocity, Op. 380. 1 FOUR HAND PARLOR PIECES. Poet and Peasant, Martha, Carmen “ 25 Melodious Studies, Op. 45. KROGMANN.C. W. Ten Five-Note Recreation TAPPER. First Studies in Music Biography. . .. “ 30 Progressive Studies, Op. 46. " Melody and Velocity, Op. 872. 1 A History of Music for Children. Direc GAENSCHALS, C. Home Pleasures. “ Ten Melodious Studies for Advancing Players KUHLAU, F. Sonatinas . . _ CENTURY DANCE ALBUM “ 25 Studies, Op. 47. Op. 876...... 1 LEFT HAND RECREATION ALBUM . VERY FIRST PIECES, THE JUVENILEaDUETUpLAYERS.CeS.'. HERZ, H. Scales and Exercises . WACHS, PAUL. Album of Favorite C ELSON, L. C. Mistakes and Disputed Point, in MARCH ALBUM. JONAS, ALBERTO. The Pianoscript Book " Twelve Melodious Studies in Embellishment, WAGNER-LISZT. Album of Transcrn Music and Music Teaching. MOSZKOWSKI, M. Spanish Dance.. Op. 902. j YOUNG PLAYER’S ALBUM 70 Piec GROVE’S DICTIONARY OF MUSIC AND MUSI¬ “ Education ol the Music Teacher. A unique indexed volume covering all phases ’’ Ten Brilliant Octave Studies, Op. 1044. 1 WILKINSON, C. W. How to Play Well-knot MUSIC LOVERS’ DUET BOOK. WOOD, D. D. Musical Zoo CIANS. 6 vols., including New American Pianoforte solos. OPERATIC FOUR HAND ALBUM. 22 D YOUNG DUET PLAYERS (Harthan) and records can be kept by he del? “ Finger Freedom Studies, Op. 1060. 1 “ Studies in Syncopation, Op. 1079. 1 HEACOx’PAR+HUR E. Ear Training WODELL, F. W. Choir and Chorus Conducting. KLEINE PISCHNA. “ Studies for Lefl Hand Alone, Op. 1103. .. 1 KOELLING, CARL. Major and Minor. SCALES AND CADENCES (Presser). This work takes the pupil in the second or VOCAL METHODS AND STUDIES VIOLIN MATERIAL SCHMITT, A. Preparatory Exercises, Op. 16a.. SCHMOLL, A. Studies and Study Pieces, 3 vols. TEACHERS’ SPECIALTIES ical Method for the You. LEVENSON, C. Selected Studies ABT, F. Singing Tutor. complete. ROOT, F. W. Methodical Sight Singing, Thro. KOHLER, L. First Studies, Op. 50. An abundancO'Of material furnishing techni- the Keys . Third Position.. “ 12 Little Studies, Op. 157. ARTHUR, A. Le.son. in Voice Training. Med.Voice “ Methodical Sight Singing, Progressive Mu 3 LIEURANCE, THURLOW. Indian Melodies.. ’’ 12 Preparatory Lessons, Op. 151 . beauliful. Each. ] CONCONE, J. Fifty Lesson,, Op. 9. PLEYEL, I. J. Petit Duos lor Two Violins, 0[ “ Very Easiest Exercises, Op. 190 .. GREENE, H. W. Standard Graded Course of BILLS OR RECEIPT'S. Package of 100... MUSIC WRITING PENS. Per dozen. 8 BLUMENSTENGEL, A. Scale and Arpeggio SCHRADIECK, H. Scale Studies . SCHNECKER, P. A. Melodious Studies in Style “ Introductory Lessons in Voice Culture Studies, Vol. 1 . ” Small School of Velocity, Op. 242. and Mechanism. To develop especially Singing. 4 books, each. ’* Guide lor Male Voice BLANK BILLS. Large size (SO). PRESSER’S FI (1ST MUSIC WRITING BOOK . “ Technical Studies. Vol. I. KROEGER, E R. 15 Etudes for the cultivation of MARCHES1, M. Elementary Progressive Ex- BLANK MUSIC BOOKS. 6 staves, 32 paf STANDARD PRACTICE SLI PS. Pad of 100.... DANCLA, CH. Six Petits Airs Varies, Op. 89. SEVCIK, O. School of Bowing, Op. 2, Vol. L fluency, continuity and good style. 1 SIEBER, F. Elementary Exercises, 36 8-Meast STANDARD LESSON RECORD. DE BERIOT, C. Method for Violin, Vol. I. STANDARD VIOLINIST, 32 pieces. the left hand. I SCHULZ, F. A. Scales and Chords cisea. Op. 1. Studies, Op. 92, Soprano. FAVORITE OLD TIME TUNES. Violin and Piano KUNZ, K. M. Two Hundred Short Two-Part MARCHESI, S. 20 Elementary and Progressive “ Op. 93, Mezzo-Soprano STUDENT’S HARMONY TABLET. FRANKLIN, F. A. Operatic Selections. STUDENT’S POPULAR ALBUM. 22 Favor Canons, Op. 14. 1 SCHWALM, R. Daily Exercises 1 Vocalises for Medium Voice. Op. 15 . TIME CARDS. Lesson and Practice Record. “ Selected Classics. LACK, THEO. Op. 289. L’Art du Clavier. 1 SMITH, WILSON G. Etudes Arabesques, Op. 75 1 MYER, EDMUND J. Vocal Instructor. A practical VACCAI,* N4' ^Practical Italian Vocal Method BLANK MUSIC PAPER. Package of 25. HOFMANN, R. First Studies in First Position, TOURS. B. Complete Instructor for Violin. . . 100 special studies in modern style. SPAULDING, G.L. Etude, Melodiques. 1 guide to artistic methods . VIEHL, G. Graded Studies in Sight Singing and Vocal, size 11 x Op. 25, Book I. VIOLINIST’S POPULAR REPERTOIRE.29 piec. “ A Revelation to the Vocal World . WHELPTON, G. Vocal Studies lor Soprano a Octavo eize, 7x11 ind PAPEROID WALLETS HOHMANN, C. H. Practical Violin School, Ger- WATSON, MABEL M. Bel Canto Method lorVir LANDON, C W. Playing Two Notes Against Three REDDALE, F. The School Singer. For normal Tenor. SHEET MUSIC SIZE each S man and English Text, complete. “ Wrist Studies. Each study brings out some special point. classes; includes a large collection of songs “ Vocal Studies for Medium Voice. p<6line's6,'widespacing,' 7 x 8H, 100 sheets.. LESCHETIZKY METHOD. The Modern Pianist. STANDARD CONCERT ETUDES. 1 for all purposes A help for the busy teacher. The need CLARKE, H. A. Harmony Tablet. KAYSER, H. E. Elementary and Progressive (Prentner). 1 Difficult. To follow Standard Graded Course. ROOT, F. W. Methodical Sight Singing. The GUARD, F. F. Music Pupil’s Lesson Book at Studies, Op. 20. 3 Books, each. LOESCHHORN, A. Selected Studies, two vols. STEINHEIMER, S. Time Studies. “^Studem’^ Manual0 o^’s'igh^Singing. Practice Record. LEVENSON, C. 50 Selected Studies in the First The best selection of short, specific, techni- A new and attractive set of studies for MUSIC TEACHER’S DESK TABLET. Pad of 1( ‘ Op. 45, 2 Books; Op. 7 second and third grade work. Each study is “ Op. 65, Studies for the Development of Technic intended to exemplify and work out some and Expression, three books, each. special rhythmical device. The Theodore Presser Company cheerfully opens accounts with responsi¬ ble individuals, grants liberal discounts to the profession and offers many “ Op. 66, Etudes Progressives, thr STREABBOG, L. Twelve Melodic Studies, Op. 63 " Etudes Progressives, Op. 66, coi Twelve Easy and Melodious Studies, Op. 64.. other advantages, such as the “On Sale” Plan, to the Mail-Order music buyer. Helpful Catalogs Cheerfully Furnished VOGT, J. 24 Octave Studies, Op. 145. Theodore Presser Co. “On Sale” Plan MacFARREN, WALTER. Compreh A postal request is all that is necessary to obtain any of our carefully prepared, guarantees satisfaction. Any Presser publication will be sent for examination WIECK, F. Piano Studies. graded and classified .catalogs, suggesting numbers for teaching, concert or upon request. You may specify special items that you would care to examine or form will be sent gratis upon request church purposes. Descriptive catalogs of piano collections or theoretical works tell us your needs and let us send you a package of material to select from. You A selected graded list of pieces in sheet and musical literature may also be obtained. Tell us the branches in which you pay only for what you use and return the remainder. The same large dis¬ are interested and state whether teacher, performer or music lover. count allowed as though the music was purchased outright. THEODORE PRESSER CO., mKydehousuesic Philadelphia, Pa. Paige 76 FEBRUARY 1922 THE ETUDE -ANNUAL SUBSCRIPTION, $2.00-
A Special Music Club Number = OF; THE ETUDE FEBRUARY, 1922 Single Copies 25 Cents_VOL. XL, No. 2
War Tears Down: Music Builds possess a fine academic high school and college training, will be at a disadvantage in competition with his equally gifted Here is a wonderful story of the power of music: but adequately trained rival. Etude Music Magazine A short time ago a young Jewish student came into our Take the case of the professional musician who desires to office inquiring for a vocal teacher. He was pale, serious, teach in a college or university of standing. There are- now earnest. He had been working at an art school and had won numerous musicians in such schools who have had scant colle¬ several prizes for his excellent productions. Incidentally, he giate or academic advantages. They have had fine conserva¬ showed us his right hand, most of it had been shot away “some¬ MARCH 1922 tory training and are able musicians. However this may be, where in France.” In addition to his mangled hand he reported it is impossible for the other members of the faculty of a col¬ that he had been shell-shocked. This He did not realize until lege not to look with distrust upon the man who has not had he lost consciousness one day in the street. Medicines, rest, an academic training,—until they become acquainted with the electricity, everything was given to help him; but nothing individual and are assured that he has, by his own study, ac¬ The Largest Edition of Any Music Periodical Ever Issued availed until music was tried. It was music that brought back quired an equivalent. his mind from the shambles and made him again a citizen. This is one of the main reasons why Music as a collegiate Uncle Sam is now paying the bills for him while he. gets TPHE wide-spread interest in Music Clubs in all parts of the United States, the re¬ subject in many schools received a cold shoulder in bygone a start in his new life. days. Of course in some schools there was unquestioned down¬ markable accomplishments of The National Federation of Music Clubs with Is this an isolated case? By no means. In London there right jealousy of the music department because it produced is an organization known as the Vocal Therapy Society, under 300,000 members, will make this an issue of paramount importance. such a large revenue. Now that music is being admitted to the patronage of H. R. H., the Duke of York, with an execu¬ the largest colleges on the highest'possible basis this prejudice The foremost clubworkers of America who have been successful for tive committee including many of the most distinguished Brit¬ is disappearing. Nevertheless, the musician who expects in ish medical men. This society, which depends upon voluntary the developments of the club ideal will contribute able articles upon the future to hold a college professorship should not fail to contributions, has done a wonderful work in helping to restore get a college education. men nearly annihilated by the war to a normal condition. It Sir Robert Prescott Stewart (1825-1894), Professor of depends first upon song, then upon exercise, speech, breathing The History of Music Clubs in America How to Conduct a Music Club Music at Dublin University, was the first to require that the and allied treatment to help the men whose nerves are wrecked. examinations for musical degrees also include the so called The Great Club Movements of Today How to Organize a Junior Club In this way it is expected that thousands of men will recover and “literary” subjects. This example was followed at Cambridge be saved from a life of invalidism. and the musical tendencies of the future will unquestionably How to Organize a Music Club How to Make Club Programs Lieutenant Colonel Sir Frederick Mott, M. D., a great be toward the higher general education of musicians. English nerve specialist, says in praise of the work done by the How to Manage Club Entertainments staff of music teachers furnished by the Vocal Therapy Society: “I am convinced from my experience at the Neurological In f°ct> noting will be omitted to help in fostering the splendid work done by music Hospital that voice training and choral singing of good music What is “Good” Music? clubs in all parts of the country. y mustc have proved an excellent health restorative to the nervous system Everybody has heard the reply charged up against the of soldiers convalescent from war neurosis. Kentucky colonel who when asked how he told good whiskey “Singing is an uplifting mental diversion, tends to banish replied: “My dear sir, there isn’t any really bad whiskey.” “What is the Greatest Work Our Music Clubs Can Undertake?” from the mind all the terrifying reminiscences of the war, and “How can we tell whether music is good or bad ? Dr. A. T. the fears for the future; it thereby promotes that joie de vivre A Nation-wide Symposium representing the consensus of opinion of many of the ablest m A - Davidson, of Harvard, recently made an address in Boston in so essential for bodily and mental recuperation.” ested in American Musical Progress. Important replies have already been received from mter" which he attempts a definition that is worth reading. Several other noted English physicians give similar testi¬ “Although there are multiple definitions of good music, Leopold Auer George W. Chadwick Ossip Gabrillowitsch Alberto Jonas mony. The headquarters of the society is 27 Grosvenor Place, one factor at least is essential in them all, namely, that of per¬ Mrs. H. H. A. Beach Mario Chamlee Josef Stransky Rudolf Ganz Leonard Liebling S. W. I., London, England. manence. For music, indeed, is very much like friends; it takes Edward W- Bok Frank Damrosch Percy Grainger John Luther Long Leopold Stokowski Lucrezia Bori time to get acquainted with really good friends whose influ¬ Thomas A. Edison E. de Gogorza Josef Lhevinne Charles E. Watt Sophie Braslau ence and spirit never depart from us. How barren a thing life Florence Easton Charles Hackett Giovanni Martinelli Reinald Werrenrath would be if human contacts were limited to acquaintances, and Charles Wakefield Cad- Arthur Foote Orville Harold James H. Rogers College Training for College Professors John C. Freund Fannie Bloomfield Zeis- friends did not exist; and yet this is precisely the state of our W. J. Henderson Marcella Sembrich ler Some of the most amazingly uninformed men and women we William C. Carl Amelita Galli-Curci Josef Hofmann American popular musical experience. The much-heard music John Philip Sousa and many others. have ever known have been graduates of colleges of high stand¬ ing. Every once in a while the Editor receives a letter from a of today is gone tomorrow, and its place is taken by something college graduate showing the chirography, the mentality, the else equally transient. The permanent, the simple and the valid, are a closed, or at best a half-opened book. Advise your friends who are music dub vacuity, and the inanity of a stupid youth in his early teens. Etude Music Magazine solicits the enthusi¬ “I know from my own experience and from the experience members, or if you are a music dub member On the other hand many of the best educated men we have ever astic cooperation of all its friends in making this your fellow dub workers, of the interesting met have never had more than a common school training at the of those with whom I have worked in school, camp and commun¬ special issue of assistance to the club movements things the March issue will give them. J start. Lt. Comm. John Philip Sousa, U. S. N. R. F., erudite ity, that association with good music yields a higher degree of [ which haive been of such enormous importance in Remember also the advisability of placing by dint of hard self study is one evidence of this. Few college happiness than is secured by contact with what we are pleased to developing the musical interests of our country. an advance order with your dealer for this issue professors are in the same class with him in the matter of gen¬ call “popular” music. This I know for a certainty. Although I lf you are not a regular subscriber. eral cultural information. Dr. Russell P. Conjeell, who has cannot prove to you that good music stimulates the mental cir¬ founded a University, and educated thousands of young men culation and tends to build up the spiritual fibre, I firmly be¬ and young women out of his own earnings as a pastor and a lieve that it does. In fact my feeling about the relation of good lecturer, recently stated that he had been investigating the music to life in general seems to me to parallel the relationship ETUDE MUSIC MAGAZINE, «■ Philadelphia, Pa. cases of over four hundred prominent American leaders in of faith to religion. I believe as strongly in the beneficent many walks of life who had never attended college,—yet who power of good music as I believe in the certainty of immortality. were really well educated men. Good music “will out,” if you give it a chance, and once a Notwithstanding all this, anyone with vision can see that part of American experience, it will prove a vital force in our the time is coming in America when any man who does not common life.”
77 FEBRUARY 1922 Page 79 THE ETUDE The Most Remarkable Pianoforte Recital Ever Given would seem that nearly half of our accomplishment is due to One of the ingenious tricks e Grieg’s Tune House What was unquestionably one of Edward Grieg built a little one room house at. convenient the assistance of aliens. the mos* unusual pianoforte recitals £. Review Made Expressly for The Etude walking distance from his home. There he had a piano, a writ¬ In the period from 1750 to 1880—one hundred and thirty ever given took place at Carnegie Hall __ and lend the sympathetic v_ in New York on the evening of Dec¬ tions of the undamped strings of their ing desk, some favorite books and music, and there the tunes years—there were 335 native musicians worthy, of record, and By THE RECORDER instrument like a giant pedal effect. 350 foreign musicians. In the period from 1880 to 1920, there ember 21st, 1921—an epoch-making The result was Indescribably sonorous came that he was to put down for the delight of future genera¬ date. On that occasion fourteen , and beautiful. tions. were 690 native musicians and 430 foreign musicians. Thus it pianists, every one of whom has filled the great audi¬ would seem that during the last forty years music in Ann rica torium at individual recitals, came together in a beautiful The evening was not without humor. This came when Perhaps it has been the desire of almost every crea¬ is making for larger native recognition. altruistic movement to assist in preventing Moritz Bauer, Schelling and Gabrilowitsch sat at one piano to tive worker to have a little soul home where he could be all by play a six handed arrangement of the overture by However, it is very clear to all that the matter of indi¬ Moszkowski from sharing the fate of Mozart and himself in his moments of communication with the forces that Schubert. When Schubert closed his eyes in 1828, in the Rossini, La Gazza Ladra. Gabrilowitsch dropped from viduality plays the most important part in all such compula¬ inspire the mind, and communicate to it those things which are very golden years of his young manhood, all that he left his usual serious demeanor and played some runs with a tions. A Percy Grainger, a Josef Hofmann, a Stokowski, a for immortality. —his clothes, his bedding and a little old music, amounted comic little twist worthy of the son-in-law of America’s Courboin, or a Galli-Curci contribute infinitely more to Ameri¬ to about ten dollars. Yet he bequeathed the world greatest humorist, Mark Twain. This was greeted with MacDowell at Peterborough, built himself such a house as bursts of laughter from the audience. can musical advancement than a whole army of the “small fry” spiritual millions. Mozart’s fate was even worse for had Grieg, and now Mrs. MacDowell has carried out the same they laid him away in a pauper’s grave. It was with The Valse, by Arensky, played by Bauer and Gabril- celebrities included in such a book. On the other hand, a idea. The retreat for art workers she has built in memory of joy that the Recorder witnessed the splendid altruism lowitsch was done so exquisitely that it was followed James H. Rogers, an Arthur Foote, a MacDowell, a Chadwick, of the great pianists of the day, who took .such pains by a little sigh of delight by almost every auditor. It her husband, by dint of her own enormous labors, is marked by a Mrs. H. H. A. Beach, a John Alden Carpenter, a Thurlow tb give the wonderful recital which amazed all who is hard to forget the exquisite purring accompaniment a cluster of such little buildings in the New Hampshire woods. Lieurance (who by the way is not even mentioned in the new heard it—especially those who came expecting a kind of of Bauer or the mellow legatos of Gabrillowitsch. Beethoven sought the beautiful hills around Vienna in pianistic circus and went away impressed by some of Hutcheson and Grainger added a vigorous Anglo-Saxon volume despite world-wide recognition given to his beautiful quest of solitude. Most of the really great composers have the most beautiful piano playing ever heard. touch to the program by the performance of the latter’s songs), are worth far more to our musical treasure house than Children’s March, an extraordinary fine piece of con¬ found this essential for concentration. Many of course, like dozens of foreign musicians mentioned in this admirable work. The hous trapuntal and harmonic treatment in Grainger’s masterly Schubert, Handel and others mastered the art of closeting wi», n packed like a veritable Christina! Other interesting figures given by Dr. Pratt in this vol¬ the enthusiastic piano lovers of New York, h style. themselves in a crowd so that they could turn out masterpieces whom stood throughout the entire evening—and Lhevinne, Bachaus and Schnitzer all won well de¬ ume, which all American musicians should possess, are: Sixty- not have been willing to stand tor | jfttt at a table in a crowded inn cert? What an audience it was! served applause for their inspired interpretation of the four per cent, of our American composers have come from the around he could not help being imp the fact that Much of the best English written in America to-day is if the house had burned down_ that night - great part of Moszkowski works. Each artist, in fact, received an New England and the Middle Atlantic States in the past. Dur¬ nt-day pianodoin wiped k out com- ovation. _ done in newspaper offices which have about the same degree of ing the last ten years, however, the tables have turned, and other of the extraordinary event. seclusion one might find in a boiler factory. Yet the real mas¬ i Pianist The big number of the evening was. of course, the Schu¬ parts of the country have produced 52 per cent. Of the for¬ ted by distance,.. _„tS' letters and subscripts mann Cat-naval. For this the artists had previously drawn ter pieces, the things that go down through time with the obe¬ . _n Rudolf Ganz, Josef Hofmann, Pi lots for the purpose of determining which one should play eign musicians listed the Slavic countries have produced only certain numbers of the Carnaval. This resulted in a won¬ lisks and the pyramids, will not be written in the hubbub of a rewski and Bloi nfield Zeisler. 8 per cent., the Latin countries 20 per cent., Germany, Bohemia derful distribution of the parts and the effect^ was that of modern city turmoil. There are, of course, exceptions which The appearance of the instruments upon the stage was and Austria 37 per cent., Great Britain, Holland and Scandi¬ prove the rule. startling, to say the least. Looking down upon them navia 35 per cent. '"""'entire* coterie^joined in Possibly one of the reasons why the tutorial system of ed¬ from the boxes they could be Compared with nothing better than huge animals—great pianophants, fourteen elusion. Mr. Damrosch ucation in British Universities has produced so many remark¬ over this master-pianist What is Your Favorite Hymn? of them, arrayed upon the, stage. ml forty fingers obeyed able scholars is that there is less of the confusion of the crowd¬ Imagine fourteen incomparable grand pianos of lestral performers, was delightful from be- ed class. This is also the reason why so many of the smaller It would be most interesting to have a statement of different makers all upon one stage at one time! Know¬ .s he went to the stage country” colleges often outclass the big metropolitan univer¬ opinion from a very great many readers of The Etude as to ing that their wares would be subjected to the critical ling to each performer his pitch their favorite hymns. sity in their product. The axiom is obvious: The more dis¬ opinion of one of the most unusual of audiences, they d the occasion to which naturally sent what were doubtless the finest instruments energy as a historic op- traction the less mental concentration. Suppose, that some time next Sunday, when you have a I something for the fnr- few minutes, you add to the interest of the day by sitting ever manufactured. cal art—and lost, alas, Recently we visited a huge conservatory in a mid-western 8 Spanish Dances for four hands.Moszkowski down and making out a list of your ten favorite hymns in the town. As one approached the building there was a kind of hum BACHAUS, BAUER, CASELLA, FRIEDMAN. lcert' Mr. and Mrs. Ernst Schelling. who order m which you appreciate them, and send the list to us The players appeared upon the stage in the follow¬ GABRILOWITSCH, GRAINGER! IIUTt IIESON, or roar such as one notices approaching Niagara. On the top LAMBERT, LHEVINNE, MERO. NEY, ORN lined the pianists and friends at their rnag- with your name and address. ing order: STEIN, SCHELLING, SCHNITZER, STO¬ floor Patti II and Caruso III with fifty of their kind were sol- JOWSKI. We shall be glad to take these lists and make a compilation Q Valse .Arensky feggioing at the top of their lungs. On the next floor as Walter Damrosch, Conducting HAROLD, BAUER AND OSSIP GABRILOWITSCH^ which will be of great interest and value to organists, clergv- The following letter received from Mme. Amirien many Kreislers, Elmans, Paderewskis and Bauers were working Schelling Ney is printed as a message to the many Etude readers who men and music, m determining what the music-lovers believe to 10. 1Ig^JI2u^alBOhio. It was made eson, Lambert, Lhevinne. Mero, Schelling and Stojowski. are administering to the master’s medical and domestic possible for students working under such a system to receive a Incidentally, the program would have been quite impossible MASON & HAMLIN PIANO used by : Bauer and Gabnlo- needs. larger return for their money in this way. Yet such students BmoWvn^ OfaSt°r S* Memorial Church in with a less resolute e ndnetor than the amiable but severe Brooklyn. Of course, the hst of one particular congregation Dr. Damrosch. He told the Recorder that never m his Hie CIHCKERING PIANO used by: Ney and Schnitzer. Dear Sir: should know that they should endeavor to get a place for prac¬ had he had an orchestra more difficult to lead. Imagine ICNABE PIANO used by: Ornstein, the task of bringing together under one common impulse BALDWIN PIANO used by: Bachaus and Casella. Will you accept, with Mr. Presser, the sincere thanks tice where they will be as little disturbed as possible. Trlnf rC1 1 te 8e\eCui0nS made ** -e P&stors and f mrteen outstanding personalities, n of Mr. Moszkowski, who has just received another played together_ prior_ f-__s “■*-- concert. The Recorder learns With the little beginner, ten minutes of undisturbed prac¬ country a^a whTle. ' rePresentative of & sects of the 1 during the rehearsals it was felt impractical to check from you of 1,718 francs. Obviously it would not be possible for us to compare tice is worth an hour of fumbling with the keys in a room filled In other words, the irate Walter threw down I greatly admire your magazine, “The Etude," which We hope that enough of our readers will respond to this l. However, with much patient persistence the the playing of the individual artists, but please do not with chattering relatives. ng ensemble passed off with a precision and sonor- I always read at Mr. Mosskowski’s. I think that you so that a representative “music lovers” list may be made. Write was amazing. Here is the program : forget that the artists themselves did not fail -to realize are accomplishing a superhuman task in succeeding to that everyone in the audience was, in all probability, your rePly upon a postal if you choose, but in every case state interest your readers in the cause of this great artist PROGRAMME making comparisons. It was inevitable that they should, and this effort will probably be necessary, unfortunately, Really, How Musical is America? and it was just this which, undoubtedly, made this tLte P 7 WhicK J0U haVC chosen your selec- as long as he lives. one of the most amazing performances ever given. The sixth volume of Grove’s Dictionary is devoted to . Variations for two pianos on a theme by Beethoven^ Thank you a thousand times, dear Mr. Editor. I 1. Abide with Me, Fast Falls the Eventide. It was Berlioz, was it not, who employed a whole bat¬ American music and musicians (together with a few additional BACHAUS. EWER, CASELLA, FRIEDMAN,. admire, if possible, still a little more, this great Ameri¬ 2. We May not Clivtb the Heavenly Steeps. GABRILOWITSCH, HUTCHESON. LAMBERT, tery of pianos at one of his concerts? There, however, biographies to bring the work as a whole up to date). LHEVINNE, MERO, NEY, SCHELLING, the object was largely for instrumental purposes. The can nation, seeing zeith wliat pious tenacity it knozvs 3. When I Survey the Wondrous Cross In the Chronological Register at the beginning, Dr. Waldo SCHNITZER, STOTOWSKI. French wizard wanted new and unusual effects and how to honor the great names of musical art. 4. Rock of Ages, Cleft for Me. !, Two Etudes from Op. 04. . . :... .Mosskowi Selden Pratt, editor of the work, gives some interesting sta¬ chose to get them in that way. There have also been 5. Nearer, My God, to Thee. tistics regarding the nationality of the musicians of our coun¬ times when many performers and many pianos have The editor of "The Etude" requests me to state that 6. Faith of Our Fathers. been used as sensations at pupils’ recitals, but here the he has been fortunate in securing a number of additional try from the eighteenth century to the present time. In his 7. In the Hour of Trial, Jesus, Plead for Me GERMAINE SCHNITZER ^ condition was entirely different. Only such a cause as souvenir cards zvith the half-tone portrait of the master Chronological Register he has attempted to list those, whom in 8. Jesus, Lover of My Soul. helping a great master in distress could have induced and a genuine signature zi'ritten in person on each card his judgment, deserve recognition in such a volume. The result these world famed virtuosos to take part in such a pro¬ by Moszkowski himself. As long as these last, one card 9. O Love that Wilt not Let Me Go. Prcambule, Pierrot, Arlequin, Valse Noble, is an invaluable contribution to American musical records. Eusebius, Flmstim. Coquette. Reylique, gram. will be sent to each “Etude’’ reader contributing one dol¬ 10. Jesus Calls Us, O’er the Tumult. However, such a list is always open to criticism no matter how riuti. Chopin. Estrella. Reconnaissance. Pau- Once committed to the work they all realized that they lar or more to the Moszkozvski fund. Make checks to tolon it Colombine. Valse Allemande, Pay were about to undergo one of the severest of possible “The Etude.” The Recorder is informed thht those who good or how complete. We have a very strong feeling that ,111 ini. Ami. Promenade,^ Pause. Marche lies tests. One of the artists said to the Recorder, prior to haz-e received these cards are delighted and proud to there are conspicuous omissions of Americans of large achieve¬ Our Club Issue Next Month BVCHACS. BAUER. CASELLA, FRIEDMAN, the concert: have a veritable autograph of the great musician. Tzvo ment. Such is the case however with all such compilations, no GABRILOWITSCH. HUTCHESON. LAMBERT, “I am never nervous, but this is different.” autographed etchings of Moszkowski were sold at the LHEVINNE. MERO. NEY. ORNSTEIN, SC1IELL- matter how sincere and industrious the editor. ING, SCHNITZER, STOJOWSKI. New York Concert. One brought $125.00, another Dr. Pratt lists 905 names of native born musicians of Of the Eiiseml $150.00. fssuPmnThS1 "ext month with our special ™li?b PROGRAMME than Moszkowski’- prominence and 780 of musicians of foreign birth. From this it pianists. Every fairly adv published lafgeSt edltlon of a musical magazine ever regularity of certain rapid passages. In these passages tile Moszkowski has the reputation of being one of the i. (a) Etincelles .Moszkowski famous pianists played with such precision that the effect wittiest musicians of his time. Sigismund Stojowski, (b) I.a Jongleuse .Moszkowski - — ips 0f well-graded unison. In the Marche Mihtahr WILHELM BACHAUS „ . . .11 in the second section was so even and who knew him well, tells of an amusing incident in T.n fijizza Ladra. for piano—six hands.• • . Rossini . ~ -*■ was like one huge Hamburg. When von Bulow visited Hamburg he was BAUER, GABRILOWITSCH, SCHELLING overlapping and all n exquisitely clear. Page SO FEBRUARY 1022 THE ETUDE FEBRUARY 1922 Page 81 Light not to com- known everywhere, being taken up in various edition* aud THE ETUDE asked for a sentiment to place in a famous autograph his mind by suggesting tl album of a semi-public character. Von Bulow wrote rith Beethoven ; he would ° r„diSeCti°I a7Sl" ihis as the one of my works which iirst Made s in this respect and pa Vi wistU to be me known to the musical world in general, hi course, the Hitch. Beethoven, Brahms, tous Ics autres sont cretins thdrew, tolerably well si at least, 10 plU,iish,.r profited largely by it and all because Philip,, (Bach, Beethoven, Brahms, all the otheis are fools) d several weeks Scharwenka had no tobacco and could not lend me any The Remarkable Mind of Camille Saint-Saens Moszkowski passed through Hamburg later and was 'later they were money. Delibes. It will be a long, long time asked for his autograph. He looked casually back “Saint-Saens died December 16th, Passing of the-Great French Composer at Advanced Age. before the world produces another through this book until he finally came to the above at Algiers.” such multiple musical genius as Saint- quotation, when he instantly wrote in the best of humor The Spirit of Chopin Thus ran the cable which set the A Review of his Work as Reflected from some of his Writings, Mendelssohn. Meyerbeer. Moszkowski, tous les autres whole musical world to thinking about made peculiarly vivid by profuse use of semitones and and from the Writings of his Friends. sont cretins (Mendelssohn, Meyerbeer, Moszkowski Various attempts have been made to catch the spirit the career of one of the most remark¬ His works include twelve operas, of all the others are fools). of Chopin and express it in a few words. Few have accessory notes of all kinds, which do not form part able of musical masters. which the best known is Samson and either of the harmony or the diatonic scale in which Delila; much incidental music, one Iznaz Friedmann tells another amusing Moskowski succeeded as well, as Sir Hubert Parry in his classic His very long life kept his personality Prepared by DR. ALLEN J. EASTMAN s'ory. When the composer was asked to compare the work, The Evolution,of the Art of Music, from which the passages occur. It gives a peculiarly dazzling, or¬ before the public in such a way, that it hundred and fifty opus numbers, in¬ music of the old Italian masters with that of the the following quotation is made; iental flavour to the whole, which, joined with a cer¬ was hard to realize that his career cluding his Symphonic Poems, his ex¬ tain luxurious indolence, a dreaminess of sentiment, cellent panoforte concertos; a considerable number of present day, he replied, cynically: “The Italy of Yes¬ “But by the side of the school of virtuosi, and in began long before many of the present generation were A Vivid Personal Picture of the Master terday was famed for Bet Canto—that of to-day for touch with it, the spirit of Chopin has laid a spell and a subtlety of tone, makes Chopin’s the ideal music born. Samson and Detila, which seems to many, one of works without opus numbers, in which, by the way, is mal-aria.” (bad arias). upon musical people all the world over, and has for the drawing-rooms of fairly refined and pros¬ the operas of the day was actually produced nearly fifty A very graphic glimpse of Saint-Saens is given (in included his ever popular Le Cygne, for ’cello and piano. 1916) by Mr. Louis'Lombard, the brilliant French-born In addition to his many contributions to musical maga¬ Harold Bauer in giving his recollections of Moszkow- coloured a singularly wide range of musical activity perous people. But there is enough of genuine human¬ years ago. American-made multimillionaire, banker-composer, who ski tells of the newly rich lady who approached him in all countries. His circumstances were specially ity and dramatic feeling to make his works appeal to In his youth Saint-Saens, (like many other zines and scientific -periodicals, Saint-Saens actually knew Saint-Saens intimately, find entertained the com¬ and said, “My dear Mr. Moszkowski, how long is an suited to the necessities of, the moment. a larger public than mere frequenters of drawing¬ later acquire great vigor through careful living.) wrote, and had published, no less than fifteen books, poser at his palatial home, Castle Trevane, in Switzer¬ eighth note?” “Twice as long as a sixteenth note,” “The Poles are peculiarly different from the more rooms. There are even passages of savagi r\. SUch a consumptive. Living to the age of eighty-six - large and small, including a collection of comedies and replied the pianist, “Yes, I understand,” replied the happily regulated races of the western part of Europe; as those in the polonaises in Ab and FS minor, which remaining capable of continuing his professional work land. a collection of verse. It is in such works as these, that the life of the man may best be interpreted in print. lady, but how long is a sixteenth note?” Being at a loss and the fact of having been unfortunate in their rela¬ sound like some echo from a distant country, anil ring in an astonishing manner to the last, Saint-Saens, “I have met Saint-SaSns in three continents. lie has to explain this the lady persisted, “But, my dear Mr tions with their most powerful neighbours has inten¬ of the proud fervour of patriotic enthusiasm. placed himself in a class with Verdi, who lived to the traveled repeatedly through North and South America, Eu¬ With this in view, the writer has been requested by T he rope, Africa, and parts of Asia. Frequently he wanuers Etude to make a series of selections from his various Moszkowski, I am most anxious to know the exact sified. nationalist feeling. Such feeling, when re¬ “The “Ballades" and (jo-called Sonatas and Scherzos age of eighty-eight, and Atiber, who lived to the age of into outlandish places. I recall ashing why he went away length of a sixteenth note. Won’t you kindly play me pressed, generally hursts into song, and very often into eighty-nine. One of his amazing accomplishments was from the civilized centers during the musical season, ven¬ works and which follow : convey a rich variety of moods and effects on a con¬ turing to remark he might like to know what is being very expressive song; and in Chopin’s time every¬ siderable scale, while the nocturnes, and sonic f the that of making a concert tour of America at the age by other ■ered : ‘That’s just what I do Is Melody More Important than Harmony ? One of the finest manifestations of Moszkowski’s thing combined to enhance the vividness and individ¬ of eighty, and afterward of South America, at the age > do! wish to be influenced by the “A melody alone, a rhythmical melody, may, under preludes and mazurkas, exactly hit the sensuous per¬ music of others.’ And hi right also for another reason : humor is to be found in his description of how he wrote uality of Polish music. Chopin, with Polish blood in ceptions which arc so highly developed in modern life. of eighty-one. ’tis best to go direct to Nnnne “ - “™ - i His journeys certain circumstances, rouse an audience to enthusiasm. Saint-Saens (his full name is Charles Camille Samt- away from cities, away from the ‘hum his Opus 12. It appeared about twenty years ago and his veins, and brought up in pure Polish surroundings, Fortunately, with Chopin the general departure from But what sort of an audience! An audience of persons Saens) was born in the Latin Quarter of Paris, Oct¬ have borne delicious fruit. Faithfully *.«= .... the Recorder is fortunate in finding a good translation absorbed the national influences from his early years. sonata lines was no result of theory, but the spontan¬ the strange and picturesque local colors he beheld in far- who, in consequence of their moderate musical endow¬ ober 9th, 1835. He was an infant prodigy of an excep¬ of the entertaining article in an old issue of The "Under such circumstances a national dance becomes eous action of his nature. His music was a s|>"iitan- off lands. ... , ments, cannot raise themselves up to the understanding tional character. His music lessons commenced at the ‘■Apparently sixty-five years old, though over eighty, be¬ ETUbE. Herewith it is presented to another generation. a vital reality of more than ordinary calibre. A eous utterance of a poclic and sensitive disposition.' low the average height, strong, rosy-cheeked, with large of harmonic beauties. This must be dear to everybody. age of two and a half years. At the age of five he mazurka was a rhythmic expression of the national in the terms ideally suited to the instrument whose nose, very brilliant eyes, nervous, enthusiastic, bluntly out¬ Such a public one finds among the ancient and oriental Moszkowski’s Own Account of His First Success commenced to compose, at ten, lie gave his first public spoken, sincere, fearless, a deep thinker, with an encyclo¬ fervour. A polonaise symbolised the exaggerated ' innermost capacities he understood more ihurmighly paedic memory, nimble as a cat on his physical and mental nations, and among the negroes in Africa. They own I think it was about the middle of my seventeenth glories of the Polish ■ chivalric aristocracy. Music concert in the Salle Pleyel, in Paris, playing a Concerto feet, endowed with unusual common-ser— -* up to a childish, meaningless sort of music. The ori¬ than any one else in the world. I left him a year that, as often happens to both old and young which v .vivid and direct, and had such touch of of Mozart and pieces by Bach, Handel and Beethoven. common of ail —. s is- S lt-SaSns entals are quite advanced in melody and rhythm; har¬ "Design of a classical kind was comparative!\ 1111111- the Sun Francisco Bohemian Blub, last surami musicians, I was sore in need of money. I could think savage, fervor, was not of the kind to go satisfactorily His first teacher was his great-aunt Charlotte Masson. ^ ••In Switzerland, a few years ago, T mony, however, is still an 'unexplored field for them. portant to him. He did not know much about it But ot only, two ways to get what I wanted: to borrow mto sonatas. There needed to be very little intellect¬ Later he studied with Stamaty, (piano) ; Benoist, (or¬ conduct a symphony orchestra,' and play with the fire As for the Greeks and Remans, all efforts to prove them he most frequently cast his thoughts in single forms youth one of his concertos upon the organ and another or to compose something. After turning over, for sev¬ uality about it, but a great deal of the rhythmic ele¬ gan) ; and Halevy (composition). Twice he completed to have been possessed of a knowledge of harmony, have sucl) as that of the nofcturnc -which F in the piano. eral days the advantages and disadvantages of both ways ment and of poetic feeling, and, these things Chopin ought at the Conservatory for the Grand Prix de Rome and ‘This aged philosopher enjoys hurac_ _ the boisterous- only led to views to the contrary. successfully into vogue just before • ■ s of a boy. To illustrate..... h._ unsatisfied with his own of bettering my circumstances I concluded to borrow failed both times. From 1853 to 1858 he was the how perplexingKjpmn it- „is 1-o jot dov “The development of harmony marks a new stage in was eminently fitted to supply. ordinary forms of the dance. When he struck out a re a composer may 1- v~• Therefore I went to those two of my colleagues with organist at St. Merry. In 1858, he took, what was then, _ I related that, in the silen the great mental appeal of humanity. Much diligence “On the other hand, his sensitiveness was acute even form for himself, as in some of the best preludes and composer had just whom I was on the most familiar terms, Philipp and the finest organ position in Paris, at the Madeleine, hold¬ ized with the has been bestowed upon the study of the question, to morbidity; and being less gifted with force and studies it was like a poem on new lines. But the Xaver Scharwenka, in the hope that I should not find ing it until 1877. Since this time composition and the s crescendo grewB..,. --—1< suddenly, he whether harmony was' born from melody, or melody energy than with excitability, he applied himself in¬ methods by which they were unified were much the .ered his left ear, and then the right, step by step their fortunes at so low an ebb. concert stage have taken up his time. In 1891, he gave bucking away from his manuscript with eyes, all the while, begotten by harmony. ‘Love’s labor lost!’ Both are stinctively to the more delicate possibilities of his same as those employed by J. S. Bach in his preludes. Philipp was at home, sitting on a sofa and smoking his household effects to the Museum at Dieppe (his transfixed upon the offending crescendo marks. ’Too loud descended from the mother of all—Nature. But while instrument. With him ornamental profusion was a Only in respect of their much more vivid colour, and vet, too loud !’ he exclaimed, then listened an instant. Still a pipe. I sat down by him and asked if he had a father’s birthplace). This collection has been increased that vexing thing sounded too loud. Twas only after the wildest nations could understand melody, and were necessity; but, more than with any other composer intensity of feeling for modern expression, do they cigar. He said he was out of cigars, but that I could until a very large memorial collection has been assembled. walking out of his room far into the hallway that the effect more or less capable of cultivating it, harmony was excipt Bach, it formed a part of his poetical thought. differ from the far more austere master. Of the de¬ began to appear just about right to the finicky ear of his smoke a pipe. So I took a pipe and looked around for His honors and distinctions have been unusual. He has imagination. As I finished, you should have heard Saint- destined to spring up only in the sun of the cultural "W ith most of the player-composers who cultivate gree 111 which expression is emphasized rather than tobacco, but sought in vain. Finally Philipp said: the Grand Croix of the Legion of Honor, (the highest Saens roar: ho was so convulsed with laughter that he awakening of nations, and fructified by that particular virtuoso effects the brilliant passages are purely form there can hardly be a question. But when the almost slipped out of his seat. ... “You needn’t hunt any longer, Moritz; there is no honor). He has been elected a member of the Academ¬ “At a rehearsal of the opera Proserpine I remarked how mental flucture, which we designate as the Italian tobacco here.” mechanical, and have little relation to the musical form is original it is extraordinarily well adapted to thorough he was in the minutest details of orchestration, ies of France, Belgium, Prussia, Sweden and Spain. Renaissance. Then I began to grow a little angry, and said- “Do matter in hand. With Chopin the very idea is often ^ style of the expression; as, for instance, in the adding that much of that dainty filigree writing would be Cambridge University made him a Doctor of Music, m opera audiences. ‘I cannot help it,’ he replied, "It is quite correct when some people say: ‘O lly you know, Philipp, that is drawing it rather strong. stated in terms of most graceful and finished orna¬ preludes in E minor and D minor, where the form and ‘When composing,lposfng, :I always try to write music.’ ” (1892). In 1907, he was present at the unveiling of a application and practice are needed in order to be able You offer me an empty pipe, let me look for tobacco mentation, such as is most peculiarly suited to the expression are as closely wedded as in the most skill- to write well-sounding chords, while a beautiful sing¬ statue of himself at the Grand Opera in Dieppe. An Estimate in vain, and then coolly tell me there is none here, and genius of tile instrument. ful and condensed poetical lyric. But such types of able melody is the creation of genius.’ But one might Although Saint-Saens’ works are very uneven in their yet you yourself are smoking. Give me some tobacco.” "Beethoven had grown piore and more conscious of design C°U d be expanded int0 great schemes of Saint-Saens a Teacher with the same justifiableness, maintain: ‘One needs only the suitableness of very rapid notes to the pianoforte quality and in their sustained interest, it is the opinion Few musicians ever traveled as extensively as Saint- a certain aptitude, in order to create a mellifluous melody, as his experience and understanding of the instrument of many that he reached the greatest .musical height largest WOrks in original f°rms are the Ballades, Saens. He was not satisfied with the countries that while beautiful successions of chords are deeds of a mcreased, and he had tried (in a different manner and these are as unlike sonatas as any. The whole attained as yet by a French-born composer. He was a genius.’ Beautiful melodies and beautiful successions of have aligned themselves completely with Western civil¬ bless with nstonishmen from Chopin) to achieve the same ends. But the re¬ kind of combination of the orchestral skill and finish of chords are alike emanations of inspiration. And who nr that I entlcl not bor S'°Yf hlS,,WOrkS is a" “'^ration of the wide ization, but the East and its charm had a very great serve and grandeur of his style did not admit of the spread of possible variety which the new departure Berlioz, the melodic gift of Gounod and the executive has not often perceived that a good deal more of brain big his sofa for smok fascination for him. He visited almost every country t my table, and begann tot look through my sort of ornaments that CliOpin, used; for these are skill of Pugno, and with the pedantry of Gevaert, with is needed for the composition of fine harmonic succes- made inevitable’’ ^ eXPreSSi°n’ aftCr the formaI ^ on the globe and his vacations often found him very ■ the thought that I here and there a touch of the Boulevard lightness of t Spanish dance i. I worked rapidly, far from France. His first visit to the United States was in 1906, when How Rubenstein Drowned Out the Orchestra * for four bands. I had only the last few notes as Anver Scharwenka stepped info my room. More Reasons Why She Couldn’t Hold Her Pupils he came as the representative of the French government “Rubenstein came to Paris each winter, his success aot that you would when playing over a new piece for the pupil, she of Lohengrin, Tannlumscr and Tristan and Isolde to him conceivable sort. Never was I able to obtain the music not have had t s only a return stumbled on a.certain measure, she would stop short, to hear them played. On the other hand, Saint-Saens, not merely a man of great ability but in advance. It was so amusing, he said, to see me wrest¬ thrust. and gravely say, “Oh, yes, I wish to point out this part 'rZl‘tZZ °‘ *** had the greatest admiration for the genius of Franz essentially a practical man. Very particularly, and so forth. Because she failed to inspire the pupil with the ling with these difficulties! Also, while he was playing, An hour later I called ot Simon, the publisher, who Liszt and emulated that great master in writing in the promised to let me know i Recause she invariably ignored the question “Why” dignity and earnestness of her profession." In many branches of the art he he never concerned himself about the orchestra accom¬ a few days if he would symphonic poem form, some of the very finest examples panying him. It was necessary to follow him at hap¬ bring the pieces out. When I saw him several days (“Why” is the trade mark of intelligence.) Because she was lacking i„ enthusiasm. rose to the highest pinnacle. of the kind. hazard, and at times such an immense volume of tone later lie saiu he had shown the pieces to several exper- Because she had one eye and one ear inclined to the 1 EC,AUSj fhCt WaS n0t note-perfect in the little things pupil, and the other eye and the other ear to the His rare mind reached out into many scientific fields. Not satisfied with this he essay¬ ar,ose from the piano, that I could hear nothing, and had ienced critics and they, had advisd him to take them. she played before the pupil, bluffing out of it in this His great hobby, after traveling, was Astronomy, and only the sight of his fingers on the keyboard to guide . The question now was what I wanted for them. members of the family. (The real teacher has eyes and way, that teachers are not always performers.” ed writing and became an eminent ears only for the pupil.) he was always a welcome guest in groups of famous “I have a brilliant idea,” said I. “I propose that you Because her habit of mispronouncing musical terms, critic. , Because she crocheted during the lesson. (This is astronomers. He was one of the ablest musical critics "Liszt is the eagle and Rubenstein the lion; those who pay me an exceptionally good price, which we will get composers and operas, jarred upon the intelligent pupil no joke; we heard of a teacher who did this). of his time; his writings upon music alone would have In addition he was a scientist of have ever seen that tawny, velvety paw lay its powerful talked about in the papers and thus make a big stir and her parents, resulting in want of confidence as to caress upon the keyboard will never forget it! These about the pieces.” Because so many -valuable minutes were spent in a whether the teacher really knew music or not. served to distinguish him as a great force in the musi¬ no mean ability. And in all he was “conversazione” with the family instead of beginning two great artists had nothing in common but superiority. Because, in fine, she conveyed the impression that cal world, even though he never wrote a note. At first But. it mails no impression on the publisher. He thought the lesson immediately upon arriving. always essentially a practical man. Neither one excelled the other. Even when executing the pupil was a secondary consideration, that it was her a great admirer of Wagner, he suffered many changes 'fL Hews, need0.1 no such advertising, and Because she paid no attention to the curving of the simply the most insignificant pieces, they remained always besides that. P.i vein Mozart. Schubert,•'’""* and--•» o( — always place to turn around and greet pleasantly everyone' who of opinion—not entirely disassociated with prejudice. Practical business men who exer¬ fingers, letting her pupils work out their own touch and great, through sheer force of uncoercible nature; living felt obliged to entered the front door; that it was “up to” the pupil to During the war he took, as might have been expected t such traditions. technic. cise their versatility in music find it incarnations of art, they imposed a kind of awe, outside do the work, while she sat back and relaxed. witli a man of his ultra emotional nature, a violently Chauvinistic attitude against all things German, particu¬ a most stimulating field. of any ordinary admiration; hence could they work larly Wagner. miracles.” THE ETUDE Page 81 FEBRUARY 1922 An Amusing Rossini Incident Saint Saens’ Last Public Address A Musical Biographical Catechism “I was twenty years old when M. and Mme. Viardot Tiny Life Stories of Great Masters presented me to Rossini. He invited me to his little At the opening of the School of Higher Musical evening receptions, where he welcomed me with the Studies at Fontainbleau, in June of the past year, Camille By Mary M. Schmitz bland amiability of which he was past-master. About Saint Saens, hale, hearty and eighty-six, made the inau¬ a month later, when he found I did not want him gural address in the presence of a large gathering of [Editor’s Note.—We are p iries of biographies designed jl "y^b-inselves, oJ to give me a private hearing either as a composer or notable musicians. This school having been established s a supplemer' ' work in classes a as a pianist, he changed his attitude towards me. by the French Government for the benefit of American as The Child’s Own Book of Or at Musicians aerie* Vie Standard History of Music ! “ ‘Come and see me in the morning,’ he said, ‘and we music students, Saint-Saens opened his remarks with will have a little chat.’ I hastened to accept this flatter¬ comments upon the desire “to bind closer together, by the George Frederick Handel ing invitation, and found Rossini totally different from bond of music, America, and France, once' her emanci¬ II that of the evening before, interesting to the highest pator.” And added “I have seen that America 1. Q. Where and v George Frederick) degree, open minded, with ideas which, if not advanced, does not forget her liberators.” The French composer Handel born? were at least large and lofty in spirit He gave evidence then pointed out the fact that Italy and France, as well as A. In Halle, Saxony, Germany. February J.', 168$ of this in his defence of the famous Mass of Liszt in Germany, were responsible for the musical development 2. Q. Did Handel’s father wish him to study music face of almost unanimous hostility, when it was performed, of the world, and that in future years it would be and become a musician? for the first time at the church of Saint Mustache. How I Overcame the Greatest necessary to include America. The following remarks A. No. his father wanted him to become ,/ lawyer. I •“ ‘You have written’ he said me day, ‘a Duo for flute upon the modern tendencies toward novelties at any and clarinet for Messieurs . orus and Leroy. Won’t 3. Q. Who helped George Frederick to l. iru music? price are especially interesting because of the erratic you ask these musicians if they will consent to play A. His mother who smuggled a dumb spinet into the Obstacle in my Career it at one of my soirees?’ compositions of many of the French composers of garret to help him practice. 4. Q. Was the spinet really without sound ? “The two great artists hardly needed to be asked, A Symposium from Outstanding Musicians in Many Walks and an unforgetable incident followed. As Rossini never “Above all, young people, do not force originality, let A. No, but the music it made was so muffled that had printed programs for these occasions, he arranged your personality form naturally. In seeking originality, the sound could not reach his father’s cars. to have it understood that the work was composed one only accomplishes the bizarre and arrives at fool¬ 5. Q. How did it happen that his father per¬ A Most Interesting Subject Discussed by Famous Pianists, Conductors, Singers, ishness; like the Italian architects of the XII century, mitted him to learn music? by himself. One can imagine how successful it was Teachers, Composers and Organists. CL \RENCE EDDY under those circumstances. The piece over and done who, wishing to break the monotony of the vertical, con¬ A. Handel’s father was employed by the Duke of with, Rossini took me into the dining-room and made structed the leaning towers which dominate so awk¬ Saxe-Wcissenfcls. One day the father ,v, at in tin- what was the greatest obstacle to my progress; (b) I me sit near him, holding me by {he hand in a way wardly the town of Bologna. At this moment the coach to the Duke's palace. Little George I rederick difficult of the variations is written for double pedals; HOLMES COWPER. don’t know if I have overcome it, whatever it was; and that made it impossible for me to escape. Then came whole musical world suffers from an analogous evil, followed the carriage. When his father saw Inm fol¬ the right foot carrying the melody in the tenor range, Dean of Musical Department, Drake University. (c) I therefore can’t tell how! I have always just the procession of admirers and flatterers ‘Ah, maitre! lowing he picked up the little fellow and took him along. and the left foot a marked rhythmical movement, while seeking novelty at any price. There are people who plugged along and done the best I could from year what a masterpiece! what a marvel 1’ v There. George Frederick played on the organ in the After two years’ work in London, which was sup¬ an elaborate counterpoint in rapid 32nd notes is given proclaim the right to make laws for themselves; when posed to put on “the finishing touches” before my debut “As soon as the victim had unwoven his garland of Dube’s chapel. The Duke heard him and persuaded the to the left hand upon one of the manuals and at the to year. people who know nothing of grammar or orthography into the musical profession, I was quietly informed by So please have mercy on my embarrassment. The praise, Rossini would reply tranquilly: 'I entirely agree boy’s father to let him study music. He uhis about seven same time, the right hand plays in original and highly make laws for themselves, you know the result! my wife one evening when singing at a small musical, only thing I am truly sure of is that serious obstacles with your opinion; but the Duo is not mine, it is by years old at that lime. interesting canon upon two other manuals. It is like a that my voice 'did not even give pleasure to my dearest are always within one’s self—we are quite on the wrong this gentleman....’ Such acts of kindness, mingled with 6. Q. What instruments did Handel play? Chinese juggler tossing many balls of various sizes with Melody and Rhythm track when we attribute them to external circumstances pleasantry, speak more for this great man than a wealth / A. The harpsichord, violin and organ. friends. both hands and feet, only in Thiele’s case the trick is I put that, and some tobacco, into my pipe, and smoked or disadvantages of any kind whatever. of commentary. For Rossini was a great man.” “Primitive music admits of but two elements: melody 7. Q. Was Handel a good player on musical and not merely technical. harpsi- it carefully all the way home. After a fair night’s rest, and rhythm. Musical art, in its true sense; began when chord? Among other outstanding hard nuts which I have had I breakfasted. Then followed a hike of a couple of polyphony was first essayed. The first essays were A. Yes. When he visited Italy at the age ,./ iwcnty- to crack in my musical career, were the wonderful EDWIN FRANKO GOLDMAN. What the Teacher Should Demand hours. On arriving home again, I locked myself into barbarous, consisting of .successions of fourths and fifths. onc, he had a contest with Ihe great Italian player Scar¬ Passacoglia by Bach and the colossal Sonata by Reubke Conductor of Columbia University Concerts Given by (From an Interview Secured for The Etude by my bedroom. On removing coat, waistcoat and collar, I G. Mark Wilson) Then they tried to put independent parts together; they the Goldman Concert Band. latti to sec which was the finest player. Hut it couldn’t tied my suspenders about my waist and approached the entitled The Ninety-fourth Psalm. “After some years spent in teaching and playing the wrote cacophonies. Then very severe rules were in¬ be decided, both were so good. As I said in the beginning, the only way to overcome mirror. Taking a long, careful look at the picture The early career of most artists is, as a rule, strewn organ I resolved that I should develop my natural stituted from which arose the magnificent school of the 8. Q. How old v great obstacles is to dig and dig and dig, with a deter¬ s Handel when he wet before me, I addressed it about as follows: with numerous obstacles which must be overcome in talent in composition, and therefore I devoted the bet¬ XVI century, hieratic music, inexpressive or very nearly don, to live? mined purpose to succeed. order to achieve success. In a way, it is probably well ter part of my time after that to writing music. Never¬ “So you are the fellow who was going to set the world so, with which we became enamored, only finding inter¬ A. He was twenty-five years old. He lived there the that the path to success is not a bed of roses, for, were theless, I was engaged in teaching sufficiently long to on fire with your lovely tenor voice 1” No answer. est in difficult combinations; melody was consigned rest of his life. it so, it is possible that the ambition which animates most have been able to form some well-determined opinions “What have you been doing all these years?” RUDOLFF GANZ. to songs and dance music. Then these rules became 9. Q. Do the English claim Handel as ; artists would be entirely frustrated. To my mind, upon the subject of teaching. I believe that a teacher i English All at once the whole thing dawned upon me, and the Pianist-Conductor-Composer. modified; music became more expressive, was simpli¬ composer ? hardship, suffering and ambition bring out one’s best should first of all be moderate in his demands and ex¬ answer came. I had been doing about the same as nine I am rather embarrassed to find “The Greatest fied, and melody and- the ornaments of song supplanted A. Yes, because he lived in England so u qualities, and I rather believe that the person who has pectations with young students. Teaching is not like hundred and ninety-nine out of every thousand music Obstacle in my Career.” If I must find one, it is the this difficult music. Forbidden chords were permitted, and urote most of his great works there. no struggle to climb the ladder of fame and fortune is building with stone and steel through following out a students do. Loafing, pretending to study, but using no fact that I am an artist, a musician, and that piano play¬ the most audacious dissonances were little by little 10. Q. What great oratorio did Handel v at a disadvantage. In fact, few ever reach the heights definite architectural plan. The little pupil is growing and c while brains, leaving all to my teacher who, by the way, must ing, composing, teaching, editing, and conducting have allowed to appear; and finally we arrived where we are on a visit to Dublin, Ireland? who have not had severe obstacles to overcome. changing all the time, and it is the part of the modern have thought me an ass. been the obstacles to my musical ambitions. Technic may to-day. Now we would go even further. It is impos¬ A. The Messiah, the greatest oratorio ever written Speaking from a personal standpoint, I can say that I teacher to observe these changes and train the child as I left the mirror and stretched myself on the floor, overcome great obstacles, but the greatest obstacle can sible, the limit has been reached. To go beyond would He wrote it in about three weeks and i, was fir a given had many obstacles to overcome, and while I have, the horticultural expert would train a delicate plant. and looking up at the blank ceiling, I thought as I had only be overcome by personality. Imagine my switching be to fall back in the cacophony from which we emerged m Dublin for the benefit of the Foundling Hospital. perhaps, surmounted many of them and achieved a con¬ At the very outstart the method employed should be so never thought before. Here I was thousands of miles from a pianist to a guest conductor within a few weeks’ In the vast field of present-day music, there is a place 11. Q. Did Handel write any operas? siderable degree of success, I still feel that I have not carefully graded that the new principles are introduced from home, money nearly gone, and my voice did not time! If you asked me how I overcame such rapid tran¬ very slowly. for inventions (which, if they are not infinite in a mathe¬ i? , lhcy, are rare,y su"h now. even please my friends. When I got up and dressed I reached the heights, and am, perhaps, more ambitious matical point of view, are practically infinite. It is not sition, I must confess that I don’t know and that I now than ever before. When the artist loses ambition, “When at the very first the teacher is working with A He VHat °ther music d.id Handel write? was not beaten, but caim and determined; my mind was necessary to make innovations, to have recourse to dis¬ refuse to analyze. )( his career is ended. hand positions and finger positions he should see to it it rv ru mUsic. f°r v'olin, organ and orchestra. made up. Bulow said: “The more enemies the more honor. that nothing in this connection is left undone or un¬ cords. It is done, however, one superposes ihe different 13. Q. Where and when did he die? Today I begin work, and I am going to be a singer. I I believe I overcame the greatest obstacle in my career tonalities, under pretext that one gets used to anything. The man who believes in his ideals and is always sincere by adhering to my ideals. I knew precisely what 1 comprehended before passing to the next step. A cor¬ 1759. 0n' England’ on Good Frid“y> April 13, told no one what I was going to do, but I did it. What “I have a neighbor who painfully forces herself to to himself , can overcome any obstacles in his career as wanted to do and what I wanted to be, and though rect understanding of notation, clear ideas upon musical a great help an honest wife can be. Now that my time long as he is spiritually and physically in condition tone production (touch) should all be developed in turn. play the piano. Her instrument has not been tuned since 14. Q. Where is he buried? is devoted chiefly to teaching, the big thing I try most numerous neople discouraged my ideas, I would not be to do so. - Nothing leads to so much dismay, impatience, or the beginning of the world; the upper part of it is a A. In Westminster Abbey in the Poet’s Corner. to impress upon my students is, use your brains. ' swerved irom my purpose. Many of those who discour¬ discouragement as the very common fault which half-tone below that of the medium. The lady is perfectly ERNEST HUTCHESON aged me most are now among my ardent supporters. some teachers have in trying to give pupils too many used to it, since she does not try to alter the situation. Pianist and Composer. My advice to the student who aspires to a place in the “One becomes accustomed to uncleanliness, to vice, things at one time.” CLARENCE EDDY This is a very difficult subject for me, because (a) artistic firmament, is to be serious in his study, have to crime. There are people to whom stealing and What Guido Suffered for Inventing faith in himself, stick to his purpose, and to watch for His First Organ Lessons Eminent American Organist. I have always lacked the discernment to discover just assassination are habitual. How is it that we do not under¬ the Staff There is only one way to overcome any great obstacle, the opportunity and grasp it. “I was fourteen years old when my piano teacher, stand that in art, as in all things, there are things to Stamaty, presented me to Benoist, the organ professor, and that is to get in and 'dig. which we must not accustom ourselves! Some wish to One of the most formidable obstacles in my career an excellent and charming man who was familiarly give up old ideas, to owe nothing to the past. Cutting CLAYTON JOHNS. generally^ credited will, tavta,’,£a ” was in overcoming the technical difficulties of the Varia¬ called "Father Benoist.” I was placed in front of a the roots does not make the tree grow. When is an Obstacle? Composer—Pianist—Teacher. mg and improving early staff , tions in B by Louis Thiele. These, however, are not to piano, but as I was very nervous, the sounds I pro¬ The greatest obstacle in my career was the lack,of into difficulties lor hi7 8 be confounded with the comparatively well-known This symposium has a great truth be¬ duced were so very extraordinary that the other students early training. In order to lend significance to what I joined together in an immense shout of laughter. I Fashions in Music Variations in A flat, which, nevertheless, are considered tween the lines. The average successful musician does am going to say, I shall have to begin with a little was received into the class, however, as an ‘auditor.’ by organists who have “made them,their own,” as the touchstone of their technique. Widor was asked if he recognize an obstacle as an obstacle when “heart to heart” talk about my shortcomings. This entitled me solely to the honor of listening to the I was born just below Mason and Dixon’s Line, in played these Variations, and he replied: “No, life is too he sees one. others. I was very assiduous, not missing a note of the New Castle, Delaware, a sleepy, old-fashioned town, short!” And when the same question was put to We learn from this that many of the music or a word from the teacher. At home I worked malice upon the part of some of his broTer monks th where there was no sort of musical atmosphere, nor any Guilmant, his answer was that he had played them once! things which most people regard as Chi¬ and thought much, digging into the Art of Fugue of he was, according to tradition, forced to flee from tl teacher of music. A young friend of mine placed letters, But the Variations in B by Thiele were practically the nese Walls standing in the way of their Sebastian Bach. The pupils not having much to do, monastery. Then he traveled from place to place d for me, under the notes of a tinker tune, from which I culmination of my studies with August Haupt, who was progress are looked upon by the ambitious put me at the organ. This time, nobody laughed. I evolved melodies at the piano. In this little town, gradu¬ lion’ibTp r'T X thc>- attractcd - atte, a close friend and successor of Louis Thiele as organist man as interesting problems to overcome. was immediately admitted as a pupil, and at the end ally I began to play all sorts of salon pieces, transcrip¬ of the year I carried off the second prize. The first Guido to Znc Tl« iolfT 1024 t0 ,Q33.) imdt< of the Parochial Church in Berlin, and who possessed Thus we learn that poverty is no obs¬ I , ; ' . , roPe> a very progressive ma tions of operas by Leybach, Sydney Smith, and others, prize might have been given to me. but for my youth the original manuscript of these wonderful Variations. tacle; work is no obstacle, but rather an was fascinated by Guido's devices but could not be cot all over the piano. Ask me not, how I played them! 1 and for the fact that it would have been undesirable for After I had practised them unremittently for weeks incentive to greater effort. Mined until lie had actually read from Guido’s notatic My family being opposed to the idea, of my studying me to leave a class in which a prolonged sojourn was and weeks, so that I was able to play them in public It is all in the way of looking at it and and sung correctly a versicle which he had never sun music, and I, being interested in drawing, it was decided necessary for me. While a mediocre organist, Benoist to Haupt’s satisfaction, I was quite overcome by his in the fun you get out of it. before. Possessed of this new ability the Pope was d, I was to become an architect. In the course of time, was an excellent teacher, and a veritable Pleides was lighted .and invited Guido to remain in presenting me with the original manuscript, which I What is an obstacle? with that end in view, I went to Boston expecting to passed from his class. He spoke little, but as he had fine now prize among my most precious autographs. The Atlantic Ocean was thought an Abbot of the Monastery at Pompo^ C feXed^ study Architecture at the Institute of Technology. Left taste and sure judgment, none of his works lacked force The Variations in B is an unfinished composition, as obstacle by millions. Columbus thought mistake in h-tening to Guido’s enemies and expresse to my own devices, and having conferred with several or weight.” Thiele never had time to write the Finale. Each of the otherwise. his sorrow. An attempt was then made to make Quid musicians as to whether it would be well for me to study several variations, however, is complete, and the original a Lishop but he preferred to remain a simple monk music seriously, I gave up Architecture, and took up theme is one of rare form and beauty. One of the most FEBRUARY 1922 Page 85 THE ETUDE Page 84 FEBRUARY 1922 the etude Since then no obstacle I have met in my career-and Music, taking my first music lesson at the age of tivcntv- the world in any direction who have achieved fame I have met my full share-has seemed more than a mere one (too late, alas!). My teacher thinking i was musical, Workshop without struggling hard to obtain it. bagatelle to overcome. Lessons from a Master’s instead of putting me through a technical “course of Especially in Art is the quality of the work done Little sprouts,” gave me Bach Preludes and Fugues, Beethoven affected by the career of the artist. If he has had to peter c. LUTKIN By PROF. FREDERICK CORDER Sonatas and Moszkowski and Liszt pieces. What I needed persevere amidst discouragements which sometimes was not ice-cream and plum pudding, hut bread and milk. seemed insurmountable, the trials which'he endured had Dean of Musical Department at Northwestern '' University. Of the R'oyal Academy of Music, London After this overfed diet, lasting for three years, I went a distinct influence upon his productions. • The man who to Berlin, where I studied under different teachers for arrived at the top of the ladder without fighting to get It- I have any small claim to a "career" the only ex¬ two years, with the same result—no foundation. Nobody there, has not the dominating effect over his fellow planation I can give to it is that I have been a patient Part V told me just how to study. plodder, and have tried to do the next duty at hand as creatures which the man who has attained the summit by and the young musician might occasionally feel that he though the form of the march is preserved, there is little Returning to Boston in 1884, I took up my life’s work persistent battling has. well as possible. Leitmotif attention paid to the possible tread of the mourners. as a teacher, playing occasionally in recitals, in chamber could do better work as a dramatist, pure and simple Now, personally, when I am asked “how I overcame Perhaps to this might be added a deep reverence for The Leitmotif (a German expression now Anglicised (for the arts are close of kin), but in general, he would The piece is a broad Adagio, breathing sorrow in every concerts, and accompanying my own songs. For ten the greatest obstacle in my career,” I find it difficult to the great works of choral art, and an ardent desire to as leitmotive, or more simply motive) is the name given phrase. Those who imagine they see a fitness in the years more I continued in the same way, “suffering tor¬ certainly learn, if not to supply the literary requirements reply. In looking back over ray musical life, I can bring them to an adequate hearing. to a theme which a composer definitely associates with a of his own music, at least, to supervise them. choice of the keys of B-flat minor, or E-flat minor, for tures,” as they say, growing more and more nervous, perceive, here and there, events which stand out and particular idea. It matters little who was the first to such movements, would do well to notice that the most and more unhappy, until I gave it all up. which mark stepping stones in my artistic life, JAMES H. ROGERS use such representative themes; the underlying idea is as Madrigal sombre Funeral March ever written—that by Handel, in At about that time, I gleaned a few technical points If I may refer to one matter more than another which old as dramatic music itself; but to employ a number of Famous American Composer-Organist. The madrigal is an obsolete form of vocal composi¬ “Saul”—is in C-major. from others; but still later, through further study, on I had to combat with what energy I could muster, I such themes as the warp and woof of a symphonic web, My greatest obstacle? “Honest,” I don’t know. Poor tion, never practiced now, save in response to the prizes my own hook, and by teaching others, a great light came really think the main “obstacle” was the general opinion which should accompany and enhance a music drama, to Mazurka offered from time to time by enthusiastic, but unthink¬ to me, and that light was relaxation. Stiffness had which prevailed at the time I started jin my profession, headwork, I guess. But I’m not optimist enough to modify them as required, and to work them so as to con¬ ing, antiquarians. Its disuse is chiefly owing to the fact A.well-known national dance of Poland and Bohemia. always been my greatest obstacle, combined with lack of think I’ve overcome it. Then, I’m lazy (have to work- vey any desired emotion, or condition—this it took a that a musician, to succeed, must necessarily have gone that it was composed on a model and contrapun al basis, The word should be pronounced “Mad-zourka,” but'the early training, but now, relaxation, with a due balance now, though), and although I make spasmodic efforts to Richard Wagner, to conceive and to carry out. For to Europe (preferably Germany) for studv. My own which has no longer any existence in the musical mind. proper spelling is “Mazurek,” the plural being “Mazur. of tension, has entirely overcome a multitude of obsta¬ particular case was that I had lived all my life in St. overcome this, I don’t notice much improvement. I instance, lock at the breezy melody typifying the boy- cles. We can build up phrases in an imitative counterpoint; The characteristic of this dance, which is in moderate Loris. My studies both academic and musical were pur¬ hero Siegfried triple time, is a strong accent on the second beat, the In a setics of Articles 1 wrote for The Etude, zoas but, unless we feel our harmonic sub-structure, we fcan- sued in my native city. After leaving school I was for dancers making a spring on the first. Consequently, all one about “Relaxation and Tension.” I bclicz’c i i it Handel’s Sensitive Ear not write music. eight years employed by a wholesale business concern, the cadences are feminine, and of this character: thoroughly, for my own study subjectively, mentally and Ex.l The resources of the Madrigal were few. The con¬ when, according to the prevailing belief, I should have By Edward E. Hipsher tinual entry of parts was the chief one, which explains muscularly, and in my teaching objectively, both men¬ been studying music in some German Conservatory. To tally and muscularly, remembering alzvays that there is a why it was so often written in five or six parts. The Ex.4 start in my career as a musician after such experiences great difference between relaxation and floppiness. Handel sat in his Brook Street room engaged busily kaleidoscopic tone quality arising from the ever-chang¬ seemed contrary to the accepted order. I was informed in composition. In an adjoining apartmeni a young ing number of parts, and their crossing, was another, that I could scarcely hope to succeed in realizing my ambi¬ and remember how the first three notes of this are used lady was as busy at her practice. A sudden interrup¬ and most beautiful, feature. tion, unless I could state that my musical education as a powerful figure, which colors all the later part of tion caused her to stop in the middle of a cadence, Authorities are divided as to whether instrumental was “made in Germany.” And so T may safely sav that the first act; or again, how the first six notes pervade breaking off abruptly on the Dominant. accompaniment for a Madrigal is permissible. I believe I then encountered my “greatest obstacle.” If event¬ the Fire-music of Act III. Finally, how the melody is How I overcame the greatest obstacle of my career? Handel fidgeted in his chair. His hand 'pa-inodicafly there are no specimens extant with independent accom¬ There have been no obstacles, great or small, from the ually some degree of success attained my efforts, it was transformed and dignified in Gdttcrdammcrung, becom¬ clasped his forehead. In the midst of his feverish writ¬ paniment; but since most sixteenth century Madrigals Chopin has raised this simple dance .to the dignity day on which I decided to devote my life to music until due to unremitting energy, seriousness of purpose, con¬ ing a real representation of the developed Hero. ing the thoughts ceased to flow. He scowled: he leered were described by their composers as “Apt for voices or of a permanent art form—one almost his own private this moment, when I pen my answer to your query. stant study, and belief in my ability to do mv work well. at the ceiling; he dropped his pen in despair; in a viols,” it would seem reasonable to suppose that both property—by the extraordinary wealth of invention I am reminded that I only began my serious pianistic Of course, it required several years of hard work to moment he was on his feet. Rushing into the adjoining were simultaneously employed when they were available; which he has put into it. He published upwards of forty studies when I was eighteen years old; that the wiseacres, convince the public that I could “make good” as a room, he demanded of the astonished occupant. "Him- for this was a general practice with our ancestors. Mazurkas; and it is no exaggeration to say that each one at the Royal Conservatory of Brussels, who examined me musician, but that day -finally arrived. After that, it mel, Madam, vy don’t you blay dot next chnnl!" Suit¬ Remember how, in The Vicar of Wakefield, when there is a work of art, containing something that nei'.her he nor then decided that I was too old to “beginthat my seemed to me to make little or no difference whether I ing his action to the impulse, he plumped his corpul¬ is a song, the worthy Vicar bids Sophia “Thrum it wi h anyone else has done before. He lias dared to put the hands, which were then very stiff and ornamented with had received my musical education in Germany or the boy a little.” In fact, unaccompanied singing as a accent sometimes on the third beat instead of the second callosities, due' to my fondness for boxing gloves, wrest¬ at home. ency on to the stocl and struck from the harpsichord special form of art, is a quite modern invention. and has indulged in many delightful rhythmical effects ling bouts, trapeze, parallel bars and sports, seemed, the desired Tonic. “Dcrc you are. Goot afternoon, not contemplated by the dancers. Could anything be it is but just to state it, little fit for mastery over the ladies,” and in a few short moments he was again ALEXANDER LAMBERT March more delightfully diverse, for instance, than the three keyboard. But then all these episodes were not lost in his composition. Which only shows how deli¬ Pianist—Teacher. This is the real way to employ leitmotives, and, the Mazurkas which form the eighth set (Op. 50)? The obstacles. cately tuned is the musician’s ear, in that an unresolved Marches may be divided into three classes: Quick¬ composer, who merely quotes them from time to time, first, with its original cross-accent—the second, with I did not believe, indeed I paid not the slighest atten¬ I overcame the greatest obstacles in my career by hard chord in an adjoining room, to which he wa not con¬ steps (also used for dancing), Military Marches and. however appropriately and interestingly, only weakens its tender melody—and the third, with its wild and tion to what these would-be Solons then said. I felt work, and harder work; by believing in my own ability sciously listening, could put a period to his fancy. Symphonic Marches, the last not intended for marching his music, instead of strengthening it, by the device. pathetic imitations—yet all are in the true Mazurka sure that mind rules matter. I saw the light; saw it to overcome all obstacles by persistent apnlication of my And in this there is a valuable lesson for the student. purposes, and including also Funeral Marches. Typical cases of this are to be found in the symphonic clearly and hopefully, and I saw the way. I just will power; and if the reward did not come at once-by In your practice are you taking care to train the ear to The Quick-step is a brisk two-in-a-measure march, working harder than ever. poems of Liszt, and also in the “New World Symphony” The only other composer who has done work to followed it, that is all. I might be tempted to say that bp your exacting ciitic? All the time you arc at your either f, or more frequently!. It differs little in accent of Dvorak, whore there is no reason at all for the fre- compare with this for originality and charm is Joseph I followed it bravely, hut that would not be correct. music are you listening attentively to lx- - ure that from a quadrille figure, and is always written in ordi¬ queiit re-appearance of the phrase. Wieniawski, most later composers having degraded There is bravery in doing, in carrying out to the end, JOSEF LHEVINNE from the instrument you are drawing just that shade nary dance form—that is, like a Minuet and Trio with a the Mazurka into a mere Redowa, or even a slow waltz. unflinchingly, that which is distasteful to one or that Eminent Pianist. of tone or meaning you have in your mind: It is so short Coda. It is very cut-and-dried in outline, and Libretto Scriabine has even written some in which quadruplets which one fears. This' was not the case with me. I easy to think you are doing this; but are you quite cer¬ usually has six measures of introduction to the following . The greatest obstacle of my career was overcome by It means “a little book,” but there is really no reason of quarter-notes and masculine cadences occur. just followed the path naturally, with the knowledge the call, of the wild. tain of it? effect. for the Italian diminutive. In a vocal composition, it that what I was doing made me happy and, consequently, Unless the ear is all the time testing the quality of 1 was a lad of fourteen and a pupil of Safonoff, at the should be the most important half of the work; yet, Minuet with the absolute knowledge that I would, that I our work, we are sure to allow many little flaws to Moscow Conservatory. When, in the spring, he proposed owing to centuries of habit, caused by the lack of proper must succeed. creep into our playing. In fact, we are too often in¬ Like all dances, the minuet has undergone severe to my parents to take me with him to his home in the education in musicians, it scarcely ever occurs to the maltreatment at the hands of composers. It was origi¬ I was often poor. That was no obstacle. clined to play at our playing. The ear should be so Caucasian mountains for the summer, I was transported composer that by not being his own librettist, he is fail¬ It seems fun now to remember the time, in those trained and developed that it will be our personal nally a slow and stately measure in walking time; that with joy. Hitherto, except for a day’s outing now and ing in his prime du'y. The attitude of opera, oratorio, first years of professional musicianship, when I often monitor, warning us when we approach the unmusical m is. about 1 =M.M. 84 to 90. The brisk Haydn seems then, my summers had been spent in Moscow, for the or even song writers, towards the literary side of their did not know where the money to pay the rent for my sound or sense and guiding us surely and safely in the to have been the person who converted it almost into a . l,ract>cal reason that there was not enough money for work, is generally one of callous disrespect: they regard little room would come from, or how to keep up the ways of the artistic. waltz or jig, in order to get the necessary contrast for the family to go to the country. It is needless to say the words as a necessary nuisance—like the singer. desirable practice of eating enough every day. It was his slow movements. Beethoven carried this process ot that my parents gave their enthusiastic consent to Saf- Now whatever it may have been in the past, surely m no fun then, but neither was it sorrow, or discourage¬ onoff s proposition. The Military March is nearly as trite, but is written caricature still farther till his Scherzos ceased to have these days, when every human being scribbles, when every ment, and therefore it was not an obstacle to be poor. That Unavoidable Practice in \ or -V4 rhythm, and goes at a pace to suit the tramp any affinity to their ancestor. I lived in a fever of anticipation until, with my grea* young journalist can write quite nice verses, and poetry Difficulties beset every career; but it is a joy to overcome teacher, I started for his summer home. Next to music of soldiers. Marches for operatic or stage pageant pur¬ The following are typical Minuet themes; has grown so easy an art, that nobody will read it any them. They are never hindrances to him who relies on By Edwin E. Holt poses often are played in a more stately tempo, and are T loved the country. I wanted to. spend weeks tramping more, it would give the musician but little trouble in his himself, on the inner force which guides his actions. the forests, fishing, riding horseback. And when we more often written in a kind of Rondo form, having a sentimental years (and it would be a pleasant relief from If poverty was no obstacle, the world-wide success - tY?U niust Pjactlcc-” Possibly you are required to pei principal theme and two, or more, episodes. Such are arrived at the master’s beautiful estate, I found all these writing harmony exercises) to learn the simple technique and the affluence which came in due time were not opportunities at hand. as. ^ duty, what hundreds are longing fc the marches in “Faust,” “Aida,” “Tannhauser” and other of English versification. Poetry of the genuinely either. Success rarely “turns the head” of the true Then, the day following our arrival, came the blow 1 he master said to me: HTSSr*-*— exalted type is not what you want in a libretto ; the music The Symphonic March is an expansion of this into a is to supply this. You need imagination, passion, a clear The greatest obstacle, indeed the only obstacle in an “Josef, you can spend the summer here under one con¬ composed piece, with the periods not confined to eight noJnrJf'emg- *°~l{ ,hc practicc must be done—wh story told in either the third, or first, person—not both— artistic career, is, as a rule, the man himself. Disloy¬ dition. You must learn, and memorize, ten Bach pre¬ ti-i„r nt!Ce 111 Su5jl manner as to make it count some or sixteen measures, and with more elaborate Introduc¬ and in short, a good black-and-white outline for the alty, unfaithfulness, laziness, cowardice—in short, the ludes and fugues in a month. Unless you set right to tion and Coda. Wagner has left us two fine examples SZ/d t - U A Why not make this practice a ste music to color. This is well within the power of every absence of a clear, pristine soul and of those qualities work, I shall pack you off back home.” in his Kaisennarsch and Huldigungmarsch. also a de¬ well educated lad to furnish, and he ought to acquire the which stamp the upright, manly man: these are the I raged and stormed and pleaded. But I might as well plorable one in the Philadelphia Fest Marsch. "£i^ power before he attempts to write any music at all. reasons for his lack of success, these may be termed have asked lenience of the great mountains that loomed In a Funeral March, such as that in Beethoven’s the “greatest obstacle.” without, their peaks lost in the clouds. Then we might hope to see a native school of opera Eroica Symphony, or Wagner’s, in “Gotterdammerung,” arise. The control over language grows by practice, Three weeks later, as I sat at the piano, while all the r°rTl *£&£%**« from that time to tWs YcTar7™* 77" E, R. KROEGER outdoor world was a glorious and tantalizing enticement, Safonoff appeared in the doorway, glowering. interesting things as Wine" ) 7 £ $ % musical technique. This is enlivened by a rare sense of humor and broad¬ Pianist—Teacher—Composer. “thirst for knowledge” is the basis of all progress. This series of ened by a life-time of rich experience as a teacher, composer, editor and “How many have you learned?” he thundered. articles which will continue for some months, answers m a most readable It has always,been a conviction with me that the You^TnLrnrart'VVlth W Music' but with you. “Eight,” I answered, in a faint voice. reel Practice iuW n°tC carcfu,1.v that “Only Cor manner many of the hundreds of questions which have come to The WntThere is always a demand for musical dictionaries. The “I want to conquering of difficulties is the greatest satisfaction “Play them,”,he commanded. which we may obtain in life. The person whose path¬ worse than no fa”,ess praC,'Ce ’ know” snirit is particularly strong in America. No amateur or professional T played them without a slip. He made no comment STh.. been .he teacher of by f.r .be gn»«. musician^can read these paragraphs by Professor Corder without acquiring way is strewn with roses, does not experience the thrills until I had finished. Then he said, casually: a*more comprehensive aspect of many of the most interesting things in the which result from a conflict with adverse circumstances. "Josef, I’ll make you a present of the other two. Now an Encyclopedia otM encyclopedia in the ordinary sense. He Art. This series began in October.—editor s NOTE In fact, it is the hardships which one encounters in run along and have a good time. You’ll find fishing embodCiesathe human aspect of Sir George Grove, combined with a masterly life which make for character, much more than the tackle, a gun and a horse at your disposal for the easy successes do. There are few prominent figures in summer.” fv'ss.’tssi FEBRUARY 1922 Page 87 THE ETliUJi Page SG FEBRUARY 1922 the etude Whether the melody lies in quarter or eighth notes, Variations on the Pupil’s Recital The Hand and the Keyboard the bass gives the accent for the dancers' feet and has therefore three well-known quarter-note beats to By Hannah Smith each measure. The cadence at the eighth and sixteenth An Interview with the distinguished European Piano Virtuoso, There will, of course, be older pupils who are able to measures is usually feminine, as in most dances, in The pupils’ recital, the value of which is undisputed, give informal recitals at various limes throughout the order that the feet may be brought together after the provides an opportunity for realizing and exhibiting the ARTHUR SCHNABEL last step, so as to end in what is called the “first progress of the students. It gives the much-to-be-de- season. If there are members of the family who sing, position.” sired training in playing before listeners. Too often, it or play some instrument other tha t the piano, secure secured expressly for THE ETUDE It is hardly necessary to say that Haydn’s delightful comes at the end of a season’s work. To both teacher their assistance, to vary the program, and have the pupil- tricks of added measures are suitable only to the sym¬ and pupils, it is an added task and dreaded ordeal. pianist play the accompaniments; but 'hese must be as the noted musicologist Eusebius M^dyzceWeki.*ta2£ phonic minuet. They would *be sadly disconcerting to was born at Lipnik, near Vienna, in 1882. His regular Mandyzcewski and Br?hna“^ through ’ the woods Recitals need not be always such formal and occasional carefully studied as the pieces, with as much in the way nrmTOR’s Note—Few pianists of the newer generation musical education began in his sixth year. name the dancers. Bach, in his fifth Partita, has a Minuet affairs, as to be regarded only with anxiety in the pros¬ of rehearsal as can be commanded, for an accompani¬ half been so successful in establishing themselves in such kriSST •2SSTSS. uiSWrf sSSSS’. admirers with a cross-rhythm, anticipating Chopin’s A-flat Waltz. fnnah|eh^dod and pect, and relief when they, are over. Why should they ment is even more of a tax upon the poise of an unaccus¬ not be occasions of joy and pride for all ? tomed player than a solo piece, and no effort in the way can appearance this year Avoiamg se the One successful teacher has the annual recital at which of preparation should be omitted, which may help t0 America having been his pupils.] all the pupils play, and to which all their families and dweregrlsnect of Ilf of his ?ont“aries who place Gabrilowftsch.8 He alsoTtudied theory for one year with make even the smallest semi-public performance of a musicianly attainments above pyrotechnics. Mr. Schnabel friends are invited, in November or early December. pianists of to-day, one will find that the hand continually pupil such a complete success as to be an incentive to enough force to carry great sonorous melodies. It is for This plan has many advantages. In the first place, it is Changing Methods rotates from side to side, according to the effect understood that the program is to be compiled from further achievement. . this reason that weight-playing, in which the controlle Exercising to Prevent Arm Strain “In all phases of art it is not uncommon to find the demanded. pieces which have been thoroughly studied the previous A course of such informal recitals, coming every two weight of the arm is employed, is used by practically all methods employed by teachers in teaching and in explain¬ “In fact, the artist performer must keep his head—the By Mrs. Charles Bassett season. I f at the end of that season they are ready, or or three weeks throughout the season, will go far t ward •pianists of to-day. Both the literature of the instru¬ conductor and critic—so thoroughly in control of his ing the art, changing from rigid methods to those which nearly ready, to play, the mental assimilation of them exorcising the bogey of “playing before people,” and ment and the modern instrument itself, demand it. The fingers, the performers, that at all times he knows what It is difficult to estimate how many musicians would are freer and more elastic. This has been peculiarly the during the summer months, in addition to the daily prac¬ insure a class of pupils, each of whom is able, and ready, average student imagines that this presupposes a kind oi is going on in his piano orchestra—how his violins and have become virtuosi had they possessed a strong physi¬ case with music. In the theory of music, _we find the tice of the more difficult parts, will bring them as near to sit down and play something whenever asked to do so. banging, but the skillful pianist knows how to employ que, or had known how to care for their health. theorists hampering the progress of the art in the earlier piccolos should sing, how his violas and- his bassoons perfection as possible. There will have been many the natural weight of the arm, and of the body, in sue This article refers to pianists especially, although, no days by certain kinds of harmonic and contrapuntal pro¬ should sound, and how the double bass and the tympam opportunities of trying them before hearers, and the The Secret of Interest a way that they seem to flow into the keyboard, with doubt, other classes are as much endangered from over should resound when needed. He cannot do that with a feeling of security thus gained will insure their being hibitions, which seem altogether absurd to the musicians little suggestion of hitting or hammering the keys.. worked nerves and muscles as they. Still another style of recital is most useful, and sure of today. With many of the older teachers it was not a hampered hand. played, even in public, with a very considerable degree to be interesting. The life story of some great musician, “This necessity for playing forceful passages in the Students are often forced to give up work completely matter of telling how to do things, but telling the pupil How to Produce Relaxed Conditions of ease and repose. Several such pieces can be kept in told simply by the teacher, may be combined with com¬ soprano voice and in the bass without stiffening the hand from overworked arms, and are sometimes unable to practice by each pupil, and from these, selection may be how not to do things. Even in this day, pupils are or without cramped muscles, I -consider the greatest “Relaxation is synonymous with good pianoforte play¬ resume their study again. positions of the same master, played by different pupils. made for the recital program. A little final criticism, a taught rules of harmony and counterpoint, which the technical problem of modern playing. ing. There is no great remedy, no panacea to bring About a year ago I was obliged to give up practicing True, their technical limitations will make the illustra¬ few hints from the teacher, and—very important—a lay¬ teachers themselves know are broken on nearly every about relaxation. The way to relax is to relax, and to entirely owing to this. Being somewhat of a physical tions entirely inadequate, but careful selection will do ing aside for a short time, to freshen them up before the page of the works of modern composers. Yet in theory, Study Your Hand Carefully keep on relaxing, until the practice becomes a habit. A culturist, I searched for all the exercises I could find more than one might think. Even the principal themes last week, or two, of study will be all that is necessary. strict rules are valuable even to this day for the sake o “Now, look at your hand again. Place it palm down o-reat deal of tension and stiffness is purely mental, and for the spine, and began exercising diligently; not for of a symphonic movement, played in a four-hand arrange¬ discipline. , . . , . upon the table. Note how long the middle finger,, tne I am quite sure that much of it dates from the earliest long at a time, but just till I felt tired. The result was ment, will be sufficient text for an interesting talk “In the matter of piano playing and in piano teaching, A Charming Little Recital second, the third and fourth fingers are m comparison lessons, when the pupil is not instructed to sit at the my trouble left me entirely and has not returned. I am Then a little lec'ure, or reading, about some old-fash¬ an analogous condition exists. In years gone by, it A charming little recital was given by two . small pupils with the first and the fifth fingers. Then place your piano naturally, but is unconsciously afraid of the now practicing six hours a day. ioned dance—the minuet, for instance—will furnish seemed to be the anxious ambition of every piano teacher under ten years of age. The entire program was played hand in the customary playing (curved) position, and teacher or afraid of the instrument, and actually culti¬ These physical exercises have also helped others and occasion for the performance of many examples in both to restrict the pupil in every imaginable form The by them; the other pupils, with parents and friends, being you will note that this serious discrepancy entirely dis¬ vates a kind of fear, which is easily translated into may be of use to Etude readers in helping them to im¬ old, and more modern, styles. There may be. perhaps, a pupil was continually told what not to do His Paying the audience. The solo pieces were interspersed with appears. How can we reconcile it with the needs of prove their health. The best exercise is the stretching little couple who can dance an illustration, slv wing how was largely localized in the fingers and in the hand. The stiffness. . .., duets, each small performer taking sometimes the bass, the music corresponds in rhythm and accent to the steps pianoforte playing? To me the most rational way of “Often the teacher may gain the secret of a pupils more angular and the stiffer his fingers, the better he failure to produce a good tone bar more readily by Stand on tiptoes and stretch the arms upwards; and sometimes the treble, part. and mo'ions. To know the steps of a dance measure is approaching this is to permit the middle fingers to play pleased his teacher. I have recently been told that observing thq pupil than by watching the hands. Step touch all the high objects you can. These were, perhaps, rather exceptionally talented a great help to the correct rendering of the music. Erlich who was associated with Tausig, recommended normally with a normal finger action, and when the thumb is employed or the little finger is employed, incline back and look at the pupil’s body as a whole. If the Lift up your arms, bend over, touch hands to the children, and a whole program is rather too much to Without such knowledge, indeed, it is aim' st impi ssible that pupils, when practicing, hold a book clamped . the hand in that direction, employing the relaxed arm pupil is holding his neck rigidly, or if he seems cramped floor without bending the knees. expect from two who are less gifted; but almost any to give the proper accent and swing 'o a mazurka, or to between the upper arm and the body, so that there migh Twist body first to right and then to left as far as teacher has three or four, capable of rendering by them¬ indicate the graceful, yet stately, progression of a polo¬ and the position of the hand, to compensate for the about the shoulders, he may do hours and hours of prac¬ be an absolute absence of movement in the arms, this tice at the keyboard, and never make the progress he possible. selves an attractive list of pieces. Even if the audience naise. A practical illustration of dance movements of is not surprising, as most of the teachers of the older natural weakness of these members. “The reader has probably seen by this time that in the hopes to make. A rigid jaw, a tense expression of the Bend to one side, then to the other, or any exercise ■is limited to the other pupils alone, it is an experiment any sort is by no means out of place in a pianoforte day strove to place the pupil under every possible kind most of my playing I have discarded the old-fashioned face are the tell tales which time and again have revealed you can originate that will keep your spine supple.' worth trying. students’ recital. of restriction. Now, the contrary is true Teachers are to me the reason for a pupil’s failure. Begin by doing these exercises five times a day and striving to produce the greatest possible freedom in idea of having the back of the hand kept continually on a parallel with the keyboard, so th’at coins may be placed increase according to your endurance. These exercises pianoforte, but by an economy of means—that is, with¬ thereon for technical excursions^ upon and down the A Lesson from a Chinese Idol generally begin to show results in about a month. By From the Known to the Unknown out unnecessary exaggerations. How has this all co keyboard, as the teachers of other days forced thmr “If a pupil displays this rigidity, I advise him to imi¬ forgetting a day you are somtimes rewarded with a about? Let us investigate for a moment. “catch” somewhere in your arms. By W. Francis Gates students to do. The object of playing is to bring out the tate those little Chinese idols with the quaint little heads, which go on nodding to and fro for hours. Anything Musicians should also walk, if possible every day. The Artist and the Instrument music of a composition—not to make the hand a vehicle There are two essential features in the instruction of for pennies. Again, in watching the playing of concert which will loosen up the neck and get the pupil away There is no exercise so beneficial to those who by their one must realize what is known. One must, himself, “The change in methods of teaching has been due to occupation are obliged to lead a sedentary life. young people, especially of children; features which a from stiffness, suffices. Perhaps the reader can think of be able to become a child again; he must enter the two things—the increased possibilities of the piano itself, Keep your “temple” in order and you need not fear a certain proportion of the teaching world overlooks. child-mind and look at things through the child’s eyes. some better device than this. . as different makers have improved its action and its tone, “If the pupil is playing, with his vertebrae as stiff as breakdown from overwork. The first is, that the only possible way to get new Many of us cannot do this. We are too “old,” too and the consequent enrichment of the literature of play¬ a ramrod, or his shoulders all cramped and tightened, ideas into a child’s mind is to work from a known thing sophisticated; we know too much. We cannot, for the ing The first keyboard instruments had an action so as though he were in a straight-jacket, I advise him to The Violin and the Piano in toward the new or unknown. If this is not done, there time being, forget our college and conservatory years light, that very little muscular effort was required. slump back in the seat until his shoulders are on a level is no connecting link, no means of approach to the child and step back to our childhood days. And still it is Harmony Study Then the lightest finger action sufficed. Agility was the with the keyboard and the whole body like so much jelly, mentality, nor, on the part of the pupil, from his present the successful teacher of children who does just this. Theodore DuBois, professor of Harmony at the Paris chief asset of the performer, and it may possibly be for and then play for awhile in that position He soon per¬ status to that which his teacher desires him to occupy. Is it any wonder, then, that the most successful Conservatoire, for five years, and director of that great This working from the known to the unknown is a this reason that we find the earlier pieces filled with all ceives what is meant, and by the results he produces institution for nine years, naturally taught several of the teachers of young people are women? They have fundamental of correct instruction. It may be true manner of instruments, introduced for sustaining a tonal himself, he realizes how much better and, how much distinguished younger musicians of France. In a state¬ greater sympathy, more adaptability, less rigidity that an electric generator produces so many kilowatt of mind. effect of an instrument whose sound died out a second easier it is to play with the body in a thoroughly relaxed ment to Clarence Lucas, he once remarked that in his hours of energy, but to state the fact tells the child or so after the string was struck. long experience as a teacher of musical composition and To follow out this natural method of teaching, one nothing he can grasp. To say that it can pull as much “With the modern instrument, the fingers do not C°“Leschetizky always insisted upon relaxation. He was, harmony he had found that those of his pupils who had must discard fixed preconceptions of what is “correct ” as a hundred horses, hitched together, gives him some¬ suffice, and the whole body is made a part of the nervous of course, very severe, and Ms lessons were always illum¬ learned the piano became masters of harmony more formal proper and according to the text-books. One and muscular organism, through which the artist endeav¬ thing which he can realize from his previous bit of inated by the fire and vigor which characterized every¬ readily and thoroughly than those who learned the violin. even, for the time, must discard conventional termin¬ knowledge. ors to interpret a masterpiece. By the whole body, we thing he did. Notwithstanding his severity, he was It is probably for this reason that .the piano is made a ology. One must choose the word the child does under¬ Many so-called public teachers make the same error— mean that from his feet, which operate the all-important always the best of friends for those who deserved his compulsory study in several European conservatories. stand, not merely what the teacher understands. One oedals to his brain, from which his impressions are they explain one difficulty away by promulgating another must select the illustration from the common little friendship. His wit often turned on himself, and he of even greater intricacy. Take, for instance, the turned into nerve impulses, so many important centres enioyed this very much. Composite Music things of life, which have come within the ken of are employed to operate the playing mechanisms, that minister, who condescended to talk to a class of young the pupil. “Upon one occasion when he was seventy-seven years A great deal of the musical comedy music of the past children: one may safely say that the pianist of to-day plays with old, and I was yet a very young man, he jokingly, re¬ fifty years has been composite music. It has not been One can do this simply and sufficiently to carry the “This lesson, children, will give you an epitome of the whole body. ferred to his several marriages in the following unique unusual for as many as six musicians to participate in progressive idea to the next higher step. Later, the the life of Saint Paul.” he said. “Now perhaps you manner: ‘Arthur, it is a shame that you have no daugh- making up the score of a new London or New York terms can be revamped, the cracks filled in and the The Shortcomings of the Hand do not know what the word ‘epitome’ means? Well, ter because I should love to become your son-in-law. show. Often the cooperation is accomplished with sur¬ structure become more formal. The root feature of “In doing this the student must know, first of all, that children, its signification is synonymous with synopsis.” A man with such a prospect could surely never become prisingly good results. Very few of the men who do child-instruction is to work from the known to the un¬ the Creator certainly did not have the piano in mind in Doubtless the children felt edified. that sort of thing write their own orchestrations. The known but first of all, to realize what is in the child’s making the human hand, because the hand is not natur- But before one can work from the level of the known, 0l “As alTthings, the greater the teacher the simpler writer recently heard of the case of a famous musician, mind as “known.” X adapted to the keyboard. In fact, our hands have the man. Likewise with any method of teaching, it capable of producing symphonies which have pleased many shortcomings hard to reconcile with the keyboard. there are great complications, beware of it. lhe sim¬ great audiences, who felt himself so inexperienced in “You see, the better part of all music written as plest means are best. Secure a good teacher, and follow writing for the smaller theatre orchestra that he placed The Difference Between i Sonata and a Symphony though composed for a four-part quartet. This makes his advice with respect. Possibly in this age the youth the "job” in the hands of a specialist. There have been the most important parts-that is, the out-sound,r^ The difference between a Sonata and a Symphony is for instance, will receive a different treatment by a c-m- does hot have sufficient respect for learning and great several men in our large cities who made a specialty one of style, not of form, If we arranged a Sonata poser during its production than the composer would parts, bass and treble-come at the top and at the bottom ability. In the past it was regarded with reverence. of preparing orchestrations. The idea of cooperation for the orchestra we would have what might be called have given to themes intended to be performed in a In this way, these all-important parts ^om the musical Even when I was a child I felt this. Rubenstein once is by no means new. As long ago as 18S7 the writer a symphony, but which would probably be unsatisfactory larger hall by an orchestra. But so far as the formal standpoint fall to the weakest fingers of the hand, the kissed "me on the forehead, and I amused my parents Glareanus declared that it required two people to as a symphony on account of the smaller calibre of structure is concerned, the sonata, trio, quartette and fourth and the fifth fingers. very much by refusing ‘to wash the kiss away for make a piece of music, one to make the melody the themes and the lack of breadth and power of the “Most of the melodies we have to play must be played symohony are the same.—Clarence Lucas, in the Story several days.” and the other to write the counterpoint. climaxes. A sonata written for a violin and a piano, of Musical Form. with the fourth and fifth fingers. Neither of these fin¬ Arthur Schnabel. gers have in themselves, by pure finger action, nearly THE ETUDE FEBRUARY 1922 Page 89 Page 88 FEBRUARY 1922 the etude The Modern Piano Bench Denartment of Recorded' uepartmeni ■ the office- of f Hackett and Mme. Barrientos which will add fresh The piano bench is too much like a patent medicine the large instalment houses selling different makes of laurels to his art and keep alive pleasant memories until recommended to cure all cases, but, in reality, it does phonographs on the time payment plan. She brought next year when Mr. Hackett returns. He sings this not do the work. with her two small urchins whose clothing was in a well known aria, with a smooth round floating tone, and Very much importance should be placed on the height pitiful state. at which a pupil is seated. The very small pupil must intelligent interpretation. When Mme. Barrientos sings This is the story she told: them, receive them and—leave them on the counter. not be allowed to play with sagging elbows; they are “Your man called at my house yesterday and told me with him their voices blend beautifully. The aria is a Our business relations lasted for three lessons. And yet, A Pupil’s success or failure is determined by what That would be his fault! And, oh, how many of our weights pulling on his hands. The adult beginner who you were going to take away my phonograph. I sup¬ difficult composition vocally but both artists accomplish the poor child, despite all her vulgarity and impertinence— he can or cannot do after he leaves his teacher’s hands. “customer’s” forget to take with them what they bought has a decided slant downward from his elbows to his pose you can take it, but if you do, it will be worse than the dangerous pit-falls successfully, and achieve another and there was a generous amount of that—was not to If, after a reasonable time, he can stand on his own Some pupils display a perfectly _ astonishing mental wrists wonders why his playing sounds stiff and me¬ taking my children out of school. If we have no phon¬ fine operatic disc for the Columbia Catalogue. blame; she had no parents, but merely progenitors Her feet; if, in other words, he has not so much learned energy and ingenuity in the invention of pretexts and chanical. When asked to do finger exercises he finds ograph at home, the children will never hear good music. Listed on the February bulletin of the Victor Com¬ parents had sent her to a teacher, to be sure, and pro¬ what, as how to think; if his acquired knowledge is not excuses for the poor preparation of their lessons. One- it a difficult task, as all of his force comes from elbows Poor folks like us can’t afford tickets to shows and the pany is record of Amelita Galli-Curci, singing posed to pay him, but was that the entire measure of a dead lump of ballast, but a bundle of live seeds to third of this energy applied to their work would save and shoulders, instead of from well developed knuckles. best they ever see is nickel movies, which you know, James Francis Cooke’s 01’ Car’lina (66014), which I their parental duty? Does not the largest part of their germinate, grow and blossom into new thoughts under all their excuse-making. I have often told some pupils, Repeatedly I have tried to get results from pupils sir, is bad for them. have heard for the first time. The song is in the duties lie in making the child receptive to teaching, in the sunshine of life in the garden of his own mentality, “You may (possibly, though not honestly) get rich with¬ who prefer to sit on the piano bench, but after asking “Now I know I ain’t done what I should to pay for American folk song class of The Old Folks at Home, fitting it for association with well-mannered people? , then the pupil is a success. If not, he certainly is a out work; you may obtain position, station, influence them to give my method a month’s trial, and they have that machine, but if you will let me keep it a little My Old Kentucky Home. Carry Me Hack To OV Other parents there are who interfere with the teacher s failure, though he may play half a dozen pieces well without work, though I don’t believe it possible; but studied either from a low piano stool or even a dining longer, the children will come here every week with Virginity. It is a simple and straightforward number advice and spoil the child’s confidence in the very man (with his teacher’s conception), and a half dozen diplo¬ what I positively know and can swear to, is that you room chair, they are glad to continue without the bench, twenty-five cents, and they will make up the difference of the Southern type, with a melody which embodies they have selected; thereby stultifying their own judg¬ will not learn music, nor anything else worth learning, or to have an inch or more removed from its height. in gratitude.” charm, the characteristic of works of this class. Mme. mas may hang on his' walls. ment. Still others interrupt their children’s study be¬ without good, honest, earnest WORK!” This is an actual instance, chosen out of many cases, Galli-Curci displays her flute-like notes in excellent cause “it is not yet cold enough to leave the mountains Hoary Headed Jazz which come to the attention of the Collection Manager, manner, taking the high tones with surety and ease. Her Three Success Factors or the seashore”—not cold enough for the parents, mind in an instalment house, to illustrate the educational value pianissimo work is particularly effective. It is a delight The factors which must unite to bring success about —or because it rains, or because it doesn’t (too nice to The Teacher By Edward E. Hipsher of the phonograph among the poorer classes of people. to hear her record a simple song in English free from are three, but before naming them, it might be well to send the “poor child” to the lesson), or because it is The teacher must be characterized by two types. Some The instinct which urged this poor woman to purchase vocal calisthenics (though no one can perform vocal say that “talent”—of which many people have a very Lent, or because of the dance tonight, where the “dear teachers teach and some just give lessons. The two types Jazz, is it really so very modern? I have lately been a phonograph, which was beyond her means, was funda¬ embellishments more beautifully.) exalted idea and which they regard as the main factor child” must look fresh and rosy—as if the music lesson are easily distinguished by what they know outside of nosing among some Greek manuscripts of about the year mentally a good one. It symbolizes the reaching-out of On the same list is a splendid new reproduction of the is not among them! was an anticosmetic—in short, because they give pre¬ music. I know a pianist of international repute who 322 B. C., and, what do you think? I found there that the human heart for better needs in the realm of art first movement of the Haydn String Quartette in D. It would lead far beyond the confines of the question cedence to their “notions” before the child’s education. plays most beautifully—I never fail to listen when he , a fellow named Aristotle had been pointing his poisoned and it is an instinct which should be encouraged. Maj. (74726), played by the Flonzaley Quartet. It on hand to rectify all the queer notions with reference How happy is the teacher when he feels that the pupils comes to Philadelphia—and who even wrote a few little pen at vulgar music and musicians! Just as scholarships have been given by men to stimu¬ begins allegro modcrato with the cello and viola weaving to talent. It is a subject too large and too transcen¬ compositions, just good enough to show that he is a After setting the pace for all modern reformers by late interest in trade and in technical education, just as a dainty lace-like pattern which is caught up and dental to be discussed here; but the question of talent good musician. He teaches—well no! He gives lessons. denouncing the actors of the day for the violence of their schools and libraries have been erected for the poor elaborated upon by the violins. The tone qualities of does not enter into the studies of a pupil until he To be sure much can be learned from him, but the pupil gestures, Aristotle proceeds amicably with, “They are to enable them to be better fitted to gain material wealth, the instruments are excellently portrayed, and the en¬ ceases to be a “pupil”. What he can or cannot do after (who himself must be an artist at the outset) must ex¬ like bad flute-players who whirl themselves around as so also there should be funds for the poor to gain a semble is perfectly timed, its members playing always he has fully mastered the craft underlying the art, that musical education. tract by his oven observation what he wishes to learn, if they would imitate the motion of the discus.” as a unit yet each player performing as an individual alone can be considered an indication of talent and instead of the teacher’s telling him. That is what is Written only twenty-two hundred years ago, this has The phonograph can do much to stimulate and pre¬ artist. I recommend this record without reservation to genius, or their absence. Of a thousand pupils that say pare the way for such an education. What better outlet called the higher form of study. It is “study” on the all the spiciness of the most nimble-penned “cub” of you. regretfully, “I have no talent”, nine hundred and ninety- could be found for the surplus funds of philanthropists pupil’s side, but it is not “teaching” on the teacher’s our raciest 1921 newspaper. While the flute-player Massenet never wrote a more poignant and inspired nine use this phrase as a screen for their laziness, than the placing of musical machines in the homes of part. Such a teacher was, for instance, Liszt; and when naps between the spasms of the terpsichorean contortion¬ melody than his Elegie, and Marie Sundelius has never frivolousness and lack of self-respect. Yes, self-respect the needy? By such philanthropy the poor of America I say this I sacrifice not one atom of my deep, warm love ists, substitute for his instrument a Saxophone and you For seif-respecting people do their duty and leave the and unbounded admiration for him, one of the grand could have the opportunity of hearing ihe best in music thf song^hich'tte «30147). A responsibility for the outcome with those who charged have our omnipresent Jazzist, the stimulator of the giddy, produced by the finest musicians of the world. Machines masters in music and one of the dearest men I have ever violin and cello begin the selection creating atmosphere them with it. One of America’s keenest thinkers said the bugbear of the austere. Aristotle, railing against could be purchased or rented on the time-payment plan known. In his music room in Weimar the musical future and preparing the path for the artist by playing the that talent and genius were like pretty enough coaches, the flute players of 322 B. C., is but the hoary forebear such as most retail music houses now use, and by means and hope of the whole world were focused. Every meody in its entirety. Mme. Sundelius then fings, her but it needed a horse to pull them. WORK is the thing of Henry Van Dyke of 1921 when he delicately dubs of a controlled free library of worth-while records of all student was already something of an artist. This con¬ tones pouring forth full and musical. She sings in Jazz as “The torment of imbeciles.” companies, all the musical literature of the world could be not talent! dition, however, is a very unusual and rare one; it is french with clarity and expression. placed at their disposal. The three factors in the making of a pupil’s success not continuous, for there is no such central point in the Mountebank Teachers of the Past Music would then be a part of the daily life of the renc Williams has made an excellent reproduction of are: world now. At that time, however, there was another people. This would help America to become truly a musical Aloha Oe the- Hawaiian song of farewell, for the The pupil’s parents musician, in Berlin. He brought most of these fine The teacher and performer who seeks to aid his in¬ nation, and she would develop spiritually as she has Brunswick (5080), assisted by a male quartet The pupil himself fellows and girls up to the point where a short visit come by diverting attention to himelf through illegitimate attained material development. • 6r,'°‘ce agisters lightly and musically and she The teacher. with Liszt would really benefit them, as an addition to means was perhaps more popular in the past than in llaUnt,ng, and unforgettahle air with a wistful- an already complete and solid structure. He brought the present. Nor is the custom of charging high fees This business of being a record critic has its draw¬ alsn mUCh charm- The record gains attraction The exact proportions in this compound vary in the out nearly all the pianists of his day: Scharwenka, for these gimcrack stunts altogether new. Richard backs. I can assure you. Not long ago, a friend of mine “ ? th.e assistance of the quartet. Miss Williams individual cases; because in some instances the parents Moszkowski, Sherwood Liebling, ^Vdele aus der Ohe, Hoffman, the famous English pianist and composer who have to make up for the teacher’s lack of energy (such was putting his phonograph through stunts for me and of tho J!t r^-ram °f tlle song pianissimo for the finish Martha Remmert, Erica Lee, Pirani, Nicode, your humble spent most of his life in New York tells in Some Mu¬ disputing everything I said about his records, whether .. ection, with the quartet furnishing a humming parents are rarer than white ravens), while in other cases servant, and many, many others whose names would con¬ sical Recollections of Fifty Years (Charles Scribner’s the teacher has to supply what the parents have neglected unfavorable or favorable, just for the sake of an argu¬ not on?n'^ent ^‘s record will attain great popularity sume too much space here. That man was Kullak! He Sons) some of his experiences with Leopold de Meyer, ment. on the score of home rearing. Still, whatever the pro¬ once the most lionized pianist of London, but now prac¬ evervwW K?ue ‘he Song is "ell known !md liked was a pedagogue, a teacher! He taught! Finally he placed a disc on the machine and an Irish r>- j,. e., ut because it is an exceptional reproduction. portions be, the factors are these three and no more. A teacher’s supreme medium of communication with tically forgotten. Meyer had the courage to demand a tune permeated the atmosphere sung in a beautiful lyric his pupil is, and must be, analysis. To analyse things so guinea an hour. A guinea in the forties must have been PoSan whh Ha- Ju,St been Produced at the Metro- tenor. I listened with both ears, for the record though pani is vet S,-nSat,0I,al success, and the Edison Com- The Parents that they become plainly intelligible, the mind must be equivalent to at least $25.00 in present day valuta. Hoff¬ familiar had a slightly different tone that was very man says of Meyer as a teacher: Liebeslied W‘‘h ‘he Publ>cation of Siegmund’s Not excused, but explained it might be by the hyper¬ well and carefully trained, and this training cannot be attractive. Jacques Urlus, the tenor. “I went to his rooms for my instruction, and during commercial tendency of the present time, many parents acquired by the study of any one thing. As we receive At its conclusion my Satanic friend—for his smile is Urlus sintrs IOn. begms witb an orchestral prelude. Mr. center all their energies upon the acquisition and accum¬ a new additional life with every new language we learn, so the lesson he was generally occupied in being shaved, that—said, “Well, he can sing, can’t he?” having his hair cut, or perhaps being measured by his above the^eJT* f?rCC and powcr- his voice soaring ulation of money. They evidently endeavor to provide we understand the interrelation of things better with “Yes,” I replied. “That is one of a famous Irish tenor’s tailor or shirt-maker. I studied only his own composi¬ ward to an accomPaniment, building up- a life of idleness for their progeny. They wish to make every bit of knowledge that we acquire in other than our best records.” tions during these precious hours, which I divided with in Gel " d/amatic ^max. The aria is sung “ladies” of their daughters, “gentlemen” of their sons, * special professional lines. We music teachers must gain many of the London tradesmen, and I thought nothing “You are wrong, old thing,” he grinned, “that is a well distinctly. ^rlus enunciates clearly and and commence with the purely external attribute of access to the best in our pupil’s natures, we must go far of spending whole days in the achievement of the March known American tenor’s best record.” The laugh was wealth, very much like the little German apprentice boy beyond music in our influence.over the pupil; but, unless d’llsly, the Lucresia Fantasia, or the March Marocaine. on me. Hereafter, among friends, I refrain from any¬ sky *H ^""Rubinstein—Leopold Godow- who asked his master to assist him towards a new coat we study ethics, general art esthetics, literature, phil¬ I managed to be present at most of his public perform¬ thing but ambiguous comment. because his savings were slightly insufficient, and who, parents are a help to him! He never forgets them! Such osophy, and at least the gist of modern sciences, how are Edkon~CrSea!P Barbara Maurel (3524). when asked how much he had, replied, “The buttons 1” happiness does not come to him every day, though, and we to go beyond music? Of course, to return to Liszt ances, and although my enthusiasm has cooled consider¬ New Records ably since then, I still remember his touch as the most Band (50861) ^ Marci'—Creatore and His often, very often, he feels like beginning his teaching for one moment more, he was one of the most broadly Though Charles Hackett has severed his connections Parents Who Shirk Responsibility with the parents. Much more could be said on this educated men then living; but he was not an analyst in wonderful combination of superb power and exquisite with the Metropolitan Opera Company and has returned delicacy I ever heard. He was a perfect mountebank SteelCt(°18836?'^r T° Me In The Starlight-John subject, but space prevents. matters of music; while Kullak was doctor of law, be¬ to Italy for a season at the La Scala, the Columbia If these parents would use a part of their energies sides being a (royally decreed) “Professor” cf music. on the stage, and his antics were made the subject of Company has just published a record of the duet Un di for the supervision of their children’s education; if the most grotesque caricatures, representing him play¬ (14275)!°" ^ ShHk (Fox Trot> California Ramblers The Pupil’s Responsibility His mind trained in science as well as in music, knew they would instill in their children’s minds and hearts how to analyze before synthetizing and therefore he ing with feet as well as hands, while the air about him the principle of filial obedience, regard for their elders, The pupil is really not so much a factor as rather a was filled with the fragments of pianos and notes, the result. Darwin, Huxley, Spencer, and many other en¬ was—in the sense referred to—the greater “teacher”. “Why Don’t You Count? a respectful attitude towards wisdom and superior know¬ When the first of the three factors named (the parents terror stricken audience escaping as best they might ledge; they would accomplish results which would lightened minds, have saved the trouble of proving this. from his volcanic technique.” of the pupil)and the third (the teacher) act in harmony, By S. M. c. astonish them by the extent of their ramifications; results Still, that does not lessen the pupil’s responsibility. the importance of the second (the pupil himself) de¬ which, after the direct benefits to their children will When he asks, if he could not play this or that piece Dark clouds were gathering over Mary’s head— creases very much. As said before, he should be a result God sent his singers upon earth reach far into general sociology and do much to allay instead of the one selected by the teacher, it is his poor little Mary who so faithfully practiced her hour rather than a factor, were it not for the important cir¬ With songs of gladness and of mirth, the ever-growing discontent among the masses. parent’s fault. When he comes unprepared or irregu¬ every day, and let nothing interfere with her music. But ‘S an? ffiarfufly^stTr^ ^ ^ cumstances that there are still his responsibilities; and, That they might touch the hearts of men have r Not long ago, a richly though not well-dressed young larly to his lessons, it is his parent’s fault. But, when now she was hopelessly up against it. Teacher was when these are lived up to, in addition to the other two And bring them back to heaven again. “lady” came for the first time and while I turned to my he disregards his teacher’s advice, when he is listless, cross, and to save her life Mary could not unravel the factors, there can be no result other than a. grand and Longfellow. tangled rhythm of the new exercise. Teacher’s cheeks music cabinet to pick out something for her to read, she inattentive or trifling in the lesson, that is his own fault! Mary **’ Wt"” He may go to a store, buy a parcel of goods, pay for complete success! were flushed, her eyes indignant. “Why don’t you Of the lesson „ • ' ” you cannot spare five minutes walked about the room and—whistled, a popular tune! lesson penod to explain and show her how. FEBRUARY 1922 Page 91 THE ETUDE THE ETUDE Page 90 FEBRUARY 1922 CO-OPERATIVE MUSIC Secrets of the Success of Great Musicians FORCING THE PACE. Vincent D’lndy, the French composer, In the M. T. N. A. Proceedings for who recently landed in New York t, By EUGENIO DI PIRANI 1919, Harold Randolph, of the Peabody conduct some orchestral concerts, says Conservatory, Baltimore, has something to The Musical Scrap Book that men who play special instruments in say which every teacher should take to Paris orchestras get five hundred francs Gaetano Donizetti (1797-1848) Anything and Everything as Long as it is Instructive cess and of his failure and paused for two years to heart, regarding the careful grading of for rehearsal and one concert. Even and Interesting improve his skill in writing for the theatre. Soon he teaching. “The small boy begins by beat¬ converted into American dollars at the Who are the “immortals” in music? Time alone can felt equal to the task and wrote several operas. In ing a drum for his pleasure,” says Mr. present Exchange rate, this is not bad answer We do not know how long the idols of today Conducted by A. S. GARBETT fact he became so prolific that hardly one year elapsed Randolph, “at first not even rhythmically. pay; but, according to D’ Indy, it is some¬ will stand the grindstone of the years, how many of without completing one or two operas. The quickness Should we get him much further along those who now stand proudly on their pedestal, erected what prohibitive. To counteract this, of his working sometimes caused his music to become if we said, ‘No, you shan’t play the drum, to them by an irresponsible crowd, will tumble down and many Paris orchestras, he says, art- rather superficial, but his familiarity with the different you must immediately begin to play the THE HIGHEST NOTE. ARE WE ECCENTRIC? working on a co-operative basis, the disintegrate to dust. instruments and his thorough knowledge of vocalism piano’ ”? Left to himself, though, or with In Henry VIII’s time we musicians Let some hundred years go by and if some of their There is an old tale to the effect that players receiving regular salary and helped him in writing pleasingly for voice and in doing a little imperceptible guidance, he will the highest note sung by a human singer were classed with rogues and vagabonds; sharing the profits of the organization. works are still alive, one may confidently assign to them soon feel that he has exhausted the possi¬ today we are among the “nuts.” It is justice to the instruments. His natural sense for dram¬ was achieved by Agujari in an effort to At the same time (and, by the way, in a place in the gallery of the “deathless.” To musicians atic effects made him equally, successful in treating hu¬ bilities of mere noise, however rhythmic. oblige the boy Mozart, who, accompanied our own fault, too. We specialize too the same Journal, Musical America) this test ought to be applied still more than to other Then let him have something upon which much. The musician is the most self- morous and tragic subjects In his treatment of the by his father, paid her a visit at Parma Easthope Martin, an English composer, artists, as music is so very much subject to fashion. orchestra he purposely avoided too heavy accompani¬ he can play a tune. The trouble is we centred of all the artists. The poet, in 1770. In his letter to his sister, young says that the Beecham Opera Company Inconstant public favor is often granted to worthless are so rarely content with imperceptible the painter, the writer, illustrator, actor, ments and too intricate polyphony. Just the contrary Mozart wrote out what she sang and this has been reorganized on a co-operative creations; the composer and the publisher are enriched, of modern operas, which are more “symphonies with guidance and insist on forcing the pace, architect, sculptor, dancer, must needs included a high B natural an octave above basis in London also. “The principal there is all the appearance of a genuine, lasting success, vocal accompaniment.” In composing, Donizetti never with the result that the tender plant is get their raw material from life. But the the first B above the treble staff. An artists when they acquired stock in the but lo • after a short time the unparagoned “masterpiece used the pianoforte, writing with great rapidity and often suffocated and the budding musical musician can sit in his studio all day and authority has given the following as the Beecham Company were pledged,” he in¬ disappears totally from the surface never to be seen any taste withers. never leave till it is time to go to the never making corrections. “high water mark” of some of our com¬ forms us, “to restrict themselves to It was not until 1830 that he produced his first opera “There seems to me altogether too much concert night. And we do just that— more the composer’s name is forever consigned to obli¬ paratively recent singers: “The voice share-purchases of one hundred and fifty of importance, Anna Bolena. Close upon this serious ‘Thou shalt not’ about all education. The many of us. vion- and still these luminous meteors were supported by of Melba easily reaches E flat on the opera came L’ Elisir d’amore, which is one of the finest musical aristocrat feels that he can turn The result is that we have no contact pounds each (about six hundred dollars some critics, they were greeted with enthusiasm, simply third line above the staff; Nordica attains specimens of Italian opera buffa. In 1840, La Fille du up his patrician nose at ‘Jazz’ and ‘Rag¬ with Mr. Average Citizen, and he there¬ at present exchange rates) and the because they were “up-to-date;” just like women of the C sharp, Calve sings B flat, Gadski sings Regiment had an enthusiastic reception at the Paris time;’ treat scornfully all forms of ‘can¬ fore suspects us of being “nuts.” “I re¬ chorus and musicians to approximately smart set who don’t hesitate to conform to any freakish to D, Eames and Sembrich each easily Opera Comique. During the next three years he com¬ ned music,’ and be seen to shudder slightly main permanently astounded before 'one-third that sum. The plan was, of attain E above the staff.” posed La Favorite, Linda di Chamounix, Don Pasquale when ‘I Hear You Calling Me’ and the foreign office officials,” sighed H. G. course, to democratise the venture, and Jenny Lind is said, by this authority, Donizetti’s Perennial Melodic Gift and Lucia di Lammermoor. The brilliant gaiety of Don like begin to sound upon the air. ' I cannot Wells, at the Washington Disarmament to prevent domination by any artistic in¬ to have contrived to reach her highest There is another infallible test for the vitality of a Pasquale charmed all who heard it as did the delightful but feel that all these are entirely proper Conference, “they have such brilliant dividuality. The performances are to be note, a high G only two notes below that musical composition, that is when instrumentalists and acting and singing of Grisi, Mario, Tamburini and La- to certain stages of musical development. of Agujari, at a concert given in a Cin¬ minds, but alas, so highly specialized given with as well balanced casts as vocalists of prominence continue to put them on their blache, for whom the four leading parts were composed. Certain it is that when the taste has only cinnati pork-packing house, made over that at times one doubts whether they possible. The idea is to give a good in¬ reached from A through, say, to F, it terpretation of the works selected rather programs. Ask Marcella Sembrich or Agiehta Galh- Lucia, based on one of Walter Scott’s novels, perhaps into an auditorium for the occasion. The have, in the general sense of the word, Curci or Frieda Hempel, if they still like to sing Don¬ the most popular of Donizetti’s operas was written for accomplishes precious little to skip all the historian is careful to record that “when any minds at all.” than demonstrate the personal prowess izetti’s Lucia, Norina (Don Pasquale), Adma {Elixir), Naples in 1835, the part of Edgardo having been com¬ intervening stages and provide only food the singers arrived at the hall they were That might well be said of many mu¬ of the artists." as much as the great contemporary singers of Don¬ posed expressly for Duprez, that of Lucia for Per- for X, Y, Z.” horrified by the odor.” He does not say sicians who think an intimate knowledge izetti used to do and they will answer enthusiastically if this is what occasioned Jenny Lind’s of a “teaching method” plus the musical Co-operative orchestras seem possible, S1&The next few years he was highly honored by sov¬ unusually high note, however. classics will excuse blank ignorance con¬ but as regards co-operative opera, we in the affirmative...... „ . WHAT’S THE USE? Just now my eyes fall on a musical report wntten by ereigns and by men prominent in art and science who As memory serves, Galli-Curci has at¬ cerning everything else. The emancipa¬ doubt, we doubt. Most all operas have “What good does that do anybody?” the brilliant critic of the Brooklyn £«9^ W H. Mu - became his friends, his fame and his wealth thereby con¬ tained a high E flat in some of her tors, of music have been such men as been actually composed for 'stars” and inquired Mr. Justice Eve, of the English ray, referring to a recent performance of Lucia. Speak records. are bound to throw the chief singers into Gaetano Donizetti. stantly increasing. Chancery Court, on being informed that Handel, who was an impresario and ing of the famous sextet he writes: Beyond all per- He composed sixty-six operas. All the greatest vo¬ promoter as well as one of the two the limelight. A successful inger of a Sir Thomas Beecham had spent a for¬ adventure of doubt the most popular concerted number leadership. Returning to Bergamo he wrote a number calists of the early part of the past century sang his works, stellar role soon becomes a marked per¬ tune on the advancement of music. The greatest composers of his day; Wagner, ever written.” Do not forget that this opinion is voiced of string quartets in the style of Haydn, Mozart and among them Catalani, Pasta, Grisi, Fioravanti, Donzelli, The little instrument that we call the who spent ten years in exile for his po¬ sonality in high favor with the public, learned judge evidently prides himself on almost a century after the first performance of that Beethoven. He became, furthermore, a very accom¬ Rubini, Tamburini, Lablache, Duprez and Levasseur. being practical. Doubtless if Sir Thomas tambourine is said to be directly descended litical opinions—silly opinions, too, but and at once the Law of Supply and plished man, his culture not being confined to music from an instrument called Toph, which is had spent his money on advancing a new his own; Liszt, who mixed with kings, Demand becomes operative. mGtaetanoe’Donizetti has indeed victoriously overcome alone He was very well read m general literature and A Tragedy mentioned in the Bible in Exodus, XV, 20. queens, and geniuses on equal terms; was a Latin scholar as well as an excellent linguist in all explosive or a poison gas, his honor would these different tests. His name recurs always prom¬ Donizetti had begun his career of composer with a Paderewski, who left the keyboard long not have asked such a question! “Music, of all the arts, has the greatest inently on the programs of the opera houses of t modern tongues, speaking French, German and English. enough to rule a kingdom. strong appetite for amusement and enjoyment and, like influence over the emotions.”—Napoleon. He was likewise a poet and’ an artist. many other young men of his time, had plunged into "STRADIVARIUS BEATEN" Take your nose out of Bach’s Fugues. whole world. M . • As one sees, his epoch of apprenticeship was devoted It appears that Donizetti had some Scotch blood considerable dissipation. He was the most charming, WHISPERED SYMPHONIES. Under the above heading the English Join a club and be neighborly! to the most useful and severe training, which contributed his veins Two generations before the composer was vivacious and lovely fellow that the world has ever seen. Recently Leopold Stokowski was com¬ Manchester Guardian states: “An inter¬ DEFINITIONS BY LIZA I.EH MAN to bring to maturity the natural gifts of the young born there lived in Perthshire, Scotland, a farmer of The beautiful Laura Vasselli, one among many of Ro¬ pelled to request those who attend the esting test of old and modern violins artist and to equip him for the most daring flights o In her lively Autobiography, the late the name Donald Izett, who enlisted in a regiment which man beauties to whom he had paid assiduous court, Philadelphia Symphony Concerts to re¬ took place at the Paris Conservatoire his genius. He certainly did not lack in “preparedness A FELLOW FEELING. Liza Lehman suggests the following de¬ happened to pass through the village. This regiment threw the spell of her charms so potently on him that frain from entering or leaving during last week (says Reuter). A violinist How many of our modern artists can boast of a similar The late David Bispham used to tell finitions for certain types of singers, imi¬ was sent to take part in the campaign in Ireland Izett he fell victim to the most ardent passion for her and the the performance. He did it very gently, played in turn, in complete darkness, six this story on himself. He was undergoing tating the style in which certain text¬ deserted to the enemy and entered General La Hoche s solid foundation? happiest day of his life was when she gave her con¬ with admirable restraint, and was ap¬ old violins, among them being a Stradi- the ministrations of the barber while books of Orchestration describe the use service. He rose to valet, secretary, married an Italian sent to become his wife. The union was the happiest plauded by his audience. One wonders varius and a Guadagnini and six of- the Donizetti’s Methods of Composition crpssing the Atlantic. of musical instruments: lady of wealth and went with her to Bergamo (Italy), that could be imagined. A friend of Donizetti said what Stokowski’s feelings would have best modern makes, the order being de¬ But the ambition of Donizetti was to write for the “The Soprano prefers to be called a where he Italianized his name. Donald Izett became that he idolized her and would have given his life been had he held the post of Court Con¬ cided by lot, and the player being un¬ theatre although as a newcomer he had to compete with shall ave the pleasure of ’earin’ you sii ‘star’ and to warble of birds, butterflies Donizetti, a name which was rendered famous by his for her, but she, like a sensible woman, required no ductor to the Duke of Brunswick, at the aware upon which instrument he was masters of established fame like Cimarosa Paisiello, at the concert tonight.” and ‘spring-tra-la.’ The composer should sacrifice, consequently he had the happiness of angels. time Ludwig Spohr, still a boy, entered playing. The audience then decided by "and the younger Bellini and Rossini. After having “No,” explained Bispham. “I’ve hi contrive to end with a shake, preferably Two children were the pledge of their mutual affection. the Duke’s service. Spohr was fourteen vote which was. the best instrument. Schooled in German Classics a long exhausting season in America ai marked lunga, and the exclamation ‘Ah!’ produced a couple of operas which had a public per¬ Two years passed away in Elysian bliss and when the at the time, and in his Autobiography Two modern violins -came first with 1.090 In 1806, as a boy of 9, he entered a little conservatory m a few days I open in London. I’ve d Otherwise the prima donna may arrange formance he tried to investigate the cause of his suc¬ second year had come to an end the cholera gives the following account of condi¬ and 1,004 votes respectively, then the in his native city of Bergamo headed by Simon Mayr, cided not to do anything this voyage.” this herself. visited Italy and among those it fatally at¬ tions : Stradivarius with 1,000 and the Gau- a learned Bavarian musician. Gaetano Its the same with me, sir. When I! “The Contralto voice moves somewhat tacked was Signora Donizetti. “The Court Concerts in the apartments dagnini with 822 votes.” showed unusual talent and earnest deter¬ ashore I never looks at a razor ” ponderously, and finds its best effects in of the Duchess took place once a week Judging from the above report, the mination and his master took special pams dealing with infant mortality. A Coffee Fiend and were most disagreeable to the mu¬ Cremona violins were handicapped. They in developing him, Even at this early age “The Tcn’or is unfortunately a rara With her died a part of him, his interest sicians of the Ducal Orchestra, for ac¬ Donizetti showed dramatic ability and by were built t\yo and a half centuries ago avis, and—equally unfortunately—knows in life, all his capacity for enjoyment. He cording to the then prevailing custom, the time he was ten years old he made his when the average concert pitch was pound of cure” might be'p^aphrased t was like a person dazed, he went about not cards were played during the music. In it. See extra special chart of ‘Three mark in solo contralto music and was ap¬ about a tone lower than it is now. All read an ounce of preparation is worth well knowing what he did. Trying to pur¬ order not to be disturbed, the Duchess Hundred Gargles!’ pointed ripetitore or preparatory teachei old Cremona violins in modern use have pound of repair.” chase forgetfulness of his sorrow he took to had ordered the orchestra always to play “It is not imperatively necessary that in the singing and violin classes, and was had to be strengthened to stand the in¬ coffee as a stimulant, drank it to excess, and piano. The leader therefore left out the the Bass voice should solely be employed initiated by Mayr in harmony. He learned creased strain and this has no doubt became a coffee fiend. The result was sal¬ trumpets and kettle drums, and insisted to sing of revenge, life at sea (though to appreciate the Italian and German clas-, affected the tone to a slight degree. Per¬ SPOHR’S FIRST COMPOSITIOl low checks, a ravaged face, sunken eyes, and strongly that no forte should be played these are always favorites) and curses sics to play the pianoforte, the organ, the haps this is offset by the mellowness “It was while I took lessons from a generally unhealthy hue. When he was in its full strength. As this was not al¬ from the infernal regions.” flute and the double bass. Beside these acquired through age, yet it represents Dufour that I made my first attempts writing, a small tray was put before him on ways to be avoided in Symphonies, how¬ Touching the bass voice, the late com¬ musical studies he was taught history, my¬ something on which the Cremona composition,” says Ludwig Spohr in which was a cup and a saucer and a large ever softly the band might play, the poser of In a Persian Garden might have thology, Latin and rhetoric. One must masters did not, could not figure. Autobiography, “but without yet h-v coffee pot. Every now and then he helped Duchess ordered a thick carpet to be been interested to know that that sturdy overlook the fact that this extensive musical And even so, the very best of modern- had any instruction in harmony. T himself to a cup of coffee. His cheeks and spread out under the orchestra in order basso Mr. Clarence Whitehill. has made and literary foundation was greatly bene¬ made violins is an imitation of the Cre¬ consisted of duets for two violins whic face seemed to exude the hue of coffee. to deaden the sound. One heard, there¬ talking machine records of ’Tis But a ficial for the further development of the mona model. The violin has not altered performed with my teacher at our mus Early in 1845 the first signs of the malady fore, the words ‘I play,’ ‘I stand’ and so Little Faded Flower, and (particularly in shape and only slightly in size smce soirees, astonishing my parents w boy artist. which was the cause of the composer’s forth much louder than the music.” charming for a man of his robust Stradivarius’ day. Previous to that it them in the highest degree. To this da In 1815, when Donizetti was 18 years death began to show itself. Fits of hallu¬ Times have changed since then. Yet s*ature) Take Me Back to Hofne and was changing constantly in shape, size, recollect the proud feeling of being abk old, Mayr sent him to Bologna to study cination and symptoms of approaching de¬ it is not so long since Sir Henry Wood, mechanism and number of strings. The appear before the friends of the house counterpoint and fugue under Padre Mattel, rangement displayed themselves with in¬ conducting Popular Concerts, at Queen’s Cremona masters created and fixed the a composer. As a reward I received ft who had recently brought out Rossini. creasing rapidity. He was found once sense¬ Hall, London, had to contend with his violin as it is and that is their ever¬ Donizetti remained a pupil of the “Liceo my parents a gala dress consisting 0 less upon his bedroom floor; from that orchestra against the sound of corks dis¬ lasting glory, of which no contest can rob red jacket with steel buttons yel neart of man go together. But art Musicale” where Mattei was teaching, until SCENE FROM LUCIA DI LAMMERMOOR. charged from pop-bottles just outside the them—unless somebody invents a violin breeches, and laced boots with tasseh recreation; it cannot be learned at 1818 and worked strenuously under Mattel s auditorium 1 of novel design yet more lovely in tone. • dress for which I had long prayed in vai moments, nor pursued when we have mg better to do.”-RUSKiN. FEBRUARY 1922 Page 93 THE ETUDE the etude Page 92 FEBRUARY 1922 What is a Monotone ? hour his mind and his body began to deteriorate and he The Teachers’ Round Table had to be removed to a lunatic asylum where he died By Orlando A. Mansfield, Mus. Doc. in August, 1848. Conducted by N. J. Corey Some Anecdotes Donizetti was of a phenomenal activity. It is said In America the monotone has long ago ceased to be a that being requested by an operatic troupe of a Neapoli¬ thing. It has become a person. The authorities on tan theatre whose failure had been the order of the day Public School Music have made use of the term to denote a child who is unable to “carry a. tune.” In other for months past, to give them something that would ‘”obums peru,mng Fu„ words, with the so good people a monotone is a scholar m »..t«« *" prove attractive, he sat down without hesitation and who sings on one tone, a kind of vocal drone, or musette. Rotary Motion wrote words and music of La Campanella della notte, your art should be similar. The trouble with most Such a one is, of course, more or less devoid of the Early Days in less than a week, a charming opera which filled the gift known as a musical “ear.” Into the methods sug¬ performers is, that they know nothing but what their Instances of musical compositions on monotones are “1. When should pupils begin the practice of theatre and prevented the house from closing its doors. gested (or employed) for the improvement of the poor teachers have given them. There is no one so music¬ comoaratively rare. Perhaps the most striking example A friend desired to procure a copy of an opera then monotone, we cannot enter here. Our object is to show ^2* When should the first piece be given? ally uneducated as the average musician. This is espec¬ use it?”—B. E. is X fine song of Peter Cornelius (1824-1874), the 3 Would you name a tew pieces for a pupil in Arrange the rounded fingers close together so that the being played at Bologna, but though he had offered to that from the original meaning of the word “one tone ially applicable to singers, whose knowledge frequently friend of Liszt and Wagner, entitled Em Ton. tips touch one another. Place over the two black keys purchase the score the privilege was refused to him the expression has come to be applied not only to music 1 Ts"Xey’hTve acquired a fair degree of mo¬ does not pass beyond the little pile of songs in sheet In the English Church service certain portions of the D flat and E flat, so that two of the finger tips will and the opera seemed to remain as much a sealed book consisting of one sound, but to individuals apparently mentum. In a general way their serious daily practice music, two or three inches thick, that lies on their liturgy e. g., the Creed, are sometimes monotoned by rest upon them. Very gently roll from side to side so as the famous Miserere of Allegri in Rome. He there¬ incapable of producing any other musical effect. may begin at about the beginning of the second grade. pianos. Pianists should; do better than this, but too Taking the individual first we notice that there have choir and congregation, with a varied organ accompani¬ Some introduce them, by dictation, much earlier. manv of them stop short in their knowledge and prog¬ that a soft tone is sounded. You will note how easy this fore begged Donizetti to attend a performance and to is and how simple the action that produces the tones. been many such in history. One of the most remark¬ ment. Of this order of church music there arc many 2 A piece need not be more than sixteen measures ress as soon as they leave their teachers studio. I he jot down a few of the airs as he heard them. Donizetti, beautiful and highly interesting specimens, mostly by While playing the slow trill in this way analyze and o - however, volunteered to visit Bologna and bring back a able cases was that of William Hensel, the Berlin long, and many of the early studies in recent methods writer of the foregoing letter shows the right spirit, painter, who married Mendelssohn’s sister, Fanny, the leading English church musicians of the last half are boni fide pieces, even though not exceeding five finge and by systematic application can in a reasonable time serve that this slight rolling of the hand is produced by an complete copy of the work in a few days. impulse coming from the forearm. Out of this germ a herself no mean musician and composer. In the autumn century. We quote the commencement of such an ac¬ positions. Every pupil likes to be assigned a simple piece place herself where she belongs. “A copy of the whole opera?” exclaimed the friend, complete system of piano technique has been evolved of 1829 Mendelssohn set to music an operetta, the words companied monotone, from Sir Frederic Bridge:— of this kind near the beginning, and it stimulates the in Being Thorough on Limited Time “but can you get it? They have refused to send me a by Tobias Matthay, which, however, has not been widely of which were written by Klingemann, an attache of terest The publisher can supply you with one page pieces copy.” “How long do you think it advisable for pupils accepted in practice. Modern technique is a grouping of “I will bring it,” replied Donizetti, “in my head.” the Hanoverian embassy in London, in which city the of this kind that may be given very early. _ ■ acquaintance between librettist and musician had been 3. Grieg, Album Leaf, Op. 12, No 7; Poldim, Ta en Six*’7eeksroramore°elaps^rt«foretI am Satisfied,'and all principles that are valuable. Instead of riding any one He accordingly travelled to Bologna and after at¬ principle to its farthest logical consequences, it helps formed. This work was intended for, and was actually tella; Schutt, Petite Scene de Ballet; Borowski Fal- tending two nights successively, was able to write down itself to all good ideas, which may be found anywhere, with tolerable accuracy the whole of the score. performed at, the silver wedding of Mendelssohn’s sette; Lieurance, Star Gleams; RathbuniTmhght orithe parents, in Berlin, on December 26, 1829. It was entitled Mountain; Kern, Ariel; Wachs, Rosy Fingers; Chamin- just as the bee flits from flower to flower taking the best each has to offer. Modern technique applies this Heimkehr aus der Fremde; and an English version ade. Scarf Dance. Life Characterized utes.”—E. K. principle in broken octaves and all similar passages. known as Son and Stranger, was produced in London, Sight Reading Again Resuming, we find in Donizetti’s career much worthy I have known pupils to practice a composition for a Time was, when playing broken octaves by finger mo¬ in 1851. In this work there was a monotone part written which we have selected on account of it charming of imitation, and much to be avoided. “I am so poor at sight reading that by the time I vear, and still leave errors uncorrected. This, how¬ tion was advocated, but this is now obsolete, the last for Hensel who might justly be called by that name simplicity. In organ accompaniments to the monotone have read a piece through I have it memorized. Aided by great masters he laid a substantial founda¬ Although I have studied for years, several of them ever was due to superficial work, never giving attention crushing blow to it being delivered by William Mason, tion which enabled him to build an imposing structure of since, although his part was all on one note, F, and anything outre or bisarre should be studiimty avoided. ft our best schools and conservatories, yet I have to nick things out measure by measure. Now 1 am to close study. Meanwhile the length of time required in his Touch and Technic. There is little use trying artistic beauty, defying the tooth of time. almost entirely in notes of equal length, he failed Here, almost more than anywhere else, the organist hecinnine to teach, but must I give only such music will depend upon the length of the composition, the to teach children beginners any principle by name, ihe He was a man of great refinement and many accom¬ to get cither at the final performance! Here is one of needs to remember the words of Emerson tc the effect talent and study application of the student, as well as the main thing is to show them how a given thing is done. at°Wsu« plishments, which procured him friends and admirers the passages:— that “to be simple is to be great.” Sefei^ amount of daily practice. In an hour period of daily Explanations should come when they are older. If, in among artists and men of high social standing. SSK? ifld pieces forUm pupUs? Is there any way I can learn to read? M. F. practice short lessons must be given. Fifteen minutes the early stages, broken sixths, or combinations re¬ Like Bellini, he was chiefly a melodist, but he was far should do for the technical excercises Fifteen for an quiring similar motions, should be encountered, pupils superior to the latter through his profound scientific Something Not Generally Included in Music Teaching This question comes to the department very frequently ttude or whatever you substitute in place of it. Une may be shown how to rotate the hands in doing them. training. in spite of the fact I have frequently answered it. But half hour for advance and review work on pieces ii Great care should be exercised, however, that the mo¬ On the other hand, the excessive, outrageous demands By T. C. Rickaby inasmuch as the Etude has enough new subscribers a little extra time can be secured for sight-reading, tion should be confined to the simplest possible rotation. he made upon his mental and physical endurance, under¬ every year to make the average magazine, it is no well and good, but it should be systematized and practiced “ We Are Seven ” mined his health and destroyed his vitality. To the young student of music, the most important dishonesty may take other forms than in picking wonder there are many who have not seen the sugges¬ in the manner that has been directed in this department. He poisoned his system through the abuse of coffee. “T Is It a good plan to Insist upon pupils mem- thing is that he be taught to play some instrument as pockets. Not to make an earnest effort when it is ex¬ tions made in past years, and who need the information Six weeks is rather long for a third grade piece of orizing the Two and Three Part Inventions of Reasons for success and for failure from which every Bach" Also, in what order should they be studied? well as his limitations will allow. This is the primary pected of us is a negative form of dishonest . , and one then given. The foregoing young teacher would better about three pages, although a certain amount of time student ought to extract a good lesson. “2 What should follow the study of these. consideration, and a famous American used to say that that is only too common in musical work. make a business of learning to read music at sight, as should be devoted to polishing pieces that have been “3. What other sonatas would you recomme d He will undoubtedly remain one of the most popular for one who plays Beethoven’s Sonata Pathetlque he gave piano lessons and taught nothing else. “When Shakespeare makes old, mad King Lear cry out in well as many others we have had letters from, if learned. Pieces of real musical value should not be and lasting representatives of Italian opera. I begin to teach ethics and morals and other things,” deepest bitterness: teaching is to be accomplished comfortably. How dropped as soon as learned, but should be kept for a be*4tiWhat follows Czerny-Liebling, Book III, for 4-Viasp with small hands? I have used Czerny s said he, “I will have engraved on my cards ‘Training “Blow blow thou winter wind. about an elocutionist teaching a student to read Shakes¬ time as repertoire work. Review or polishing work on of Fingering Dexterity, Cramer, then Clementi. the soul extra!’ ” This attitude may be the correct one Thou art not half so unkind peare who was unable to give any examples of what pieces is very important, and has a valuable influence on 18 “5*.1 When ^should Well-Tempered ClavicHord Musical Sieves and Musical Sponges for the teaching or adult or artist pupils, whose chief As man’s ingratitude." was desired? The trouble with most of those who try ease in playing. I often think that a pupil makes object is technical excellence, and whose characters Children’s ingratitude is not less cutting. The same to learn to read music at sight is that they do not go greater advancement in the free and easily accustomed be“6al'\VhatP should follow dementi’s Gradust and habits are more or less fixed. But the majority of “7. Please suggest some artistic and melodious By Elizabeth A. Gest old king knew it, for he exclaims in another place that at it systematically, do not formulate any plan of manner of playing pieces that have been learned, than classics in the third and fourth grades. —B. L. music teachers have to deal with children at their most procedure, and stick to it until results are obtained. in the process of “picking” them out. Therefore your 1. Serious students may memorize some of them, as it impressionable and plastic age. Why not take the op¬ urgency for finished work may be producing unusually Is the musical part of your brain of the sieve or of “Sharper than a serpent’s tooth Furthermore, they stop at every mistake made, and often is the best of practice in learning to memorize in the po¬ portunity thus presented of inculcating the value of good results. There are too many individual conditions the sponge variety? To have a thankless child.’’ try to correct it. How soon will players learn that lyphonic style. It is not necessary to either memorize some few desirable personal qualities, and assist in cul¬ entering into your question to enable one to give an ar¬ The sponge variety is the absorbing kind. The more Children are notoriously ungrateful—until it is too late correcting a note after the key has been struck, is no or study them all. A selected list and their order of tivating them? For instance to learn to play any in¬ bitrary answer to it. You must study each pupil from spongy it is, the more it absorbs. If a melody is once to be anything else. This is not so much from inborn correction whatever. The second time over the same jstudy will' be found in the Round Table for December, strument requires work, and increasingly hard work as every angle, not forgetting that progress cannot be heard, the sponge type of brain returns it and can viciousness as from the thoughtlessness of childhood and mistake is again imminent, and the third time over it the years go on. It would not be out of place to teach swift on an hour of daily practice. Two hours ought to reproduce it, either vocally or on an instrument (play¬ youth. While it may be true that it is no more than a becomes a habit, and the fourth time over it becomes so 2. Naturally gifted pupils with several hours for daily the value of work in general,—that work, so far from fixed it is almost impossible to irradicate it. It is only be the usual amount, although there are many pupils, ing by “ear”). The sponge brain can distinguish at once being a burden, is a blessing; that only those who do PifrelitS ^Uty t0 g‘ve children all possible advantages, practice may intermingle these with Czerny-Liebling, that does not absolve the child from feeling and showing in its relative position in the context of the passage that who find that one hour is the limit of time it is possible between a diminished and an augmented chord, but does nothing are unhappy; and that they must work, not be¬ Book III. Otherwise they may follow it. Pupils gratitude and appreciation; and this is easiest done by the note is correctly played. During practice, means to secure. You must do your best under these conditions. not often know which is which. It can recall hundreds cause they are told to do so but for their own good. should not consider the Inventions as studies, or their trying to please father and mother. Children may rest must be taken to secure this result. From the Foot to the Head of beautiful melodies, but does not know who wrote Again, there is no pupil that would hot resent any in¬ progress towards an appreciation of Bach will be re¬ assured that nothing pleases parents so much as the suc¬ But in systematically learning to read at sight the them. It can probably improvise a very pleasing succes¬ timation that he was dishonest; yet there is more than f the pedal be tarded. Cramer may follow the Two Part Inventions, cess of their sons and daughters in anything they under- • player must stop at no mistake, but must go right on i should the u sion of chords, but does not know what chords it is one form of dishonesty. The most common one is that then the Three Part Inventions, and then Clementi. using. Why? Because it has heard other people do take and especially music. as if nothing had happened. Begin with extremely have a pupil who has tried to memorize 3. Beethoven, Opus 2, Nos. 1 and 2; Op. 10, Nos 1 of taking something that does not belong to us. Not her pieces, but has never succeed. She is ten these things and can reproduce sounds without knowing more than one in a hundred pupils pays for his own les¬ . If y°ung. People-even quite young people—were simple music, no matter how well you play. Send to years old and now in the second grade. Is it ab and 2- Op. 14, Nos. 1 and 2; Op. 26, Op. 79, Op. 27, taught the virtue and value of work and industry and what it is doing. There is a whole storeroom full of sons. Usually they are paid for with father’s money. the publisher for some of the collections of easy pieces. solutely necessary that she memorize? —M. K. Nos 1 and 2. Few pupils, however, have the practice nesty, the beauty and power of gratitude and consider¬ Look at the first piece in one of them over, and make material in the brain’s attic, but some systematic study If a pupil does not make a genuine effort to give a 1 This depends something upon the age and size of time to include all of these in their regular study. up your mind how fast it ought to go, and its general 4. At this stage of difficulty you will simply have to is needed to put things in order and label the material. suitable return for the money spent, he is not strictly ing S° f?r aS !heir music is concerned, it would have a the pupil. Usually it may be begun in the second grade, effect. Then flounder through at this speed,’ stopping The sieve type absorbs nothing. If it hears a melody honest. If parents after much expenditure of money, . ^ ma^e t*lem industrious, honest juid consid- but at least should be taught with caution. Begin with omit any etude, which it is impossible for a small hand a dozen times it cannot reproduce more than a few for nothing. Your first attempt may prove a sorry to encompass, and perhaps some isolated passages here and often at some sacrifice, fail to get a musical return mnmenf he/ re,ationsh'Ps. So do not imagine that a a little piece that is thoroughly learned, show exactly failure. But never mind, the second may be better. Do notes of it. It can distinguish on paper between a they have been cheated out of their hopes and expecta¬ tinned °TijZ° f1*114 incu'cating the virtues men- what happens in and out of the piano, use sparing y, and there will need to be “doctored.” You will hardly diminished seventh and an augmented fifth, but audibly not play a third time, but go on to the next and treat tions; and to cheat anyone out of anything is far re¬ c k tlme "^appropriated. On the contrary and see that pupil learns to listen and not run chords find the Art of Finger Dexterity necessary after Czerny- in the same manner. As soon as you begin to be famil¬ they seem about the same. It cannot recall a theme moved from honesty. That the money is used with LZZt*Jlme we!' spent- This is not intended to sug- together, although this latter requires time. Very small Liebling, Book III, which includes some of tnem. iar with the music it is no longer sight reading. Go from an opera or symphony, although it has heard father’s knowledge and consent makes little difference wordf n 0r onSwinded digressions. Just a few children often have to wait until they grow a little be¬ Cramer, then Clementi, is correct. hundreds. It will accept a correction from the music through the book, and then perhaps go over it again. 5. Some teachers proceed directly from Clementi to the as to the principle involved. So it might be taught that fore they can reach the pedal. teacher one week and make the same mistake the fol¬ zt^i”s.cT*ri re”rk— »d "W* Then take up another. When you get so you can read Bach Fugues. Others use Chopin first. This answers 2. Memorizing is not at all necessary, although one lowing week. Why? Because it cannot hold anything, second grade music with facility, then begin with col¬ question 6. there are too many cracks. A great many of the cracks lections in the third grade, and so on from grade to of the most valuable acquirements. The memorizing 7. Grade three. Selections from Schumanns Album can be filled up with little bits of concentration, and when What Scales Have Done for Me grade. When you are getting on towards the grade faculty is either latent or missing. In either case, to for the Young, Op. 68. Beethoven, Variations on Nel something is heard the attention should be focussed on in which you play your best selections, after they are try and develop, take a very simple piece whose formal ror Pin. Schubert, Waltzes, Op. 9, Nos. 1, 2, and 3. what is being heard. This is the act that makes By Ada May Hoffrek thoroughly practiced, then begin to be as omnivorous demarcations are very clear, and memorize sentence Grade four. Handel, Gavotte in B Flat. Selections from listening a different matter from hearing. Sieve brains as you can in your reading. Get familiar with as much by sentence. You will often find that the four measure Mendelssohn’s Songs Without Words; Chopin, Vaises, 1 Gave me equal familiarity with major and with phrases may be followed in little pieces. An eight do not listen to what they hear. Sponge brains mimic minor so that I could determine at once just what key a great music as you can. You cannot learn to play it Op. 34, No. 2 and Op. 69, No. 2; Chopin, Three what they hear. all in skilled perfection, but if is the part of a trained measure sentence will be enough for each lesson Do Favorite Preludes, B Min., A, and C Min; Haydn, given piece was in. not try to hurry this effort, and by no means apply the musician to be familiar with the musical literature Gipsy Rondo; Mendelssohn, Fantasic in A, Op. 16, 2 Furnished me with an automatic readiness in S Developed fluency and ease in my technic, process to all the lesson assignments. Select melo¬ of the world. You read your Shakespeare, although No. 1; Mozart, Rondo m D; Schubert, Impromptu in fingering so that nine tenths of all passages could be dious and pleasing little pieces, always very short at _ “Music is fundamental—one of the great sources of fingered with far greater ease. touch ^ aCQUiring ma"y different var you do not expect to commit any passage for public A Flat, Op. 142, No. 2. life, health, strength and happiness.”—Luther Burbank. 3 Simplified a great deal of the so called “passage work.” performance, nor to enact any role. Your relation to first. 7 U!d the ^ndation for memorizing. Page 94 FEBRUARY 1922 THE ETUDE Music as it is Defined Tirawa’s Vengeance After one whole measure’s pause (53), a Codetta TEE ETUDE FEBRUARY 1922 Pax* 95 begins and ends with a closed period in D minor, 54-57. By W. Francis Gates Indian Legends by Angelo M. Read At measure 2, the F is an unprepared suspension on TIRAWAS VENGEANCE / - \ the first inversion ( ) of the chord on the le There have been many varied definitions of music INDIAN LEGENDS,No.2 ANGELO M READ No. II 14 3/ dependent on the writer’s idea of, or appreciation for’ An imposing concert number, developed f rom some authentic Indian motives. See opposite page for composer’s analysis. Grade f>. note of the key of D minor. . The interlude at measure Angelo M. Read, the composer of these pieces (No. II music. One man’s music is another man’s noise. And Lento ma non troppo of which will be found upon the opposite page), has 32 is made up of passage work on the dominant of the he defines accordingly. > _ > v ten. j | ten. ^ >ased his theme upon the following American Indian original key ending at measure 38. This passage work One says Nevin is music and Bach is noise. One Motives. is also seen in measures 44, 45, 46. declares Mozart to be noise and Stravinsky, musjc The G sharp at measure 52 is an appoggiatura. The Another reverses the definition. Even the dictionary C natural at measure 52 is that belonging to the (natural) tells us that “music is the art of combining tones to 4- descending melodic minor (Dorian) scale of D minor. rPf please the ear.” ■en. /v In taking up the study of Indian Legend No. II, Whose ear—yours or mine? ten. m m 4. the performer will readily perceive that the chords at 9 Out of the above motives for the Dakota Tribe A French writer, Jules Combarieu, is more general A-.bJ: were evolved the beginning of the piece must be played with great and declares it to be “the art of thought in tone.” In S'. 8 ^ 10 force. other words, it is an art, not a natural phenomenon- it The arpeggioed chords at measures 1 and 5 are to be fw-- f 4 4y deals with tones, and it presupposes thought; that'is ■ played as follows: WgHg: U : educated mental action and discrimination. “Thought' 4-^4 using tone as its medium, creating an art work.” ’ ft * ir4- And still, this leaves open to discussion, "What is an ffl Sfj j?2 art work?” We journey back to the starting point, you n saying Mozart created art works, and Schonlierg didn’t- '7 while I may pin my faith to Cadman and I lerbert. One might reduce the definition a little, and make it more generally satisfactory, by saying, music is "thought The small notes at measures 3, 7, 9, 10, 11, 13, 14 expressed in tone.” This would exclude n< .ises—casual and 15 are to be played quickly, somewhat after the unbrained combinations of tones—and require definite manner of the slide (or glide) used in Bach’s time. mental application, presupposing a knowledge of the The small notes at measures 21, 25, 29, 40 and 42 are essentials of musical construction. to be played quickly, as follows: No. 3 While this definition may be satisfactory t . you and to Moderate* commoto Ex. 6 __ me, there are those whose idea of music i > different from ours, that only a definition to fit their own particu¬ ^ ’’ ! lar style of music would suit them. One says music should be impersonal, abstract. The first of the tied notes in treble and bass on D Another school declares that it always should tell a beginning at measure 54, are to be played loud enough story—producing the “program music” so often featured. to make them heard after the dignified and semi-detached Still another division of the musical public savs that accompanying notes of measures 55 and 56 have ceased music should go much farther than the dictionary defini¬ to sound. __ tion, above quoted; that it not only is the art of “com¬ Is It Interesting? bining tones to please the car,” but that music should According to Indian Tradition:— represent the whole of life, whether it pleases the ear. The men of the present day were preceded by another race—people of great size and strength It is By Maude Burbank Harding In other words, if the subject portrayed is one of recorded: “These people lost all respect for Ti-ra-wa pain horror or calamity, then the music must be of Creator of the mountains, the prairies and rivers; in The above question is the acid test of everything clash, cacophony, discord, entirely abjuring the idea of fact they became so rebellious that Tirawa, their ruler modern “Work for work’s sake” is a motto of long beauty or “pleasing the ear.” Out of all thi-. long ago, decided to destroy them. This he did by sending a ago, and compulsory practice of monotonous exer¬ arose the question whether it was the funds :, „f music great rain which drowned them all. cises is reminiscent of grandmother’s girlhood merely to be beautiful, or whether, like painting, its “Nothing was left but a mosquito flying about over The desire to practice must come spontaneously mission is to portray all of life-good and bad, pleasure and sorrow, happiness and horror. the water and a little duck swimming on it. These two from the pupil before results can be obtained, and the mcentive for this desire should be furnished and con¬ That is a question no part of the world can settle for met, and the duck said to the mosquito, ‘How is it that stantly fed by the teacher. the rest Ever since music reached an advanced stage you are here ?’ The mosquito replied : ‘I can live on this Competition always gives zest to work and pleasure of development, it has been a bone of conic..:,„n among foam; how is it with you?’ The duck answered, In a class, this is easily arranged; but in individual work musicologists and composers, and, no doubt, it will so When I am hungry I can dive down and eat the green' it wil be found very advantageous to have meetings continue for decades, and possibly for centuries. weed that grows under the water.’ ‘Then,’ said the monthly or bi-monthly, of those pupils studying the same o, not to enter discussion of it, the simpler way is to mosquito, ‘I am tired of this foam. If you will take grade work, where each may appraise* the other. Kindly SU.Ch,a generalizcd definition as that suggested me with you to taste the things of the earth, I shall criticism by the audience is most helpful, noticing good t f" u fS1,fy mUS‘c as “th°ught expressed through know that you are true.’ So the duck took the mosquito points as well as making suggestions for a better per¬ tone, to which hardly any school of music, or composi¬ under his wing, where he would keep dry, and dived formance, and perhaps following a schedule of require¬ tion, can take exception. down with him to the bottom of the water and as soon ments, checking off each point with standard marks on a list such as the following: as they touched ground all the water disappeared Do You Believe in Preparedness ? Now, after everything was dead, Ti-ra-wa determined General Position Beauty of expression Position of hands Interpretation that he would again make men, and he did so But Accuracy Time By Marjorie Gleyre Lachmund again he made them too powerful, and he had to destroy Beauty of tone Memory them. Then he made one man like the men of to-day There is an overwhelming and delightful quantity a Dh™J7 CVer noticed"how~often a pupil has to start and he said to himself, ‘How is it now? There is still °.f ^lable material for all kinds and grades of musi It is an anT °r thm‘ times kfore he can go on? something that does not quite please me!’ Then he cianship which is tuneful and pleasurable, at the same the pupil L?“n '"!'ng, usual,y caused Ixrause made a woman and set her beside the man, and the time embodying all necessary drill. a hint from lu 0t ^ ready first. We might accept man said: ‘You knew why I was not pleased. You If a student is imaginative, he will weave words for at btu ,MarCUS Aurelius: “Let no act be done j -1. mn-4 knew what I wanted. Now I can walk the earth with cr t:f4 -»R r*Tr n gladness! derf,,rfl COmpel'lng of the exercises, and make won- finished "rules' thaT °therw'.se 'ban according to the derful tales of the more consequential studies; if he is i" this instanr! ■ f 7'' ,ts kind’' The best "rule” —G. B. Grinnell in The Builders of a Nation dull of wit, then the teacher must onen „„ , ■ ove. the ODenin^ ^ ha'C your pupil l,Iace his hands 42 43 ^ 44 ^48 the vistas of that land of fancy through which maT ^ ff> 41 w: This Rhapsody opens with an introduction suggesting velous country alone the artist can find real success fully trtTwlrso^'5- T' the principal theme, a phrase of four measures in D mind’s eye ThPr, * ■ as t0 have them m his 7 r':4’ Whlch 1S imraediately reproduced a fifth above of ebservation will sLIaV—1 to start’ his "lcment ™ Why Study Piano? will be- ino necllvSt?„dh‘rt! “ good s*ad and there 5-8. Then a pedal-point follows on the dominant of necessity to start over. > >> D minor 9-16. The subject proper opens after a two By May Hamilton Helm ten > > ten.. measure s first phrase extension in D minor 17-18. This subject consists of four measures 19-22 and is repro 1. In singing, but one tone can be mado at .• duced at another interval 23-26. Then follows a phrase This is true of violin, flute, cornet and many nth* • tlme' extended to five measures which ends with a cadence SZtrs'i - r"*' 5^2 on the chord of A major 27-31, which is followed by a mystery; and you were ^ 3 Symphony W3S applauding it An , ,°™ewbat puzzled to find others lung a > bs. > > %77 ij pause JJ^meno mo. 57 ““r 3. A piano arrangement, like a good eneravimr a went on slowiv thm U'! dlnS of musical faculty that 55 , 56 appreciation; and nnS succeeding years, brought some To ritardf tl tempfu 58 xuendo piu moto ten. At measure 39 the main subject re-enters, this time in repro,duCefeit,her true °r false colors, but Sves°ea 58 Pt?n correct idea of the subject. g a >• jp 50 ten. R4iWV “”tr.as,ted tcm.po,of % (Molto Agitato) and in a ations which once oa *hcSe <;ornpIex musical combin- contracted form, which is carried on by means of exten 4. Piano study furnishes necessary nreoarat;™ f you more pleasum in you litt,e or no pleasure give sion to the close of measure 52, which is an incomnlete the organ and for accompanying. or this, you suspect that ° any- others- Remembering all * U j J) * ■ or partial, ending in D minor. ’"complete, 5. It is required at music schools as the best foundation more evolved musical you|\ '"difference to certain still r 9 k 1-kfr? rr for general music culture. munaation capacity in youan7L™nations may "rise from in- r v r s- >i> > w " sSf'J'ZLZtin ,h™" """"* s emprt ido il basso Copyright 1922 by Theo Presser C!o. » crescei British Copyright secured Page 96 FEBRUARY 1922 S-studm FEBRUARY 1922 Page 97 JOYFUL SPRINGTIME THE ETUDE l.Leslie loth Full of vigor and happy anticipations. A useful finger study. Grade 3. CODA
DREAMING LAKE BARCAROLLE H.J. ANDRUS
British Copyright secured Copyright 1921 by Theo.Presser Co. # From here go to the beginning and play Fine; then play Trio. British Copyright secnt Page 99 Page 98 FEBRUARY 1922 THE ETUd£ THE ETUDE FEBRUARY 9122 To Miss Isabelle Hawke LOVE SONG A well-written drawing-room piece, affording valuable study in tone production and in the singing style. Grade 4.
FAIRY BELLS WALTZ
~5- - -'ie. 2-— ■^T7 2 3 i - £ 1 4^ 10, “YfsTTj>• yft f r f
- D. C. \ A* A* **■ A* * it * * 1 g*L < .
(foi. 1 i-T-T-f r T f r r .f-=i r tig fail Copyright 1922 by Theo. Presser Co. ft ft 3 Copyright 1922 by Theo. Presser Co. British Copyright secured British Copyright secured Page 100 FEBRUARY 1922 TffE ETO/j£ SALUTE TO THE COLORS the etude FEBRUARY 1922 Page 101 MARCH SALUTE TO THE COLORS SECONDO BERT R. ANTHONY MARCH A rousing military march, very popular in solo form. Play briskly and with strong accentuation. BERT R. ANTHONY PRIMO Tempo di Marcia m.m. J =120 5
C 1. 1 '
—via- r... O H--1T L ^ ry-f f |y-f y i g *_ -g - 1 f— y1 1/
—» O 3 3 s 57^ T Page 102 FEBRUARY 1922 THE ETUDE FEBRUARY 1922 Page 103 ANDANTINO the etude from “GRANDE SONATE” ANDANTINO J.N. HUMMEL, Op.92 SECONDO from “GRANDE SONATE”
Andan tino sostenuto u.M.J= 54 ^_^ n PRIMO J. N. HUMMEL, Op. 92
P i i l Jy/j
-”f:j 4 ' l ‘ ? the etude FEBRUARY 1922 Page 105
1 SHADOW LAND A graceful drawing-room piece,with an effective harp-like treatment of the theme. The first note of each arpeggio must be taken on the count and with the bass note. Grade 3. EDWARD F. JOHNSTON Andante con affetto M.M. J 4-i a 4 5 rri&jx-k ^4 i *:t.i w4jL
Copyright 1906 by Theo. Presser British Copyright secured T THE ETUDE FEBRUARY 1922 Page 107 Page 106 FEBRUARY 1922 THE ETUDg BACK OF THE FARM Galli-Curci AN OLD TIME HUSKING-BEE DANCE WALLACE A. JOHNSON A musical characterization of a familiar winter scene in the country. Introducing' Batistes Star of Hope. as a Prelude. Grade 3. Sings in English Andante con espress. m.m. J = 72 Sitting around the fire-place. i OF Car’lina By James Francis Cooke
¥ On Victor Record Hear the incomparable Galli-Curci sing this song as she sings it with sensational success at her concerts.
VICTOR RECORD NO. 66014 Price, $1.25 MADAME GALLI-CURCI
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ETUDE MUSIC MAGAZINE, THE0D0RE PRESSER CO., Philadelphia, Pa. Page 108 ' FEBRUARY 1922 THE ETUDE THE ETUDE FEBRUARY 1922 Page 109
Soprano High “C” Without “Metallic” Suggestion
A Brunswick Achievement Vouched For By Highest l^Fusical Authorities
Musicians, critics, teachers all will tell you And they say, too, that while any make of New Releases Feature the severe test of a phonograph is in repro¬ record is sweeter and more beautiful on a Dux Pattiera ducing “high notes” especially soprano. Brunswick, the ideality is attained with a Brunswick Record on a Brunswick phono¬ Remember this when buying a phonograph, and Huberman graph. and insist that soprano records be played. A noteworthy release of Brunswick records in¬ This is why cludes the premier recordings of three great art¬ Note, then, how most instruments vibrate, By means of exclusive methods of Repro¬ ists : Claire Dux, known through her appearance sound “metallic” when the higher notes are with the Chicago Opera Company as a soprano of duction and of Interpretation, Brunswick rare charm and dramatic power; Tino Pattiera, Notable among current record reached. releases is Mi Chiamano Mimi achieves perfect rendition of the so-called “dif¬ the Dalmatian tenor, whose debut with the Chi¬ cago Opera Company was a sensational triumph, (“La Boheme,” Puccini), sung Then hear the same records it The Bruns- ficult” tones—the piano, the harp, the human wick. and Bronislaw. Huberman, whose technical skill by Claire Dux, soprano, Chicago voice. Methods which apply to no other phono¬ and power of tone have placed him foremost in graphs or records. Opera Company, who makes her Hear the full range of “high notes.” Soprano the ranks of today’s artists. The Brunswick Method of Reproduction is phonographic debut as an exclu¬ High “C” in ringing intensity, without slightest In common with the tendency among great art¬ sive Brunswick artist. exclusively Brunswick. (Note illustration be¬ ists of today, they record exclusively for Bruns¬ “metallic” intrusion—clear-toned, vibration¬ wick. Hear these new records: less ! And you will marvel at difference so great low.). The Brunswick Method of Interpreta¬ in phonographs. tion, in producing records, has not been sucess- 30022 Mi Chiaihano Mimi (My Name is Mimi), fully imitated. from La Boheme.Claire Dux Thousands have made it Hence, buying any phonograph without at 30023 Nocturne in E Flat (Opus 9 No. 2), Thousands of music lovers have made this least hearing The Brunswick is a mistake. And (Chopin) . Bronislaw Huberman comparison. And chosen The Brunswick. to be without Brunswick Records is to be with¬ 10048 Recondita Armonia (Strange Harmony), out much of what is best in music. from Tosca. Tino Pattiera Highest musical authorities have made it. Ask your nearest Brunswick dealer for a with the same result. So when one inquires, in demonstration. The Brunswick plays all rec¬ Other Noteworthy Brunswick Records the world of musical art, which instrument is ords, and Brunswick Records can be played on 13030 Sing! Sing! Birds On The Wing, preferred, the number who say The Brunswick any phonograph. Hear, compare—then judge Theo Karle is surprising. for yourself. ’Tis An Irish Girl I Love, Theo Karle and Male Trio THE BRUNS WICK-BALKE-COLLENDER CO 30008 Avant dc quitter ecs lieux—Dio possente Manufacturers—Established 1845 (from Faust) .Guiseppe Danise Chicago—New York—Cincinnati 30019 Liebestraum (A Dream of Love), (Liszt), Leopold Godowsky S/7te Exclusive 30013 Un bel di vedremo (Some Day He’ll Come), from Madame Butterfly, Florence Easton Jorunswick. Ufethod of Reproduction NOTE: New Brunswick records are on advance sale at all Brunswick dealers on the 16th of each month in 10042 O Sole Mio (My Sunshine) Mario Chamlce the East, and in Denver and the West on the 20th 5069 When the Sun Goes Dozen (Fox Trot), Isham Jones’ Orchestra Dream of Me (Fox Trot), Isham Jones’ Orchestra 2152 Fancies (Fox Trot), Gene Rodemich’s Orchestra Gypsy Blues (Fox Trot), Gene Rodemich’s Orchestra Any Phonograph Can Play Brunswick Records
© B. B. C. Co., 1921
Prices of Brunswick Phonographs range from $65 to $775. Eighteen models in various finishes, includ¬ ing authentic period designs. S W 1 C K ; 1 PHONOGRAP AND RECORDS Page 110 FEBRUARY 1922 TEE ETUDE SCHIRMER’S EDUCATIONAL MUSIC ADVERTISEMENTS, NO 1
The DILLER and QUAILE BOOKS
First Solo Book. . net .60 (Schirmer’s Scholastic Series, Vol .51) First Duet Book.net 1 00 (.Schirmer’s Scholastic Series, Vol. 52) Second Solo Book .net .75 Second Duet Book.net 1.25 (Schirmer’s Scholastic Series, Vol. 72) {•Schirmer’s Scholastic Series, Vol. 73) Third Solo Book. ... .net .90 Third Duet Book.jn preparation {Schirmer's Scholastic Series, Vol. 105) {Schirmer s Scholastic Series, Vol. ) Fourth Solo Book. . in preparation Fourth Duet Book.in (.Schirmer’s Scholastic Series, Vol. preparation {Schirmer’s Scholastic Series, Vol. ) By Angela Diller and Elizabeth Quaile
q^HIS Series conceived in the most masterly fashion, provides material of permanent ™uslcal value for the development of taste in the earliest stages of the child’s piano study With the exception of a few preliminary exercises, all the pieces are either folk-tunes that have been sung by generations of children, or classics that should form part of every child’s musical experience.—Music of this character cannot be heard and taught too much The pieces are in only the more common major and minor keys, and are reolete with every essential feature of modern editing. 9 replete with The Diller and QuaileBooks may be used with any method. They supply a conious selec twlS Udy-i"d recreation pieces, so carefully graded, both musically and technically that the pupil is stimulated but never overtaxed by their study
although “ *° “ »ith *>“ *><*• Solos- Mechanically, the books are up to the best Schirmer standard.
A Representative Group of Very Successful Pieces for the Piano : EASY ' Net BECKER, White rose waltz 35 Net KINSCELLA, Marching on 40 Net BIEDERMANN, I love little pussy 35 -Playing tag 40 SMITH, Cradle song 30 BILBRO, Five little hunters and the big KROGMANN, The moonbeam’s lullaby 40 -Hunting song 30 black bear 49 Arpeggio waltz 40 STERNBERG, Dolly’s waltz 50 ——In mammy’s day 40 LOTH, Sunny fields 30 SWIFT, The bogie man 39 BURLEIGH, Cottontails 40 MAXIM, The cat 3S -Ding dong bell 39 DUTTON, Boat song 35 -The rooster 33 -Rocking the cradle 35 Down by the frog pond 39 NEIDLINGER, Dancing under the May- TERRY, Going to camp 39 FREDERICKS, The dancing lesson 35 apples 3- TOMLINSON, Dance song 35 FREDERICKSEN, Ball dreams 40 ORTH, Jack-straws 33 -Uncle Petey’s minuet 30 -Evening song 35 -Melody waltz 40 FRIML, Crossing the bridge 30 -Marching song 35 ——Moonlight dance 40 HACKH, Message of the flower 35 WEBB, Waltz, Op. 89 35 ROGERS, Bedtime song 3q KINSCELLA, Ding dong bell 30 -Flower waltz 3- WILLIAMS, Song of June 49 -Ghosts 35 WYATT, Osoeasy 39 SMITH, The brook 3q ZUCCA, Moonlight 39
SCHIRMER’S LIBRARY
both vocal and instrumental. Its scope is a cardinal feature °f c,assicaI music are unquestioned. Catalogs may be secured free at any music store authontatlveness and accuracy
// unable^ to procure^ from ymn W dealer, dchhe m 3 E. 43rd St. C. SCHIRMER. Inc. New York
Please mention THE ETUDE wlten addressing our advertisers. Page 112 FEBRUARY 1922 the e tubr Page 114 FEBRUARY 1922 ms ptulb FEBRUARY 1922 Page 115 GRECIAN DANCE TEE ETUDE GEORGE DUDLEY MARTIN
Copyright 1921 by Theo.Presser Co. British Copyright secured THE ETUDE FE/1R/JRY 1922 Page ill Page UK FEBRUARY 192 X ALBUM LEAP the etude # & OLD IRISH AIR NAME UNKNOWN Arr. by HENRY TOLHURST This beautiful old Irish air seems almost as though it were made for the violin. Play in broad and dignified style without excessive rnbato. One of the mostbeatutifu] of Schumann’s shorter inspirations. In the original it has no title, but bears the mystical three stars, one of the tokens .>t Moderato con grazia
VIOLIN
PIANO {
5 3 fP a) =!
Copyright 1906 by Theo. Presser Copyright 1922 by Theo. Presser Co. International Copyright secured Page 118 FEBRUARY 1921 tbe ETU])E /Gt: 8'stops,//(/ Sw.coupled. IN THE CLOISTER I*r n ... Pw: 8'. With Oboe. trepaie Ch: g'^lute, with Concert Harp. GUSTAV LANGE 'Ped: 16'&8'; Sw.&Gt. couplers. better as transcribed for organ. Originally a drawing-room piece for pianoforte, this number sounds Arranged by Lento religioso M.M.J=72 Andante H.J.STEWART -- -
MANUAL
LJ 1 1 Ml 1 1] wmm Xrrr, ,ffp 1 1 iffi r iff) r if ft r w 1 li Tag iT//j,s Page 120 FEBRUARY 1922 the etude FEBRUARY 1922 Rage 121 WHERE THE SAD WATERS PLOW CHAS. O. ROOS
From the new cycle Green Timber. Not an Indian song, but having a motive of Indian character. THURLOW LIEURAJ^QJ
Andante con moto _ __, , _
In the deep blue dark of the ce^ars-—- That
sempre legato _ —'______
, 1 Fv. I W-r ^--r --r -f-
ONE THOUGHT OF YOU JOHN WILLIAM OAKES A modern love song, suitable for encore or recital use. R. S. STOUGHTON
Copyright 1922 by Theo.Presser Co. the etude FEBRUARY 1922 Page 123 Page 122 FEBRUARY 1922 the etude The Sound-Reproducing Machine as a Music Teacher IN DREAMS ALONE By C. E. Flynn A tender sentiment adequately expressed. Broadly melodious, a real singers song. Andantino espressivo m.m. j=6Q_ Among the many changes for the better idea occurred to them. They purchased a that have taken place in American life, is machine of a standard make, and supplied a remarkable advance in musical art, it with the best library of high grade knowledge, and appreciation. Europe once music which the family treasury would IVERS & POND had sufficient grounds upon which to taunt permit. The result was prompt and highly us about our lack of general cultivation in satisfactory. The little one seemed at once matters of art. to forget the cheap songs of the streets, For the new and more intelligent musi¬ and was soon found to be humming bits of PIANOS cal consciousness in America there are a music that would be considered standard number of reasons. One of the chiefest by the best cultivated taste anywhere. among them is the fact that for a number One particularly praiseworthy point of years we have enjoyed the services of a about the sound-reproducing machine as a highly developed form of the most popular music teacher is the universality of its ser¬ of all music teachers, namely the sound- vice. Its benefits have not gone merely reproducing machine. to the select few who needed it the least, as The sound-reproducing machine has car¬ is usually true of the services of a noted ried widespread musical knowledge with it musical instructor. It has brought at least wherever it has gone. People who knew a fair degree of intelligence with regard to nothing of the world’s music before now matters of music to countless numbers of have been taught much regarding it, and people to whom all such knowledge other¬ they receive that knowledge in such at¬ wise would have been completely and per¬ tractive form that they do not find it soon manently denied. It has gone to the re¬ or easily forgotten. The result is two¬ motest farm, and has found a place in fold. First, people possess a wider knowl¬ the humblest mountain home. Wherever edge, which is always a thing worth it has gone it has carried with it the key having. Second, they are rendered capable to the finest work in music that has ever of listening intelligently and appreciatively been done at any time or by any person. to the music they hear, another pleasant This is the reason why it has been so and valuable power. strong a factor in the musical cultivation Those who have spent some time with of America. Since it has had so large a the sound-reproducing machine and a col¬ place in the humbler homes of the coun¬ lection of really good records find them¬ try, as well as the richer ones, it has built selves newly possessed of a standard of its service into the very life of the nation. taste by which they can more correctly Because of it music is better understood pass on musical selections and perform¬ and more correctly appreciated wherever ances. In any field whatsoever it is true one may happen to go. that this power can come only from seeing One of the most important means to or hearing the best examples of the thing education in any line is demonstration. involved. The record brings to them the This in music the sound-reproducing, ma¬ c/he best of music rendered by the most capable chine richly supplies. The student of most of artists. They are thereby afforded the subjects must either go to the great cen¬ most dependable possible criterion for esti¬ ters to see the work of the great leaders in mating any performance at which they his department or else he must content may be present. himself never to see them at all. Like the c^rincedA Princess Grand. The de¬ experience which serves as an example of From the educational standpoint, too, hear¬ the power of the sound-reproducing ma¬ ing the record is in some ways better than mand for high-class Grands is insistent—their chine to establish a conception of good attending the performance. It is true that construction slow and painstaking. We there¬ music in even the mind of a child. His one misses the personality of the artist, fore urge prospective buyers to order now. little daughter had just reached school age but he can play the record over when he —that inevitable time at which the world likes and as often as he likes. He thus When you take up the matter of a new piano, you gains the only perfect opportunity to be steps in and begins to take a hand in the will want a grand. Why not start now by letting us shaping of the life with which only the had for studying it in detail. If it is true, mail you a catalogue showing the Princess and all our parents have up to that time had to deal. as some have said, that the best way to She was soon found to be picking up the learn to sing or play is to listen to and grands, uprights and players? Write for a paper cheap, shallow songs of the streets and of study the' renditions of those who have pattern, showing the exact floor space the Princess homes where musical standards are mastered the art, then the record can do requires. strangers. The parents grew more and and is doing an inestimable service in that Wherever in the United States we have no dealer, more distressed about it. At length an particular. we ship direct from the factory. Liberal allowance for old pianos in exchange. Attractive easy payment An Infallible Nerve Tonic plans. Some of those terribly restless days Then, one of those indigo blue days Write us today when you cannot concentrate and you are when you think nobody understands you very much upset about things in general, (they say everybody gets those spells, but go to the piano, or take out your violin don’t let them last long, for you know Ivers & Pond Piano Co. and play something very soft and smooth they are absurd) go to* the piano or take with a beautiful melody. If you do not out your violin again and play something 141 Boylston St., Boston, Mass. happen to know one take out one of your bright and cheerful, and cheer up. “Go music books and read one; or ask some¬ over the top” in whatever task is before one else to play for you. This will calm your restlessness, make your machinery you, and music will help you to go over run smoothly again, and help you to ac¬ your top just as it helped our soldier complish what you undertake. boys to go over their terrible tops. Please mention THE ETUDE when addressing o Copyright 1921 by Ernest Felix Potter. Copyright transferred 1921 to Theo.Presser Co Page 124 FEBRUARY 1922 THE etude FEBRUARY 1922 Page 125 Singing is a spontaneous expression of tone is developed by air and enervv spiritual and emotional activities, yet are science provides the lumber, the nails, the with words, music and feelings. It is a against the vocal cords. Its physioWjS quite unable to express themselves in song. windows, the doors and even the roof, creative art at the command of the singer. control depends upon contrapuntal p0l To ail these as well as to the more vocal architecture, so to speak—and a When not so it is mechanical, unsoulful, of power, the vocal influences of which fortunate ones who are possessed of a thus giving the thoughtful student the PTULBRANSEN tied and fixed by man's method. are felt between the crico-thyroid notch fine and normal vocal mechanism, a material already assembled to begin his V-WP layer- Piano Music is universal. Human beings are The Singers’ Etude and the fifth cervical vertebra. Its pojnt -cientific system of voice development vocal structure. in the world everywhere. Therefore it of poise or mechanical center of resistanc holds out its hands in an attitude of wel¬ One by one the various voice making should be one’s birthright to express sing¬ is at the crico-thyroid notch. 6 come and encouragement. organs can be trained into automatic co¬ ing first and last through beautiful qual¬ Edited Monthly by Noted Specialists The second voice unit (mouth space) It has a great mission to fulfill. Its ordination finally resulting in a balanced ity of tone, which only a few seem capable is where the physiological control depends principles can be standardized and proven mechanism which is capable of giving of demonstrating in the artistic realm. upon the contrapuntal poles of power at correct. These shall open up the field of forth a beautiful tone delicately poised, Editor for January Adelaide Gescheidt the ends of the mouth cavity. First at th vocal expression to all who long to give exquisitely blended in its resonances, over¬ What is Voice? lips; secondly, at the junction of the vent to their artistic natures in the Divine tones and undertone, ready to be expressed What is voice? An electro-magnetic tongue and the palate, against the pos art of song. as a perfect normal voice through the me¬ force operating through the sympathetic tenor walls of the pharynx. Its point of It is impossible within a limited space to dium of language, music and feeling by nerve system. poise or mechanical center of resistance give anything like an adequate idea of the the singer to his artistic capacity. The vocal cords are only the human Making Singing a Joy is at the arch of the hard palate of the scope and immensity of such a system. Just as soon as the student grasps the means of making it manifest as sound, re¬ mouth, on a level with the eye teeth The laws of vibration teach us that idea that tone is not a matter of muscular inforced and beautified by all resonators, By Adelaide Gescheidt’ The third voice unit (nasal space) is light and sound vibrate in the same key; control, as in a breathing method or tone namely, in the throat, through the pharynx, where the physiological control depends by putting ourselves in tune with Nature’s placement training, he comes into the light mouth,- dome. of head,- and-* nasal spaces.■- aeuuc natural rights to express voice in its because it precedes art, but art could never upon the contrapuntal poles of power laws we shall absorb true knowledge. of understanding. What is the natural quality of pure tone purity with the correct knowledge of its be recognized as such without its prepara¬ situated at the opening of the nostrils and Singing is not a mechanical act, but a m all its elements, and its definite test? elements. tory foundation of science. closure of the soft palate. The point of Vocal Architecture joy and the spontaneous expression of The natural perfect tone quality results There is nothing in history scientifically The production of tone is scientific, and poise, or mechanical center of resistance The process is like building a house— the soul. "rst f,rom, a ,free vocaI mechanism, and written or taught whereby the voice in to be so must of necessity be based upon is at the bridge of the nose. then, by developing and finally blending al) jts elements can be described, heard, The fourth voice unit is the thoracic scientific laws. How can vocal students Science of Natural Laws thep various resonators ■“ the tonal path- educated and produced by any classified have an intelligent understanding of the gaseous or bellows-like cavity which con¬ Vocal Facts Based on the way one evolves the true tone quality. teaching.- ■ *— production and emission of tains everything necessary for voice emis¬ Physiological knowledge must be Fpr example: would one expect to play The brain is educated to know what the sion between the vocal cords and the a perfect tone on a piano if the con¬ What is needed in this age is a system, lasting results be expected, unless dove-tailed with the science of psychol¬ ear should hear, through a process of . f !f ,s"eeded‘b this age is a system structor and the master mind back of it they a based upon the laws that govern diaphragm. Its physiological control de¬ ogy, before a perfect automatic mechan¬ training the tone vibrations in its normal, de.fi.mte and .sclent,fic’ to ?revent the vocaI had not made the proper calculations in mishaps and unhappy futures resulting tone-maxing? It is preposterous to ex¬ pends upon the contrapuntal poles of natural pathway through each resonating ism can be established and relied upon, the building of each and every part in from vagueness, indefiniteness and non- pect anything but mediocre singing under power first, at the vocal bands; secondly space, separately and collectively. as is the case when the body is perfect their relations to each other? If this be scientific methods of voice production. By any other instruction. at the diaphragm. The point of poise or, These resonances include the spaces in its muscular co-ordination and the true of a mechanical instrument and is avoiding wrong principles there can be no The vocal instrument, like the violin or mechanical center of resistance is at the over .and under the roof of the mouth correlation' of its nerve plexuses. In a practical thing, then the same theory wrecked career, ill health or time lost in piano, must be known by the teacher as a manubrium, or breast bone. which allow the hard resonators, such as fact the entire sympathetic nerve system should hold good with the human in¬ useless searchings about. perfected whole—-completely set up, ad¬ It is obvious then from this study of the nose, face, antrums, hard palate, teeth, justed as to all its parts as a scientific the units of strength and the autonomies must be allowed a free and open channel, stalment. The body mechanism must etc., to resound the instant the tone starts so that the nerve energy, the natural be perfected first before the mind and Wrong Vocal Principles product, before the first utterance of or centers of force of the body, just what its fundamental vibrations in the throat, feelings can hold full sway and the artist Wrong vocal principles, unwillfully es- ^ tone can be produced by the singer influence the momentum and power of the motor power for the tone, may function where the first resonance is located, and or player. express to his fullest capacity. tablished we may say, are entirely due to voice in its emission. Through such • unrestrained. is also one of the elements of tone quality. The first requirement, therefore, in the knowledge one may develop control of the The tone vibrations travel as fast “as a ignorance of the human instrument, first / n«t requ.rement, singer or speaker, vocal instrument in its balance and equi¬ streak of lightning,” reverberating in all and last.last, “Know thyself and ye shall - ^at.on of the effect.ve The Aesthetic Side of Singing, of Voice and its is me ' set up " or adjustment of the va¬ librium, through coordination of muscles, the resonance space simultaneously, in¬ herit the kingdom of heaven. rious bodily parts vhich are automatically correlation of the centers of force, and Artistic Expression corporating the myriads of overtones in In philosophical teachings we find that governed by nature, and is the physical finally polarization in the brain. We are taught to believe that the the hand draws the bow or as the this pathway at the same instant. there is a subtle and close relationship basis of normal voice culture. In such scientific teaching js the only vocal cords vibrate into song. The only correct knowledge, therefore, bctwee,n tbe body and mind- which aim and object of music is to stimulate These adjustments are very complex correct means of intensifying the reson¬ The active and emotional principle e can have of a true pure never be disturbed if the being is to have the emotions, hence its object is to work and in widely separated parts and areas ance and amplifying quality of tone in music occurs in the act of repro¬ elements, is to test it first of all in its his proper physical and mental equilib- on our feelings. The nature of the link, of the body. Therefore physiological ar¬ without effort by power, that has ever duction which draws the electric spark separate resonators and finally correlate however, that connects music with the rangement must be known and scientifi¬ been made known so far as extensive from a mysterious source, and directs it them all. This results in the perfect tone How much more the singer, with the emotions, or certain themes with certain cally effected so that nature may maintain research indicates. toward the heart of the listener. It is with its true fundamental at the cords artistic temperament, requires this at-one- emotions and by what laws it is gov¬ nervous system of super- ?OIdro1 of the vocal instrument automat¬ One of the most beautiful and artistic the spirit of the player or singer that can and a blend of every overtone possible ically as a whole. erned, all these questions are left in com¬ truly reveal the spirit of the composer. above. Such a tes ' ' ing sensitive structure. Let one part of the ways to show this control of vocal balance In order to convey the great fundamen- plete darkness. The same selection may weary or guide and “standby’ the last degree in body be stra.ined> no* only the throat, but is the mezzo di voce Our moods, for instance, may govern charm according to the life infused into Gulbransen Instruction Rolls the artist’s career. the chest, ribs, abdomen, back or what¬ tal truths of a correct scientific voice procedure to the student, the various parts our feelings and vary, and thereby give its performance. Physiologists know that The singer, with this understanding, ever part may be overtrained or under¬ of the body used in voice production us a false conception through that ex¬ what our senses perceive as sound is, Offer a Short Course in Music has nothing to fear, no playing of “hide trained eis a result of breathing methods should be divided into units of muscular traneous something that we may contact objectively speaking, molecular motion and seek” method or “guessing game” or voice" placement fixed by man, and the strength and autonomies of force, and with our emotions and belie what we within the nerve substance of the ear, I nstruction Rolls—supplied with every Gulbransen Player- ideas as to whether the voice is here now singer’s whole sympathetic system is in a . - , — — know by experience and impressibility which is also true of the nerve centers Piano—teach the fundamentals of music—quickly, easily. and disappearing to-morrow. grand chaos, because his vocal instrument traiaed and strengthened definitely Amplification of Tone has become “untuned.” The artistic tem- SUr*' One must have reinforcement and in¬ to be facts. and no less than of the auditory nerve. Study them! In weeks instead of years you will become The fibres of the latter are connected Hail the Day with Singing perament with the refined hearing and the , ,e unlts °f strength. ... the human tensity of resonance first and then The artist can breathe into his per¬ a musician—a musician in the strictest sense of the word. architecture, act from two or more direct formance ardent longing, great strength with other nerves to which they transmit There is a general opinion among vocal- highly sensitized nerves, is thrown off amplification of power before he can gain You will practice on your Gulbransen with all the zeal of a contrapuntal points in different parts of and joy. The executant can pour forth the impulse received, the organ of that to sing upon arising in the morn- balance—repressed—no longer able control of the crescendo and diminuendo. piano student—but with quicker results. his inmost feelings directly communicated hearing being connected with the cere¬ mg possible. When we can arise press—because the natural outlet has been in direct opposition to each other. Thus we have the How, When and • partially discon- This holds a certain degree of muscular Where of voice procedure in its main by the inward tremor of the physical brum and the cerebellum with the larynx, Like many others, you may seek greater attainments. tension throughout, operating automatic¬ impulse as the fingers touch the strings. the lungs and the heart. all the fervor of our being—artistically conrtol by the mind and ear. You may wish a “post-graduate” course in music, when It is impossible for him to get the artis¬ ally after coordination of all these units The physical, scientific basis of correct, the possibilities of the Gulbransen are fully realized. That speaking—we are happy and start the day is established. with joy in our hearts instead of fear, tic results he wishes, for the vocal instru¬ artistic voice-production is the same for The Joy >f Singing means consulting a music teacher. doubt or hesitancy. Any singer ment has fallen down or become Autonomies are centers of force oper- every human being. The degree of And why not? Even half a dozen lessons on the Gul¬ pect such spontaneousexpreMlon*”!? £ a"d » * -sorts to worse math! nerve plexuses ^and artistic excellence attained, by anyone, is • - ... - - nrU to maintain control, and -- are anala*rous to the ~r By Amelita Galli-Curci bransen will materially broaden your understanding of the laws of nature are adhered to and the _ _,0 . analaS°us to the operations" of the a matter of individual endowment of the most difficult music and in¬ bodily balance maintained by correct exer¬ principles are added and finally the singer m'nd’ arrangmg themselves in sequence soul and musical education of the artistic side or clamor by the brook in laughter goes into oblivion, even though endowed °! thelr progression through the process singer. My greatest joy is to sing. crease a hundred-fold the cising of all its physical working parts, If I were carried off to a desert island, and lift my voice to my sisters, the warb¬ by nature to be an artist of distinction. ?, correlation and polarization, giving The training of a perfect at-one-menit ^Nationally Priced pleasure which this limitless through simple and special musical figures where there were none to hear me, and lers on the trees; I sing with my whole ^Branded in the Back. Where, then, is the Mary, Jane or John ba’ance and equilibrium to Ihe singer, of tone with the body is in the following and syllables, developed and practiced for there left to my own resources, I would heart to the last and the first member of musical instrument will give who was born for a great career? 1 bes.e autonomies act under their own sequence: such balance on the singing tone blended sing while there was life within my body. my audience. you. Art is the result of knowledge which is yolltlon> the same as the mind under 1. Coordination in its resonances, overtones and under¬ I am like a bird which, sitting upon the Now I would speak to the young singer. based upon science and guided by intui- ln}Pu,se> and may be controlled by the 2. Correlation tone. This results in the normal, natural, branch of the tree, warbles from the sheer You have it in your power to spread much Gulbransen- Dickinson will. This harmonious r :-ment de- 3. Balance tone production. delight of living, warbles because it is part beauty, young singer. You have a mission Company To be definite and then discriminating Science is knowledge that is based upon v.. eloP*... po*se f°r the singer, and 4. Equilibrium in your life, to be the maker of gladness Pi&r “ /ttesr Chicdgo Illinois research and comparative reasoning. S,Bsignifies™ P a well organized vocal machine of its nature to give vent to the music as to proper voice emissipn is what most 5. Polarization for humanity. You are untrue to your *700 *600 *495 Canadian Distributors: Art-science—True Art cannot < operating automatically by nature’s laws. within its heart. Musical Merchandise Sales Company singers know absolutely nothing about. Hidden in the depths of every heart is cause if you only pretend to be an artist 79 Wellington Street West, Toronto without resting upon the pedestal of There are those artists who delight in The “foreign tag” from Italy or else¬ Voice Units a potent longing to be able to sing. Often their performances at the theatre, but who —if you only sing as a business matter. If the flower, Science the by a strange turn Nature deprives the one where is regarded too highly. If any slave through their practicing with the there came to me to-day a girl or a boy and stem. Science could exist without art throat cavity)”^- IaryngeaI “New Book of Gulbransen Music” great maestro has gone down in history as i where the momentum who possesses a beautiful soul of the frown of a workman overwrought by toil. and said, “Mme Galli-Curci, will you tell Free on Request. Check Coupon a builder of voices and left any results to faculties that seem necessary to sing with There are those artists who participate in me if I can become a singer ?” do you know |~ | Check here if you do not own; carry the tale into the future, it has been beautiful tone. However by scientific the concerts or the opera, but who think the first question I would ask ? It is this: training, deficiencies may be overcome, Check here if you want informa- because he knew something of the nat¬ Miss Adelaide Gescheidt who edits the Singers’ Etude for this mo th mainly of the affairs of the box office. “What is the greatest thing in your life? ural and normal tone emission. Where, and much that may be dormant stimu¬ ' ' having a Gulbransen has been for many years a prominent teacher of i ' ” I am thankful I am not of that brood. What do you love to do more than any¬ _□ ,_ins talk_jn y0ur present however, is the scientific procedure for i New York lated with proper exercising, the normal piano (or player-piano.) City. Among her highly successful pupils a I sing with the same joy at the piano in thing else ? Would you die if you were correct development of voice ? made possible and the beautiful soul re¬ rendered dumb and voiceless? Would it Write name and address in margii House, Fred Patton, Alfredo Valenti, Ruth LloyTlCinneyTnd oi\her my home, with my few intimates at my and mail this to Gulbransen-Dickinso All nationalities, every nation—the leased in its fullest artistic expression. ( side; I sing with the same spirit in sum¬ be the prime tragedy of your existence to Co., 809 N. Sawyer Ave., Chicago. whole human family, in fact, have the Many there are who have highly mer weather, when I rim up the mountain be told that you have not the voice?” W^est sensitized nervous systems and intense Please mention THE E 3 when addressing our advertisers. I Page 126 FEBRUARY 1922 THE ETUDE the etude FEBRUARY 1922 Page 127 Ever since I was a little girl I have sung my operas, my concerts, and so on. Now, because I couldn’t resist the sound which with the season for the Chicago company, arose from my gladdened heart. Of and then the season with the Metropolitan course, in the beginning I was studying Opera Company (oh, I am so happy to A Substantial the piano. I didn’t know I would be the come to Mr. Gatti-Casazza’s house and to prima donna ever. That didn’t bother me. my friends in New York City) and with You see the point I am making? It came my ever-important concerts and phono¬ Appreciation graph recordings—you would think I sing WE furnish our accurate teaching device with to me very late that I would make the tools, action model, lessons, and analvsUof career of a singer—yet always I was do¬ enough. So? Yet, I find myself on the business advertising which makes you a master FOR train, in the street, in my automobile, in of the tuner’s art. Diploma given graduates 17 ing that thing I loved. I was singing. YEARS’EXpERIENCE in teaching the Jst And still I am doing it. my boudoir—in my bath even I catch my¬ independent and lucrative profession bv corro, self singing. Not practicing—no, no, no pondence. SIMPLER AND BETTER THAN People who know how busy I am say to ORAL INSTRUCTION. Write to-day for Etude Workers me, “But, Mme Galli-Curci, you are always —but singing snatches of melody—maybe FREE illustrated booklet and guarantee plaS singing in your spare moments. Don’t you a song I know, maybe a cradle song of my NILES BRYANT SCHOOL of PIANO TUNING We wish to express our ap¬ get tired of it?” babyhood, maybe a little ditty of old 1209 Bryant Building AUGUSTA, MICHIGAN preciation for the splendid Well, well! Look. I am singing, you Rome, maybe nothing special. Yet there work done by our Etude might say, every night in the year, with worker friends in the past As a means of contributing to the development of interest in opera, for year. We realize that a many years Mr. James Francis Coolee. editor of “The Etude.’’ has prepared, Mellins large measure gratuitously, program notes for the productions given in Philadelphia by The of success of Metropolitan Opera Company of New York. These have been reprinted Do You Make Your Vowels Right The Etude is due to their extensively in programs and periodicals at home and abroad. Believing that efforts. our readers may have a desire to be refreshed or informed upon certain The reason of the need of this slight student may overcome this difficulty; but aspects of the popular grand operas, these historical and interpretative notes Food change is as follows. Every vowel-sound, every one, by bearing in mind the absolute In addition to the regular lib¬ on several of them will be reproduced in “The Etude." The opera stories like every musical sound (for vowel- necessity of attention to this point, may eral commission and pre¬ have been written by Edward Ellsworth Hipsher, assistant editor. sounds are nothing less than musical easily accustom himself to the slight change miums now given, we shall All Mellins Food The quality of its tone sounds) is composed oi two sounds. Com¬ of pronunciation (as ifc will appear) which at the end of the next three bined with the prominent and chief sound enraptures the heart is required to give vowel-sounds when months give a babies are conspicu¬ which first attracts the ear is a second, sung, or spoken "ore rotundo,” the same Massenet’s “Manon” which, though not prominent, lends point as its beauty of con¬ tone, to the hearer’s ear, as they have in Valuable Series of However the critics may vary in their hac and Philippe Gille. The year after its ous by their fine, and force to the other. Thus our English ordinary speaking. As a general rule this opinions as to the position Massenet production in France it was given in vowel-sound “A” is really £h-e; “E” is E- is done by keeping the throat more open, Rewards struction delights the will occupy in the future of operatic art, English, in London, by the Carl Rosa robust appearance e; is Ah-e; “O” is O-do, or even Aw- the larynx (or “Adam’s apple”) as low to the individuals (not con¬ it is certain that the public appetite for his Company and remained a favorite in Eng¬ eye- oo; “U” is £e-oo. Of course, I do not down as possible, and the root of the nected with any agency or and happy disposi¬ mean to say that those absurd-looking tongue flat, depressed, even hollowed like newsdealer) who send us works is increasing. Jules (Frederic land because of the interest in the story syllables really express exactly the sounds the bowl of a spoon. The truth of all subscriptions as follows: Emile) Massenet was the son of a steel as well as in Massenet’s fascinating music. tions. which we produce in speaking the vowels, this may be easily tested by singing any manufacturer. He was born at Montaud, The first American production occurred at for no combination of letters can do that, short passage deliberately and distinctly, Here are the Additional near St. Etienne, May 12, 1842. In a way the Academy of Music in New York, with Schomacker Piano Write now and ask us to mail you or can bring within reach of the eye the with the exact pronunciation of ordinary Rewards he was a kind of musical bridge between Minne Hauck (now said to be destitute in subtleties of sound in human speech; but speaking and then repeating it with atten¬ Gounod (who was twenty-four years the Europe) playing the leading role of a copy of our book, f'The Company if you attempt to pronounce those syllables, tion to the above hints. In the first in¬ A Gold Watch of standard make senior of Massenet) and the composers of Manon and Del Puente, so well known to to every representative sending you will find that you are really pronounc¬ stance the result will be meagre, hard to the more modern French school. Massenet Philadelphians, in the role of Lescaut. In ESTABLISHED 1838 ing the vowels from which I “translated” us 50 subscriptions between Feb¬ be heard at a moderate distance, and very was educated at the Paris Conservatoire, 1895 it was revived at the Metropolitan them. Arranging and Correction of Mss. ruary 1st and April 30, 1922. likely extremely ludicrous to the hearer. The incomparable Groves Dic¬ where he won the Prix de Rome in 1863. with Sibyl Sanderson and Jean de Reszke PHILADELPHIA, PA. Now, in conversation or rapid speaking, A SPECIALTY In the second, you will find that the tone tionary of Music in 6 volumes Massenet’s genius seems to have been very in the leading roles. Since then it has the subordinate sound of the vowel is of the notes gains in roundness and fulness, A. W. BORST, 3600 Hamilton St., Phila., Pa. beautifully bound in red cloth to scarcely noticeable, while the more promi¬ fully developed even at that time. His been uniformly popular. A great deal of while the words are clearly heard in every every representative sending in 3Q nent sound is heard for the short interval subscriptions between February operas from the production of the first, the success of the work depends upon the TINDALE MUSIC CABINETS of time required. But in singing or public part of the room with the exact effect be¬ Saicred Duets jofods 1st and April 30, 1922. Don Caesar de Bazan, in 1872, down to acting; and its recurring popularity is speaking, where the production of tone is longing to them. I purposely refrain from FREE—-^Leaflet showingjpages fro A Green Gold Plate Mesh Bag Panurge and Cleopatre (1913), show a dramatic as well as vocal, when singing Just what you more deliberate, the space to be filled with attempting to write down the difference to every representative sending in somewhat astonishing uniformity of finish. actors and actresses are found to take the have been wanting sound larger, or, in other words, the column discernible in any words so sung, because, 15 subccriptions between February While there is distinction and a differ¬ leading roles. The opera should not be 1st and April 30, 1922. Will keep your music of air to be set vibrating is greater and as I have already said, letters cannot ac¬ A Sapphire-Pearl Lavallier and ence in quality everywhere, they are char¬ confounded with the same composer’s Le in order, free from heavier, the complex sound of the vowel curately express distinctions so delicate, Chain—solid gold—to every acteristically and unmistakably Massenet. Portrait de Manon, which was produced damage and where you must not be ignored. It is impossible to yet so all-important to the singer, speaker, • PIANO JAZZ representative sending in 10 sub¬ With the exception of a few themes, such at the Opera Comique in 1894. Although can easily find it. Va¬ lay down any set of rules by which the and hearer. scriptions between February 1st as the well known Melody in E minor and Puccini and Auber have employed the and April 30, 1922. rious sizes, holding 200 the Meditation from Thais, very few of same story with alterations, for works to 1200 pieces or more. Subscription Opportunities Massenet’s themes have achieved popular of si,milar name, the plot of the modern Oak or Mahogany. , Francesco Tamagno fame. His treatment of his works is French composer is especially interesting Everywhere distinctly a dramatic one, often resembling because of its fine dramatic treatment. Sind for Catalog / Waterman PianoSchool,2USaperba Theater Bldg.,Los Angela,Cal. (Pronounced Frahn-ches-ko Tah-mahn-yo) There are numberless prospective that of Wagner, by the introduction of While Puccini’s work is interesting to NO TEACHER TINDALE CABINET CO., 159 W. 57th St, New York Etude subscribers ready to enroll characteristic themes or motifs. many Americans, because the last scene Francesco Tamagno was a tenor—a desired without first writing our service department. r-aiermo SONG SUGGESTIONS right around you if you make the Although Le Roi de Lahore (1877) and takes place in an American desert near THEO. PRESSER CO., Philadelphia, Pa. “heroic” tenor, which is a tenore ro- T,. ™ masenero This was m 1873. After this he sang hi: ^ The four recent songs by Clay Smith slight effort necessary to interest Herodiade (1881) were successful, his New Orleans (sic), Massenet’s setting has busto allied to a super-dramatic per¬ them. In the natural course of way upward until, in 1887, in the par singei first triumph was Manon, which was pro¬ one very strong scene in the Monastery TETAL ART PINS sonality. The first expression might be your work, a suggestion to a music . Write for FREE 52 page catalog show¬ of ‘Otello,” in Verdils opera of tha duced at the Opera Comique in Paris, of St. Sulpice which adds immensely to ing musical awlschoolpins. If your musi- said to refer to the physical quality of loving friend at the right moment name, he took rank with the first oper November 30, 1884. Among other notable the dramatic character of the work. The CXSdar means a subscription. send samples for selection with catalog. the vocal apparatus, and the second, to 1 Somewhere, where in the Land of works produced, by this prolific composer story of a simple country girl who falls in Ss^ Vv'Polish atic tenors of the world. Later he san; rams are each published in 2 keys. A METAL ARTS CO, Inc. the singer’s manner of using it—to the To Our New Representatives thereafter were Le Cid (1885), Werther love with a cavalier, deserts him for a in London, and made a tour in th< etilar showing portions of these songs for all furniture and 7765 South Aye, Rochester, N. Y. artistic content of the singer’s person¬ ” K" ~n reque-* (1892), Thais (1894), La Navarraise rich nobleman, only to resume her former ality. United States, receiving emoluments til Here is an opportunity to engage (1894), Sapho (1897), Le Jongleur de lover and carry him down to his ruin by woodwork. Imparts a then undreamed of in the case of anj in a clean cut profitable work which Tamagno was born at Turin in 1851, the methods of an ordinary courtesan, is high, dry lasting lustre Lorenz’s Easter Music male singer. can be easily interspersed in your Notre Dame (1902), and Don Quichotte. educated musically at the Conservatorio regular professional or business The plot of Manon is taken from a tale as old as drama itself; but it is a story without hard rubbing. Easter Choir Music of Turin, and sang in the chorus of the He made a large fortune, which, upon duties. It is dignified and enlight¬ by Abbe Prevost, the libretto being written which the public seems never to tire of The one local opera. His artistic career was in¬ his death in 1905, he left to his only Wonderful ening and will add substantially to by the two clever Frenchmen, Henri Meil- hearing. polish that terrupted by compulsory military service. daughter. He was buried at Turin with your income. If you are not fully “My Redeemer Lives,” by Ira B. Wilson When he was free, he made his debut at great ceremony. familiar with commission and re¬ (New 1922). Easier than "Victory.” Melodi¬ bates paid for securing subscrip¬ “Cleans ous, devout and colorful. 60 cents net. NEW tions, write to The Etude—Circu¬ These, two cantatas sent on approval. To get The Story of “Manon” as it D. A. CLIPPINGER STUDY HARMONY lation Department—today! cents for postage*1 and^acking^After 'lfT'days and COMPOSITION Those who start earliest stand the The plot of the opera is developed from the conflict of religious and worldly proclivities Polishes” pay 60 cents per copy for those not returned AUTHOR OF Horn Banjo best chance of getting the most sub¬ of two intensely- emotional natures. postpaid. State grade of difficulty desired. by MAIL iStructioperao,lal The Head Voice and Other Problems . . $1.25 scriptions. Bear in mind that this Act I. Courtyard of an Inn at Amiens. Manon Lescaut, as vain as beautiful, arrives Alfred Woctler, winner of Interim among other travelers, on her unwilling way to a convent. While her cousin, who is Sold under an Easter Anthems Systematic Voice Training.1.25 is not a. prize contest—there will be attending her journey, takes a hand at cards, the Chevalier des Grieux enters, on his way absolute guar- a reward for eve y Etude repre¬ dred we published sent on approval upon request. Teacher of Singing to take monastic orders. Almost at sight, he and Manon are mutually infatuated and elope anteei your Must be paid for or returned postpaid after ten sentative complying with the above. in the carriage of Quillot, a rich old roug, also a victim of Manon’s witchery. money back KIMBALL HALL, CHICAGO, ILL. ALFRED WOOLER, Mu*. Doc. Thousands of Etude representa¬ Act II. The Chevalier’s apartments in Paris. Des Orieux and Manon are reading a A171 Cleveland Ave. Buffalo. N. Y. tives have met with success. Why letter he has written asking his father’s consent to their marriage, when interrupted by New Easter Solo for 1922 her cousin Lescaut and Monsieur De Bretigny. Lescaut threatens vengeance for the delighted. “I Know that I shall Live Again,” by Ira chestra complete without it. wrong done his family by des Orieux who appeases his ire by showing the letter. Manon, REMEMBER! Above rewards discovering that the fortune of des Orieux suits not her fancy and also that he is to be 50 cents per copy. High, Medium, and Low Faust School of Tuning are in addition to commission, re¬ Editions. A copy of the edition wanted sent Free Trial abducted in the night, sooths herself by becoming Bretigny’s mistress. on approval. Must be paid for or returned post¬ A Great Issue of Sold on easy payments. bates or premiums. Act III. Gardens of the Cours de la Reine, Paris. An open air fete. Manon, among paid after ten days. Our catalog lists over forty {he pleasure-seekers, hears that des Orieux is about to take holy orders, follows him to Saint Piano Tuning, Pipe and THE ETUDE Coming! Sulpice and induces him to return to her. g them Reed Organ and Player Etude Music Magazine Act IV. A gambling room at Paris. Des Grieux is winning large sums from Quillot, Plea: ition “ThePEtude” in orderi Piano. Year Book Free to the affectionate demonstrations of Manon’s pleasure. Charged with using marked cards, Music Club Number Published by THEODORE FRESSER CO. Manon and des Orieux are Arrested. The father of des Orieux pays his debts. Manon is 27-29 Gainsboro Street Slingerland Manufacturing Co. Philadelphia condemned to transportation and, on the road to Havre, succumbs to fatigue and grief, PUBLI BOSTON. MASS. MARCH, 1922 and dies in the arms of des Orieux. Channell Chemical Co., Chicaoo,Toronto, London, Paris f 01 1815 Orchard Street Dept. 10 Chicago, III. Please mention THE ETUDE when addressing our advertisers. Page 128 FEBRUARY 1922 THE etude THE etude FEBRUARY 1922 Page 129 organist finds that watching the pedals OST of the attention of editors and performers receive nothing more than a “The fault, Dear Brutus, is not in our M with the eyes is a serious handicap, not contributors to Organ magazines respectful hearing. To quote the Im- stars, and “Organ Departments” has been an assistance, in clean and independent mortal Bard: But in ourselves, that we are underlings.” pedal playing. devoted to the more or less finished pro¬ duct, the organist who is already in a posi¬ tion or the candidate for a degree. But The Organist’s Etude For Goodness Sake! Don’t Kerplunk 1 The Etude is a magazine primarily for What is the Organ Good For? Edited by Noted Specialists An insidious disease has invaded and students, using the term in its broadest devastated the ranks of the pianists meaning, and its proudest boast is that and the contagion has also spread to organs are known, used, respected and en¬ joyed. Wherever Austin organs are placed it serves the earnest student well. At the some degree among organists. I refer By J. Lawrence Erb risk, therefore, of boring the reader who reputation grows stronger. It is the best to the inartistic and indefensible habit of test of our factory output. has “arrived” and in the hope of serving Edited for February by J. Lawrence Erb playing the left-hand before the right In these days, when the organ is put to those who are still striving on the foot¬ in chords, (and I have even heard the misapprehensions have done much to so many uses which would shock or be¬ hamper the King of Instruments and dis¬ hill slopes, the writer has prepared a few pedal player before the manuals) making AUSTIN ORGAN CO. 158 Woodland St. Hartford, Conn. wilder our musical forebears, and when a tort its function. “Hints to Organ-Students”, which are a most aggressive appoggiatura, or, to very considerable proportion of the mus¬ veritably’“chips” from a workshop which speak in the vernacular, “kerplunk.” No Of course, while the organ is pre¬ ical world sneers or pretends to sneer at Chips from an Organ Teacher’s Workshop tradition or artistic usage or ideal upon STUDENTS prepared for the eminently a solo-instrument, it is most has had the honor to serve a goodly what its devotees affectionately call “The company of those who, with little or no this terrestrial ball endorses or advocates familiarly employed in the accompani¬ Do Not Hurry dexterity and still be relatively tone-deaf. CHURCH SERVICE King of Instruments,” the question asked SIEGER preparation, have striven to learn so that or justifies it. Artists universally de¬ ment of the services of the church. It True musicianship, however, can never is hardly out of place. If, on the one they might—and in many cases did—join This is a breathless age. To hurry is nounce it, yet it assaults the ears from and RECITAL WORK has an undisputed place here, and its his¬ hand, the organ is “all things to all peo¬ tory is an honorable one. But the perfec¬ the more conspicuous number of Pro¬ its trade-mark. No matter what the exist without the ability to hear accur¬ every direction. The government ought AT THE ately. Moreover, since music is a matter ple,” from a highly-imaginative imitation tion of its mechanism has freed it from fessional Organists. With this explana¬ occasion—or lack of occasion—speed is to set scientists to work to eradicate it __jo your home. In all of the hearing, a performer can never of ^the human voice to an equally unreal¬ the age-long bondage of the accompani¬ tion and with no apology, the “Chips” all - pervading characteristic. as they are trying to eradicate the boll GUILMANT istic substitute for the orchestra, and if, features that distinguish the really weevil or the chinch bug. ment and has placed it squarely among are presented, almost exactly as they wonder that concert artists of all sorts trub appraise his work until his ears, on the other, it falls far short of the voice fine phonograph—in artistic and descriptions vie with each other in not his eyes> are his guide and critic, the solo-instruments of the highest type, were jotted down in the midst of the ORGAN SCHOOL or the violin or the orchestra in flexibility where it may make music on its own be¬ the breathlessness of their tempi and the What About Repertoire? classes which gave them birth. Hundreds now holding prominent positions and of the piano in fluency and a certain half in a manner which cannot be success¬ _,_ts ability to reproduce with life¬ dare-devilry of their exploits. It is in Phrasing is Musical Punctuation Repertoire is nothing more or less hard and shimmering brilliancy, what like fidelity the voice of the singer orjthe Send for catalog fully imitated by any other instrument or Don’t Study the Organ too Soon the air, and art, alas, reflects its age A phrase may or may not consist of a than the sum total of the available ma¬ place in the musical scheme does it fill and combination of instruments. fill Steger sf quite as often as it inspires it. The habit certain number of measures, but it must terial which a performer has at his com¬ why, with its expensiveness and liability The organ is a complex instrument and Dr. William C. Carl, Dir. But a solo instrument demands solo of scampering, helter-skelter, through a comprise a musical idea. In language, a mand. Its type and variety must be de¬ to get ont of order, should the musical its three or four-lined score is difficult 17 East Eleventh Street New York performance in order that it may fulfil its composition is sufficiently ruinous on the sentence may be complete in two words, termined by the limitations of his equip¬ world continue to bear with it? What is to read. It is essential that the ability mission, a demand which, even in the most non-sustaining piano, but on the organ it or it may spread out over half a page, ment, technical and intellectual, and the the organ good for? to read music readily and to play the important music-centers of America, has results simply in a roar or a smudge of Music is more definitely rhythmic in demands of his position. Incidentally, piano fairly well should be acquired be¬ The organ is a solo instrument and be¬ only recently begun to be met, and in the STEGER 6c SONS sound. The occasional exploits of a few structure than prose and is rather analog- the repertoire reflects the taste and the fore any attempt is made to study the longs to the wind-instrument group. In country at large is as yet scarcely recog¬ P|IANO MFG. COMPANY performers on peculiarly responsive in- ous to poetry. Therefore the recurrence artistic development of its possessor. STEGER BLDG., CHICAGO, ILL. organ. While, in their more advanced spite of the fact that, like the piano, it is nized. Some sort of use for a few mo¬ struments do not disprove this statement, of certain quantitative units—or measure The modestly-equipped student has just played from a keyboard or set of key¬ •FarfonVi.-STEGER. ILLINOIS,™* artistic forms, the key-board technique of ments every week in the church services, “Lincoln" and "Dixit" Ilizh-way On the contrary, at their best, the organ —groups—is common. Yet, to bring out as much right to expression through mu¬ boards, similar in general appearance to the organ and of the piano differ con¬ by a person who has had little or no adaptations of piano pieces of the spark- the idea in a poem, an intelligent read- sic as the most dazzling virtuoso. Or, that of the piano, and although the skill siderably, during the formative years training, or, worse yet, the daily maltreat¬ ling, scintillating variety astonish by their ing, while not totally disregarding the to put it otherwise, it is no more fair and ingenuity of organ-builders has de¬ they are sufficiently alike that all the ment in the moving-picture theatre of an unusual quality when played on the meter, makes the sense and meaning the to doom the student in the earlier grades vised for it many tone-qualities that, to organ, often miserably planned in the first essentials for the study of the organ can organ, but there is never any question true basis of expression. So in music to an exclusive or preponderant diet of the uninitiated, sound like certain of the place, by a “jazz-artist” of local repute, be acquired on the piano, provided that Organ Power Department, about the relative musical fitness as be- the real phrase is the musical thought, no technique and studies than it is to ex¬ HARTFORD, CONNECTICUT. orchestral instruments, the organ is in with no artistic training and less artistic the habit of extreme accuracy in the tween the two instruments. The organ matter what the rhythmic or metrical pect the virtuoso to thrill his audiences reality very different from either the taste, is about all that the great majority reading of the score is early formed. In with a similar offering. From the be¬ is capable of a dignity and sonority, a mould in which that thought may be cast. piano or any of the orchestral instruments of communities in these cultured United THE** a general way, at least three years • of ginning the organ student should, parallel hel canto of the truest sort, which not Phrasing, therefore,' consists in breaking PIPE ORGANS and has an individuality all its own. Un¬ States know about an organ and its mu¬ systematic piano study, including tech¬ only admits but demands a more lei¬ with his technical studies—and, if neces¬ fortunately, the .public at large and like¬ “P the melodic line so as to bring out the sic. The possession of an organ in a pub¬ nique and sight-reading and the develop¬ surely, deliberate manner of treatment. It sary, occasionally, for a short period, to wise a very considerable portion of the tiAPPY-TIMEBQDR meaning of the musical sentence. lic building should be looked upon as a ment of the musical taste through the is only when the organ attempts to imi¬ exclusion of the technical studies—be musical fraternity is ignorant or unmind¬ sacred trust for the cultured upbuilding Vf GERTRUDE ■tflLSON- study of suitable pieces, should precede tate less complete instruments than itself constantly learning such pieces as he can The Emmons Howard Organ Co. ful of this fact and, because it does not do and the refined entertainment of the Make the Melody Sing: Sound Repeated the study of the organ. At that, three— that it cheapens and degrades itself. In use and as his equipment will justify. WESTFIELD, MASS. creditably the thousand-and-one things community. Such an instrument should Melody Tones It is impossible to build musical taste on ,. of the piano. Not a or thirty—years of piano study may leave its own sphere and style it is supreme. which they in their ignorance ask of it, presume public performances which de¬ ..... Scientifically sloped, introducing the much to be desired from the standpoint Cultivate repose and a deliberate style. The organ-student, in the revulsion a diet of technique exclusively or exces¬ they denounce the organ as inflexible, in¬ monstrate its capabilities. It is not ne¬ scale, middle C, both cle._. .... _.. . . sively. Pieces, first, very easy, then easy, in rhythm. A little story, complete, told in big type, of the organ teacher. from the non-sustaining piano, often falls faster Mu&xt expressive, and possessed of a host of cessary that the instrument be large and and 28 illustrations. Price, 60 cents, net. Always Have a Finger to Spare into the error of holding repeated tones, then more difficult, and always the best other shortcomings which, if true, should expensive, but it must be kept in reason¬ post-paid. of their kind available, but pieces always It is now time for the choir¬ remove it forever from the family of Keep Strict Time Since the distinctive characteristic of regardless of the time value of the uulo, able tune and in good condition, otherwise, —such is the only way to cultivate the master to be making up the Easter serious musical instruments. HAROLD FLAMMED. With all due regard to our revered the organ is its power to sustain tone in- gluejnS the tones together, instead of it is not a musical instrument, but a public musical taste. The trouble lies in their unfamiliarity nuisance. Nor is it imperative that the PU&LI3rt£R. ~ NEV >OftA friend, Tempo Rubato, and his ancient definitely, to sing a full-throated melody s'ng*ng them so that each syllable may be music program and space has been - 57 VEST STfcfefcT- organist be a virtuoso of high rank, much consort, Play-With-Expression, funda¬ and its accompaniment with complete understood. When an artist “makes the taken on page 135 of this issue to with the organ and what it can and should The Laborer and his Hire do. As a matter of experience and obser¬ more than on the piano is it possible to mentally strict time still remains the only adequacy of wind-supply, the cantabile instrument talk,” as the common saying give a helpful list of Easter an¬ vation, it is undoubtedly true that, given produce satisfactory results without exces¬ solid foundation for a safe musical style of playing is the distinctive tech- goes, he does not drawl out a series of Much is written and said about the in¬ \ AND adequacy of the remuneration for the thems, solos, duets, cantatas and the same intelligent and devoted study as sive technical demands, but he must be a JAZZ superstructure. The organist, especially, nical equipment without which no one tones in a deadly smear of sound but I PIANO PLAYING services which organists render to their organ numbers. any other solo-instrument, the organ in¬ musician. The organ requires rather pre¬ RAG: with his constant engagement in en¬ can hope to become an organist. The he enunciates his melodies so clearly’with I TAUGHT BEGINNERS in 20 LESSONS rules of fingering as applied to the piano his fingers—or his feet—that there is no churches—and much that is said is justi¬ evitably wins its way, provided the per¬ cision and musical insight and expressive¬ I ADVANCED COURSE FOR PLAYERS sembles — choir- accompaniment, hymn¬ Theodore Presser CO. P1&LA- I Under personal d irection of Axel Christen¬ fied. Yet the fact remains that, even in former mixes with his art the same sag¬ ness than the scintillating passage-work sen, America’s Premier Ragtime Pianist. playing, and the like—must keep time, or Ta "AeSSmlIy m -a/8e ,mea,SUre dis" need of words h) make the sense ap- the large and much-advertised city acity and sympathy which make a singer or other tour-de-force which has in some like the house built upon the sand, his take their place.-i! -°rg “Always<<“ thave °thCrS a finger,mU3t it?arent - That » making the melody sing. churches, the organist—and the members or a violinist a popular hero. The cure degree limited the larger usefulness and not to be wondered at that congre¬ beautiful structure will crash to pieces. to spare,” and its corollary, “Use the out¬ of the choir as well—looks upon the for lack of interest on the part of the popularity of -the piano. As with the vio¬ gations lose heart when a hymn is “given side fingers (thumb and little finger) money earned in the service of the church public in the organ and its literature is lin and the voice, simplicity, if accom¬ Regard Note-Values withwiui uiscieuuudiscretion”, , are two injunctions'thatinjunctions that by the organist in the style that<-uai as an extra—a form of pin-money—and not to divert the instrument from its pro¬ panied by artistry and sincerity, is in the The piano cannot sustain. It creates it is well to bear in mind; for it is upon ° fiT ‘ ^ 3 vivid imagina' renders a kind of musical performance per use, in an attempt to make it an im¬ highest degree acceptable in organ-music. BE WELL AND STRONG the illusion of sustaining, but in reality, these that the performer must rely- • 4 011 could fit words of any sort to the in return which is often worth even less itation of something else, but to adhere Not that the organ is less difficult to play its tone fades from the instant when it is smoothing-over the break.' which must slovenly something which is supposed to than is paid for it. It is all very well to jealously to the true style and literature than other instruments; rather the con Improve Your struck. For this reason, the pianist not show in a legato voice, whether it inspire a desire to break forth in song point to the discrepancy between the of the instrument, making full use, so trary. But the difficulty is of a type that but which instead induces exasperation! habitually lifts his finger from a key as be melody or accompaniment. salaries of the minister and the musicians far as artistically justified, of every im¬ tests musicianship rather than pure vir¬ Bl what Nature intend- Much otherwise good organ-playing is and the relative cost of their respective provement in its construction, and by the tuosity, and virtuosity is as yet less scon as he has struck it and lets the sadly marred, if not entirely ruined, by healthy, energetic and attr pedal “sustain” the tone. The organist Use the Thumb Freely educations; but it is only fair to point excellence of the performance as well as supreme on the organ. the attractiveness of the program creating cannot do this, but must hold every tone In Bach’s day he “astonished the na¬ meTodieT8 “ f* “iation of out in turn the relative amount of time Frequent concerts or recitals of organ a constantly-increasing public of lovers of through its full duration, otherwise the tives” by brazenly using the thumb in and energy the two expend in the service music, or of organ music interspersed with organ-music. performance is a succession of stac¬ playing. Before his time it was in the Hear the Pedals of the church. If the organist takes other high-grade musical offerings, should his position lightly, in the preparation No consideration of the organ or its be common in every community, no mat¬ catos, no matter what the musical sense, main a useless appendage. There are nfT|!eo.pedals arf among 4he chief glories creating a feeling of breathlessness that still some teachers who are horrified at of the organ—but they seldom get a of his voluntaries and other music and Correct deeigne for e™erynroom.P°P * place in the scheme of things musical can ter what its size, where there is an organ. in the lack of any thorough going proceed far without a frank recognition Occasionally there are ecclesiastical regu¬ mars the beauty of the music. The sus¬ the thought- of- using„ the- thumb „ square deal. What the cellos and bass- Lowest Prices Since Before the War knowledge of the history and literature of the conditions just stated and an equally lations which forbid the use of the church taining of note-values to their full limit black key. Traditions die hard; but the ^los are t0 the orchestra—and more_ ONIY O j. Per Double Roll is one of tlie most difficult of the earlier organist uses his thumb freely. the Pe(Jals are to the organ • for a tr„i of ecclesiastical music, it is too much to frank and positive assertion of the individ¬ structure for other than worship purposes, OC (96c for Room 10x12x8 ft.) but in such a case it is neither impossible steps in the metamorphosis from piano- adequate pedal is an instrument both ask that his employers should adopt other uality of this great instrument, an individ¬ uality which demands for it the same nor difficult to arrange for organ music student to organ-student, and is particu- Make Your Ears Tell You 40r melodic and harmonic purposes, and than his own point of view. In church . larly troublesome in the inner voices. rnusic as in every other pursuit, a man respectful consideration as is accorded without offending the ecclesiastical canon. any other instrument which is “different,” Besides, in many high school or fraternal The cure, of course, lies in thinking of The keyboard-tnusician too rarely edu- acLnfsTsuccessfully (Jldsome^ is usually paid what he is worth to his 10H2SV.Ti«r;CdT.er“cell, r°0“- cates his sense of hearing as he should, aggressively I as thm £ nd somet,mes as halls there are to be found organs, some the various parts as actual voices, each employer; and if he wants to increase The organ is different and individual; and singing its own melody in the web of The singer and the violinist depend abso- pfzzicato of the strinT^"1 °r the his income, the best way is to make him¬ Write house nearest you. Address: Dept. S-84 it is no reproach that the pianist or the of them of considerable size and of excel¬ utely upon their ears for their intona- technique d«JvLThe ntT'' Peda1' orchestral conductor or performer finds lent artistic possibilities. In the high tone which as a whole becomes the com¬ self worth more, or else to transfer his New York City tion, but the key-board performer can, dependent unnn itl ” '? n° more Montgomery Ward & Co. position as it is performed. services to an employer who values them in it an idiom and a medium of expression school, especially, wherever possible there if he will, acquire a very con.iJmw", Jf”™” more highly. Much of the church-music which to him are unfamiliar. These should be an organ installed, and then Ilease mention THE ETUDE when addressing that we hear is over-paid even though its our advertisers. the etude FEBRUARY 1022 Page 131
Question and Answer Department
Conducted by Arthur de Guichard
Ft. »7&r® fiS.-.'MSM ii‘,z sswrasts? r«s
Mother Goose Fantasy FOR SOPRANO SOLO AND TWO PART CHORUS By Arthur Nevin Price, £1.00
A Beautiful Musical Work for Use by Musical Clubs, Schools, High Schools or Universities.
THEODORE PRESSER CO., SK. PHILADELPHIA, PA.
i^SrSaSM gpWs&ISSI
fHl f* _ , asag ggwSggFSS fls.. d&sss^is^f -- - I am_ more than j,leased with the Albert ^~s-k«s sHS^EHir— FEBRUARY 192l Page IBS Page 132 FEBRUARY 1922 THE ETUDE the etude ot long ago, in a Western city, I at¬ ous system, to the most advanced age ing” notes. Eliminate these non-chordal withstanding difficulties like the one cited Notice, to All Kinds of Violinists N The history of violin playing is filled with above, and especially the more frequent tended an “Old Fiddler’s Contest,” notes and we have left the members of we can supply [°u ^at^oua revoking ^or™ examples of eminent violinists, such as ones dealing with transition, a little deter- which was remarkable in many Professional the tonic triad. We have a selected assortment of ways, and amusing as well. The fiddlers Joachim, Sarasate, and Spohr, who were Difficulties will, of course, be encount¬ . mination and patience will soon laegin to STUDENTS’ VIOLINS, from $15.00 to $60.00, Violins for advanced players, from $75 00 to $150 00 were mostly veterans of the Civil War, and able to play great concertos in public in ered constantly. For example, in the bring results. As soon as the deplorable Real Old Violins by real nja.MerB^^om*70.0° to $3,000.00, their sixties and seventies. Directory habit of reading and playing one note at their ages ran from seventy-five to eighty- ninth and tenth measures from the end of The World Famous “GEMUNDER ART’’ Violins, from one years. Two of them were twin The Violinist’s Etude The United States owes its country the Kreutzer Etude in A Minor, one finds a time is broken, a new light will dawn. fiddlers a debt of gratitude in helping the The following Kreutzer Etudes are sug¬ brothers, seventy-nine years of age, one rather unexpectedly two flatted notes, Bb growth of violin playing in the early days gested for progressive use as outlined playing right-handed, and the othdr left Edited by R0BER7' BRAINE and Db. These with F, which fill the two of the country, since, while their efforts CARL. Violin instruction from rudiments above: 12, 32, 8, 10, 2, 27, 28, 33, 34. handed. The fiddles the twins used were measures, are the members of the so- were only along the lines of playing a The following -Studies for Cello by from $50 upw'arS.me Repairing and Reconstruction. the same which their mother had given ALBERT called Neapolitan Sixth chord. In such Correspondence Invl ted. Catalogues. few dance tunes at merry makings, they Dotzauer are also suggested: 24, 11, 5, 31, them at nine years of age. cases it probably will be best to pass over at least kept the love for the sound of Conservatory Dept. Strong 25, 6, 13, 14. (113 Selected Studies, HUBU5T GEMUNDER S 50NS Among the fiddlers was one who had the difficulty temporarily, or to seek aid the violin alive among the common people. faculty of ten teachers. 141 West 42nd St., ” beeghwood from some one more experienced. Not- Parti).' m f IE VIOLIN WORLD A Monti fiddled for dances for sixty, and an¬ This deep-seated love for the violin led Magazine other for sixty-five years. Some of them The Country Fiddler later on to the love of concert violin had made their own instruments. Each playing and the desire for violin educa¬ The Voice as an Aid to Interpretation boasted that he had never had a lesson combs:: OUR “SPECIAL An Interesting Old Fiddlers’ Contest tion on the part of their descendents. in his life, and not a single sheet of music 9Cr 10Tested Lengths, By H. Timerman was used in the contest. The whole wD^Silk Violin E, forfaiO their own playing that they got up and eighths, sixteenths and thirty-seconds, and Musical Theory and the DUNNING i thing was done "by heart.” danced around the stage, playing the the compositions he affects, do not call Send for Violin and Cello Catalogue For a violinist to play through a group ticularly is it important that there be an One of the notable things about the while. for sostenuto bowing with the full length String Player MUSICIANS SUPPLY CO. of songs with a well- trained soprano, impression of finality at the close of the contest was the fact that the fingers and The American country fiddler is sui of the bow. Playing all alone as he must eddy eyassf 60 Lagrange St., Boston, Mass. copying her phrasing and noticing where first period. Take breath here, so to do, without an accompanying instrument By G. F. Schwartz wrists of these aged men were supple generis, a unique musical product found l SCHOOL. Voice training fo she takes breath is extremely beneficial. speak, before commencing in earnest the and fleet enough to admit of their play¬ only in the back woods, prairies and to mark the bass, he supplies its lack by Not only does it give him new ideas, but ascent to the climax. And when you again Are You Organizing an Orchestra or Band ? ing jigs, reels, hornpipes, and other vari¬ mountains of our own country, and dif¬ vigorously accenting the first note of A rather strong impression seems to FABRIS start on, either play less calmly—hasten it exposes most effectually any rough¬ S,eJ?™^Id'ru,nrteRoSksnE ROOT^|rBEGieNNERS ous dance tunes at break-neck speed. fering from the country musician of any each measure with his bow, and helping exist among string players that since their l. ^ Practical instruction your pace, at least for a few measures— nesses of tone of which he may be guilty. ORCHESTRA Bi LOOT’S1!NEWerBEGniNINERS Jj We often hear men not past forty com¬ other country. His race is fast dying the good work along by pounding the instruments have so little capacity for GILBERT An artist, whose records met with great or in cases where haste is not in keeping plain that they have been obliged to give out, for the country boys of our own floor energetically with his foot. To vary chord playing, an acquaintance with even success some years ago, once told me that with the composer’s idea, slacken up amples sent to Teachers and Band Leaders fi up violin playing, because their fingers generation go to the nearest town and the monotony of melodies in single notes, the fundamental elements of chords and he owed his delightful tone to his mother, slightly. At all events, say something and arms have become too stiff for play¬ learn the fiddle “by note,” or the saxa- he introduces as many chords and double chord-progressions is non-essential. Su¬ HAWTHORNE an opera singer, who encouraged him dur¬ ;! T?ROOT & SONS, 1530 E. 55th St., Chica»o III |i ing, yet here were these old fellows, in phone or piano. The American rural stops as possible, in the endeavor to make perficially this attitude may seem reason¬ ing his youth to imitate her voice on his When you play a piece, the listener the neighborhood of eighty years of age, home of the present day is likely to. have his work sound like an orchestra. His able for undoubtedly the bow-stringed in¬ violin. should sense -that ■ there is an idea back of all that you do. Let it constantly playing all the old “hoe-downs,” at dazz¬ a piano or organ, and the small town repertoire is limited to be sure, consisting struments are primarily melodic. The Cesar Thomson’s Idea XROS “ be felt that there- is a goal toward which ling speed. has its brass band. of only a few dance tunes, but these error lies in overlooking the fact that me¬ So close, indeed, is the relation between you are driving. When finally the point I of latest jazz hits, also Stan- ■ itfcfc If there is to be a dance in the country tunes are those which have stood the the voice and the violin that Cesar dard saxophone solos, duets, trios, lody and harmony are inseparably cor¬ of highest interest is reached, make this I quartettes—2000 selections. Largest Old Favorites now-a-days, a band or jazz orchestra test of time, and which seem to be des¬ MOULTON Thomson, the Belgian virtuoso, used to related, and any attempt to disassociate fact quite evident. Make evident too just general dealers of saxophone music All the old favorites, dear to the coun¬ is summoned from the nearest town, or tined to live for a century longer. Some insist that his pupils sing over any pas¬ and supplies in the world. Expert re- them is as undesirable as it is impossible. when you enter upon the concluding J pairing. Send for free catalog today. try fiddler’s heart were very much in it is at least possible to have “piano and of these tunes, in an elaborate arrange¬ sages whose meaning or rhythm they All melodies or solo parts arc con¬ NEW YORK -aSSES- phrases; there- should be no doubt that you SAXOPHONE SHOP, 423 S. Wabash Ave., Chicago 'drums.” failed to grasp. evidence in the contest; Turkey in the ment, are often heard on the concert structed upon a definite harmonic basis, are drawing to a close. The end must not platform, and seem to have the power to “You haven’t sung that phrase,” he Straw, Devil’s Dream, the Mocking Bird, A Relic of Pioneer Days and even though they are unaccompanied, come as a surprise, you do not cease play¬ AKADEMIE & ETERNELLE interest and amuse audiences of cultivated VIRGIL would remark, “consequently you are un¬ Pop Goes the Weasel, The Campbells The country fiddler sprang into being as in Etudes, a harmonic structure is im¬ ing merely because the supply of notes has Silk Strings music lovers. Witness the success which able to give it proper expression. The vio¬ are Coming, Fisher's Hornpipe, the Irish and acquired his characteristics, when the plied, and a knowledge of this harmonic LA FAVORITA & ELITE Washerwoman, and a large number of attends the playing of a concert arrange¬ lin should sing like a voice.”. Gilt Strings United States was sparsely settled, and basis is indispensable to the performer Following out this idea, it is well to sing Plenty of Light and Shade others, including many world famous ment of Turkey in the Straw, by Percy For Sale by Leading Importers and Jobbers musicians and musical instruments were who hopes to get anywhere. a composition many times before learning And do not fail to infuse plenty of reels and jigs. Grainger, the pianist-composer. AMERICANS Sol. Dl.tribn.or. M. E.^SCHOENING CO, Inc. rare. The fiddler was in constant demand There are three prerequisites for the it. Pencil in hand, indicate the vocal in¬ light and shade into your readings. Shun A “cat may look at a king,” and con¬ when music was wanted for a barn dance instrumental musician: reading facility; terpretation and mark the breathing places monotony. Try for marked contrasts. All Well Preserved versely a “king may look at a cat” with, or husking bee. His fiddle was light and intelligent phrasing and reliable memoriz¬ ARNOLD that would occur were it a song. Deter¬ Make your soft effects very pianissimo he could cover the country on horseback no doubt mutual benefit and interest, In the contest I have described the fid¬ ing; and each of these is very likely to mine also, just where the introduction and your forte undeniably loud. After a VIOLINS BUILT IN OUR OWN for fifty miles around, wherever dance or legato passage in which the last note has either way round. A fiddler can learn dlers all seemed to be men who had kept be improved by at least a limited know¬ pt.i>. 246 Highland Ave. ends, where the point of greatest interest WORKROOMS festivity reigned. At his best he must their health and energy, making striking been allowed to die away, a crashing chord much from the performance of an edu¬ ledge of musical theory. Where time or occurs, and what sort of conclusion will Of Finest Material and Workmanship be seen on his throne, -a rough board proof of the fact that a violin player can is generally effective. cated violinist, and vice versa; there are opportunity prevents regular instruction, be most effective. Likewise, what mood things, which some educated violinists platform—at a barn dance or house rais¬ retain his power over the nerves and the composition calls for. Run over a new piece in its entirety, ing, radiating gaiety, and riotous good self-help will be found quite possible, and sometimes singing, sometimes playing, re¬ can learn from the humble country fid¬ muscles involved in violin playing, to an When all this preliminary work has humor, furiously stamping out the time also can be made very profitable. fusing to stop before the fullest meaning dler . One of these things is rhythm. The extreme old age, provided he lives a been done, take up yOur violin and after with thick-soled boots, and sawing up Having procured a simple text on Har¬ has been extracted from each period. fiddler never leaves his hearers in doubt reasonably correct, well ordered life. The singing a line—-or better still, a few mea¬ and down through the air with his trusty man who habitually neglects the rules of mony, an acquaintance should be made CINCINNATI'S Hold to your task until satisfied that such as to where trie first beat of the measure sures—-copy your voice as nearly as pos¬ VIOLIN STRINGS old fiddle, with home-made hickory pegs, health brings on all sorts of joint dis¬ with the “principal and secondary” triads, is indeed the case. Then forever after, ETUDE BRAND comes. He is there with the accent sible on your instrument. Should singing Used by the Leading Artists of the and filled on the inside with snake rattles. eases, arthritis, rheumatism, and muscular the seventh chords (dominant and dimi¬ when practicing, follow the directions you every time, making his playing sound COLUMBIA happen to be an impossibility for you, a Philadelphia Orchestra The fine points of position do not stiffness and sluggishness, all of which nished especially), cadence forms, simple good-sized hum with plenty of breath have penciled -on the score. Violinists are Etude “E” Siring, 3 lengths. . . .$0.20 net quite different from that of so many bother the country fiddler. He holds his ' CONSERVATORY OF MUSIC are death to good violin playing. The transitions, chromatic chords, and the back of it will do as a substitute. forced to remember so many technical de¬ Etude “A” String, 2 lengths.20 net insipid, monotonous violinists, who forget bow fine third of its length from the Etude “D” String, 2 lengths.20 net man who lives correctly can retain his various non-chordal devices (suspensions, DETROIT Work on a phrase at a time, making tails while playing that it is only by mapp- . that there should be a natural accent frog, but this does not much matter, since Etude “G” String, 1 length.20 net suppleness of muscle, and what is more passing-notes, etc). each complete in itself. (The effect of ing out beforehand the musical effects to in every measure. He also brings out- most of the notes he has to play are Bundle Lots (30 assorted Strings) 4.25 net important a good condition of the nerv- Chord forms, it must be remembered, completeness may be achieved by pausing be tried for, and then conscientiously Fric the special accents in syncopated pas¬ may be played in successive order (melo- DETROIT imperceptibly at the end of a phrase, and holding to them, that good results can be PRKSElfcCu'^PhilSelphia, Pa. sages, with force and precision. dically) as well as simultaneously. perceptibly at the end of a period). Par- achieved. Though the harmonic structure is some¬ ,_MELLOW, SOULFUL- That Certain Swing KNOX ‘ O N CREDIT. Easy terms for what less obvious, it is none the less real. I wonderful instruments. GET Even the dullest listener notes at once Violin Experts VIOLINS' jDETAILS TO-DAY. that the playing of tne country fiddler Take as an illustration the Etude in A GUSTAV V. HENNING at his best, has a certain “swing” to Minor (number 12, Peters) of Kreutzer. SAUNDERS 2424 Gaylord Street_DENVER, COL. it, which excites the listener and sets his The entire first measure is made up of By Robert Braine toes a tingling for the dance. This the tonic triad in A minor (ACE ); the “swing” is nothing more than absolutely second measure uses only the notes of the TOMLINSON! ne Art. Bldg., CHICAGO Every little while some one writes to as is proved by the fact that they turn in accurate, even finger technic, and proper sub-dominant triad (D F A). It seldom the Etude asking how he can qualify as an occasional counterfeit with their bank accentuation of the notes where required happens, however, that music is as simple a violin expert, that is, an expert judge of deposits. An experienced bank teller with the bow. Many a “high brow” as this. One usually finds a melodic de¬ WESTERN® violins. The writers evidently are pos¬ rarely passes a counterfeit, but many violinist fails to make the fast movements velopment effected by means of non-chor- sessed of the idea that any one can read cases are on record where even bankers in his solo work effective, because he dal notes. Unfortunately, few if any a few books on the subject and in a short have been unable to detect a counterfeit lacks this “swing,” this vigorous accent¬ texts treat these in a simple concise man¬ nnui i|T SOUTHERN CONSERVATORY OF,MUSIC time blossom out as an expert qualified to bill made by a master counterfeiter. It ing and perfectly even finger work. give the pedigree of any violin submitted ner. Some standard musical dictionary BRYANT IW “vrhlm.N.U. sometimes takes a U. S. Treasury expert Another element which lends charm will probably have to be brought into use. to him. to decide whether a-bill is really'genuine and interest to the playing of a first Even then it will not always be easy to Now there are experts—and experts, rate fiddler, even though it might be distinguish between chordal and non- CONVERSE COLLEGES^ just as there are many varying degrees crude in some ways, is that of enthusiasm Bank tellers and treasury experts handle chordal notes; but persistent effort will of skill in the case of people whose busi¬ He feels his music, and thus gives it an such immense quantities of money, and gradually bring a clearer understanding. Violin Teachers ness makes it necessary for them to de¬ air of gaiety and brightness, which in tect counterfeit money. Any intelligent have made such a profound study of To get at the harmonic foundation it will Fundamental Studies in the third pos.Uon stantly communicates itself to his list¬ by Albert H. McConnell is undoubted y the child can tell the difference between stage counterfeits, that their ability to detect be necessary to eliminate all but the es¬ Kill The Hair Root eners, raising their spirits and drawing most useful method of its kind ever published. money, and real bank-notes, but might be them becomes to be almost like a sixth My method is th« sential chord members. As an illustra¬ ly. painless. them irresistibly into the dance. In the Price 75c Sample copy to teachers, 50c easily fooled by an even crudely executed sense. Every counterfeiter, no matter CHARACTERISTIC 0 fiddler’s contest I have described above, tion take the second Kreutzer Etude in C THE CONSERVATORY PUBLISHING HOUSE counterfeit. Business men can detect or¬ how skillful, is sure to make slight mis¬ William and Samuel Pickerel, of C 735-741 Englewood Aye., Chicago, Ill. some of the old fellows nearly eighty major. The last note of the first group dinary counterfeits, but are likely to be takes in his work, which lead to his un¬ one playing right and one playing is a “passing” note, the two middle notes doing. years of age, were so carried away by r mother at !) years of age. of the next group (F D) arc "neighbor* FEBRUARY 1922 Page 135 Page 184 FEBRUARY 1922 THE ETUDE THE etude Learning the profession, of judging vio¬ marched into his store and proclaimed to , How to Arrange for a Small Orchestra lins is very much the same as learning to the clerk that I had a genuine Ruggieri, the clerk laughed, and the expert also detect counterfeit money. It requires By Edwin Hall Pierce deep study, vast experience, and a certain laughed when he was summoned. The lEantrr born talent for the business, to become a box was soon opened and the expert gave real expert. the fiddle the once-over. The laugh faded from his face, and he became greatly in¬ Of course, almost any one can, in a Editor’s Note.—Thousands of musicians and music lovers want to know more Have You Faith short time, pick up sufficient knowledge terested in the instrument. At last the about the orchestra, particularly the small orchestra. The vast attention being Music to distinguish a crude factory-made Strad, oracle spoke. “You are right,’’ hc saj(| given to orchestras in public schools and high schools has prompted us to publish A Selected List of Anthems, with its artifical marks of age, and its “this is a very fine genuine Ruggieri, and the following article, the first of a series which will run for several months. Mr. more or less rough workmanship, from a is worth a large sum. I congratulate Pierce, former Assistant Editor of “The Etude” has had long practical experience Cantatas, Solos, Duets and real Stradjvarius, with its beautiful lines, you.” in this subject and has conducted many small orchestras. He explains everything Suitable Pipe Organ Numbers faultless workmanship and limpid, glowing A few years later, when I had come to in such a simple manner that anyone with application should be able to understand his suggestions without difficulty. “The Etude” does not attempt to conduct a know violins, I discovered that the violin In Yourself? Cremona varnish; but, as the skill of the correspondence in any study, but short inquiries of readers interested in this series counterfeit violin maker in imitating the was not a Ruggieri at all, but a German* wiU be answered when possible. BRILLIANT EASTER ANTHEMS Minshall-Nevin ,K workmanship Of the Cremona makers copy, with a Ruggieri label, and which 10999 All Hail the Glorious Morn. i934 Hosanna! .Granier .1( becomes greater, it becomes increasingly did not even look like one, as regards to, The Drums about by watching a drummer and asking Stults 1806 Sing With All the Sons. 10240 Alleluia, Allelui Brackett .If Are you satisfied with your outlook in the profession—don’t more difficult to distinguish the false from workmanship, color and varnish; yet herd In large orchestras the Tympani (ket¬ him questions, also by examining numerous 10796 Alleluia, . ‘.’...Stults you feel that you could establish yourself in a position of great¬ the true, and the superficial expert becomes was the leading expert in a city of 250,000 tle drums) are most constantly useful; drum parts already in print. 20040 .ie Sabbath Was UPLIFTING EASTER SOLOS with Violin).. .Jones 2948 Christ Hath Risen. High er responsibility and incidentally enjoy a better financial future wholly at fault. who pronounced it one. They have better- while the bass drum and snare drum are In the next paper we shall take up the 15626 .. „egan to Dawn. experts in that city now. subject of Tympani,'as well as several R. W. Martin Valuable Imitations only rarely called for, for special effects. As It Began to Dawn.Norris if you had a good, practical musical education instead of mere¬ other less familiar instruments. In the When I speak of a real expert, I mean Two Famous London Experts But in small combinations the bass and As It Begar “ *'-•*■“ meantime the student may try his hand at At the Lai i High Fea. ly knowing how to play one instrument? one who is qualified to detect clever imita¬ I should consider the best place in the snare drum (played by one player) are We Sing. New) .. .Stul a drum part to the Serenata. The first __ioul-Brids If for instance you understood Harmony, Counterpoint, tions of the work of the most famous vio¬ world to gain a knowledge of old violins most generally in use. In dance music and 10513 . entry will probably be at the nineteenth 10910 :, Thou That Sleepesl Composition, Orchestration—if you could play some other in¬ lin makers of all schools, whether it be the to be Hill’s or Hart’s, the two famous; marches they sound almost constantly, while in graceful and delicate music, measure. In this kind of a piece they 10033 iehold, I Shew You...Camp makers of the Cremona and other Italian violin dealers, makers and repairers in' _ _iehold, I Shew You. . .Solly strument like Piano, Cornet, Violin, Organ, etc. Have you should be sparingly used. The sforzando 12534 Death is Vanq cities, French, German, Austrian, Hun¬ London. For Cremona and other famous though they are seldom entirely dispensed 10920 Break Forth with Joy. .Dale chords at the nineteenth and twenty-fifth 10472 Christ is Risen.Brackett sufficient faith in yourself to try to improve musically and at the garian, British, American, Belgian, Bo¬ old violins, London is the clearing house with, yet their part consists largely of 12535 “ “ measure may be emphasized by a stroke 10475 Christ is Risen.Morrison same time financially as well? Will you take advantage of our hemian, or others. In the case of violins of the world. Probably more of these rests. For instance, in Labitszky’s Traum 20143 Christ is Risen.Sheppard 16162 Easter Dawn. famous old violins have passed through dcr Si-nncrm the drum has just one note— of the Cymbal. 10221 Christ is Risen.Wolcott 12721 Easter Trumph free offer for six lessons which we offer to readers of The Etude of unknown makers, he should be able to There are several instruments which 20128 Christ is Risen from the Dead. identify the school to which they belong. the hands of the dealers and repairers of in a ff chord at the very end!! Morrison have important uses in the complete sym- . 10984 Christ is Risen, Hallelujah^ absolutely free of charge in the hope that they may be the means He should know the construction of the London than any other city in the world! Although the drums have no definite pitch o God. High. .Rotoli phony-orchestra, yet are somewhat un¬ of starting you upon a career which will pay dividends in in¬ violin thoroughly in all its details, and the Large numbers of violins, violas, cellos and * they are written for, by convention, on a 6086 Christ Our Passover.Shackley basses are sent to London for sale in the- staff hear ' ig the bass clef. The bass drum common in small combinations, especially 10504 Come See the Place. . .Avery creased cash earnings, earnings which you couldn’t possibly characteristics of all the best known vio¬ amateur. We have accordingly left these 10655 Come Ye Faithful . .Percippe lin makers in the world, in their minutest auction rooms of Puttick and Simpson. has the s 111s of the notes pointing down, Ob. High .Geibel obtain under your present condition? These auctions arc held at frequent inter¬ drum has them pointing up. In for the last; yet it will by no means do 8047 Hail Glorious Morn. Violin details. Especially should he know the to neglect them, as (considering the pres¬ Ob. Low ...Geibel vals, and are attended by dealers from all dance music the bass drum agrees approxi¬ 12748 Hail Thou Risen One. High. work of the Cremonese masters, .since their ent remarkable growth of interest in or¬ We are purely selfish in offering them to you gratis—We have started thousands of over the world. The old violin trade in mately with the rhythm of the double Ward-Stevens work is the most frequently imitated. He chestral music) there is no telling how 15507 Glorious Moi 12749 Hail Thou Risen,One._T.ow. others the same way—many wrote out of curiosity—became intensely interested when they London thus has an opportunity of seeing bass, the snare drum with that of the sec¬ 10391 Glorious Moi saw how practical and how extremely valuable they were—and before they knew it they should also be intimately acquainted with soon or at how short notice one may be more violins by various makers than is the ond violin. The drum part of a waltz 20126 Glory Crowi 6891 Hail 1 Risen Lord. were proficient on another instrument or had a fine, practical knowledge of Harmony and— the characteristics of the work of the called upon to orchestrate for them. they were MAKING MORE MONEY IN THEIR PROFESSION. many great imitators of the Cremonese, case in any other city-. Many of these vio¬ looks something like this: such as Vuillaume, the great French lins are put in order by the repairers in Ex. 1 They had faith in themselves—they wanted to do better things—bigger things—more Tympani or Kettle Drums Shackley maker, who copied some of the great Cre¬ London before being put up at auction, an 1 20024 God Hath Sen profitable things—and they did. Have you the faith to do better things—bigger things— Unlike the bass drum, the kettle drum An Jones 8078 In the Dawn of Early^Morn- mona violins with surprising accuracy. the repairers and dealers in this way have more profitable things in music—if so sign the coupon to-day. It costs you nothing and has a tone of a definite musical pitch, and 10903 Hail! Festal I Many of these imitations are worth large an opportunity of inspecting the workman¬ 10802 He is Risen... 5337 Lord is Ris you will benefit much. has to be tuned by the player. Tradi¬ 6295 He Was Cruci Ob. . ship of every maker and school at first that of a irch, something like this: tionally, the tympani come in pairs, 10111 Hosanna! .... Lord is Don’t wait for this advertisement to appear again. Procrastination is the thief of hand, from the Cremonas two hundred 6066 How Calm am ... Lansing First Study the History slightly differing in size. The larger one opportunity as well as of time, and there is no time like the present to get busy and make years old, to modern violins finished a 8061 Light of Hope. High..Geibel money. Select the course you want and sign coupon NOW ! My advice to any one wishing to qualify may be tuned to any pitch from 8062 .. Low.. “ as a violin expert would be: first, to study month ago. Dealers like the firms of 16241 Lord of Life and Glory. Hart, and Hill and Sons are the Supreme Ex. 4 High.F. A. Clark the history and construction of the violin, 9868 Resurrection Song. High Court in the case of old violins, and a cer¬ The bass drum is used mostly in single 10653 Lift Your ( Students’ Course by William H. Sherwood. as far as it can be learned from observa¬ strokes. The snare drum is capable of Piano tificate from one of their experts, as to Lord, My God.Steane High.. tion and books; second, to learn violin Contains complete, explicit instruction on every phase of piano playing. No stone what a violin really is, is considered au¬ an endless variety of rhythm, but it is sel¬ Morn’s Roseate Hues. I dom of good effect to introduce any other The smaller drum may be tuned at . any Berwal'd 17527 Sing, O Sing has been left unturned to make this Course absolutely perfect. The lessons are il¬ making and repairing; third, to become thentic the world over, and has much to Morn’s Roseate Hues. lustrated with lifelike photographs of Sherwood at the piano. rhythm than that which already exists in identified with a first rate firm dealing in do with the price of an instrument. Many pitch from 7692 Sing With 1 the Son old violins and repairing them. It is abso¬ some one or more of the other instru¬ Glory. U .Mr For Teachers By violinists, buying an old violin at a large Ex. 5 . the Sepulch lutely necessary for the would-be expert to ments, unless a real drum “solo” is in¬ 7142 They Came - William H. Sherwood price, will not take it, unless the guarantee High .Solly Normal Piano Course have an opportunity of handling and exam¬ tended. The only exception is the roll or 5206 Victor Immortal. High. of a leading London expert goes with it. Brackett These Normal Lessons for piano teachers contain the fundamental principles of ining violins of all schools and makers, so tremolo on the snare drum (quite rarely Skillful Counterfeits on the bass drum), which is sometimes The usual custom is to tune them to the ..Jones 4715 Voice Trumphant. High. successful teaching—the vital principles—the big things in touch, technique, melody, that he may become familiar with the char¬ 10689 Sing, Ye Hea... Stults phrasing, rhythm, tone production, interpretation and expression—a complete set of It is thus apparent that in the case of a very effective. Good drummers can make key-note and the fifth of the scale, though acteristics of their work. This experience 10801 Song of Triumph.. . Morrison 5202 “ “ Low. Stults physical exercises for developing, strengthening and training the muscles of the fingers, really skillful counterfeit of one of the a splendid crescendo, diminuendo, or both, other tunings are sometimes adopted for 20149 Thanks be to God..Ambrose is the most difficult of all to get, especially 10575 Thanks Be to God.Hotchkiss hands, wrists, arms and body, fully explained, illustrated and made clear by photo¬ great masters of violin making, it takes either on a roll or elsewhere, and thus in¬ special effects. A kettle-drum does not 10874 Thanks Be to God.. .Lansing EASTER DUETS graphs, diagrams and drawings. in the United States, where in the smaller necessarily have to be in unison with the an expert of many years’ experience to tensify greatly the expression of the piece. 10120 Thanks Be to God.Marchant 14467 Christ Victorious. (Alt. and cities at least, there is often no opportun¬ 10401 ’Tis Glorious Easter Morning. decide whether it is genuine or not. The bass—but it must be in harmony with some Dressier Ten.) .Roberts Harmony by Adolph Rosenbecker and Dr. Daniel Protheroe. ity of seeing even a single specimen of the greatest experts who have the widest note of the chord with which it strikes, 10389 Triumphant Lord.. .. Berwald 9447 Every Flower. < Sop.^ and Cremonese, or other great makers. There otherwise the effect will be discordant. 10063 Welcome, Happy Morning This course includes Counterpoint, Composition and Orchestration. A know¬ knowledge in judging old violins ccin’e 14381 I are hundreds of people posing as violin from the ranks of dealers and repairers in Modern composers sometimes call for 15662 Welcome, Happy Morning. .Stults ledge of Harmony is necessary for every advanced student and teacher. The Rosen- Besides the drums already named drum¬ (Sop. and qxperts, who really know very little about London, Paris, Berlin, Vienna and other three or even four kettle-drums, all tuned becker-Protheroe Course in Harmony excels in completeness—simplicity—practicability. mers commonly have Cymbals, a Triangle, .... Schoebel Ample original work in connection therewith stamps the principles on your mind in¬ the business. This . recalls an instance large cities in Europe, where they have differently, but as many players are pro¬ a set of steel bars known as “Bells,” and delibly. during my boyhood days when, living in spent their lives in examining and studying vided with only two we recommend the stu¬ various other traps and contrivances which WOMEN’S VOICES ORGAN COMPOSITIONS a large western city, I bought a violin the violins of all makers and all schools, dent to limit himself to this number. it would take too much space to describe 10803 Alleluia, Alleluia! (Three 6901 Adoration .Borowski Reed Organ by Frank W. Van Dusen, well known teacher and organist. containing a Ruggieri label from a young until their skill in passing on an old violin (To be continued) Part) .Brander 16995 Festal Prelude. German emigrant, whose father was a here, but which the student can learn all 10805 Hosanna! (Two Part^r{mier Andre-Rockwell becomes almost like a sixth sense. Sorry; 11219 Festal Postlude in C. violin dealer in Germany. The instru¬ Rockwell r of these experts have found their way to Choral Conducting b Dr °™i Protheroe. ment was a most aristocratic looking old the United States and are to be found in As to Practicing MEN’S VOICES 16816 Hosannah .Diggle fiddle, and had a splendid tone, which was Irander 17302 Short Postlude for East. our large cities. ..Solly .12 .40 Public School Music htade8l byMrs- the delight of every violinist who played All the greatest makers of violins, yufli By Cora Young Wiles on it. Nearly every one of these violin as Stradivarius, Guarnerius, Amati, etc., EASTER CANTATAS VICTORY DIVINE players pronounced it a geniune Ruggieri, betrayed certain characteristics in their A well-known musician and orchestra flute, remember the money that must be THE GREATEST LOVE Public School Music Supervisor’s Course 1 Clark. $1.00 but advised me to take it to the leading workmanship, in a somewhat similar man¬ leader gave my son some good advice. paid for it and for the lessons; and never, By H. W, Petrie 75 cents By J. C. Marks local expert, a man who had a large music ner to human beings who have character¬ Being asked to give the boy flute lessons, never let mamma tell you when and how DAWN OF THE KINGDOM THE WONDROUS CROSS -GOOD FOR SIX FREE LESSONS- store, and who made violins—really ex¬ istics in their handwriting which make it lie said: "It makes me sad to see a youth long to practice. You must do it your¬ By J. T. Wolcott 60 cents By I- Berge 60 cents cellent instruments—as a side line. All peculiarly their own. The real expert re¬ start to learn a musical instrument. Per¬ self, willingly and earnestly; and, if you UNIVERSITY EXTENSION CONSERVATORY, violins in need of a pedigree were taken do not feel positive that you can stick to Dept. A 154 Siegel-Myers Building, Chicago, Ill cognizes the workmanship of the great haps he knows a hoy who plays the flute IMMORTALITY FROM DEATH UNTO LIFE your practice.day after day and year in to this man, and he was considered the violin maker, as a bank teller judges a or he has heard it played somewhere and By R. M. Stults 60 cents Please send me FREE without the slightest cost or obligation on my part Six (6) Lessons of the one violin expert in the city. When I and year out, don’t you waste my time By R. M. Stults 60 cents course mentioned below. Also quote me your Special Limited Price for Complete Course. signature. decides he must play, too; and so lie teases papa and. mamma until they buy and your time and money, but give it up Any of the above Publications will gladly be sent for examination Name.Age. him a flute. Then, so of ten, it is but a short right now.” How Wagner Did it I have never had to tell my son to prac¬ Street No.. R. F. D. or P. O. Box. Richard Wagner, in one of his let¬ time until he finds there is real work re¬ friends think that I am floating in the quired, thinks it is tedious and tiresome, tice, and when his beloved teacher passed THEODORE PRESSER CO. ters confessed to his friend Baron von away he had given to his pupil high ideals air.” This attitude has been one of grows impatient and lazy, loses interest 1712 Chestnut Street :: Philadelphia, Pa. 1 am interested in the .. ...(Course) Gersdorff that he was “nearly always and a firm foundation of good musical stuck in the mire,” but. he adds, “best the elements of the success of many and finally throws the flute aside. I say to you, my son, if you wish to learn the habits. Please mention THE ETUDE when addressing our advertisers. of all is my ability to make my dearest famous people. Please mention THE ETUDE when addressing o fUE ETUDE FEBRUARY ITT Page 137 Page 136 FEBRUARY 1922 THE ETUDE Kindergarten Book tion to any of our patrons who so desire. Broekhoven’s Harmony Secrets of the Success Casse-Noisette Suite (“Nut- The works withdrawn are as follows:. p,v Mathilde Bilbro of Great Musicians— Cracker”) for Piano Solo Mother Goose Fantasy by Arthur Nev- We have come into possession of a work This is a little book for very small By E. di Pirani By Tschaikowsky, Op. 71 in. This work requires a chorus of chil¬ that has had a very large sale in past children; it is not even necessary that dren and a few dancing girls, also a So¬ We are looking forward to our Easter years. It has been used by many of the Nothing is so eagerly read by the The. lovely Waltz of the Flowers, is music business and believe it will be the piev know the alphabet. The intention of prano with considerable dramatic talent leading conservatories in this country and American public as the various recipes probably the best known number of the best in the history of this house. Never tl,e‘ hook is that they spend one hour for the character of the Dream Maid. also of Europe and is one of the few for success. Why? Because the Ameri¬ famous Nutcracker Suite, but the re¬ before have we been in position to supply ,vith th ir teacher about four days in the The work could be put into shape in two text books of this country that has been can people know that there is no one se¬ maining numbers all have striking charac¬ such a variety of superlatively good music week and there are many things to do cret, but that the real truth is to be teristic’s. The Dance of the Dragon Flies or three weeks and we believe will be for the Easter Services, as we offer this used abroad. The author, Mr. Broekho- in these four hours. Full instructions of great interest to schools and choral ven, has been a teacher of Theory in the found in the lives of the many who have and the Dance of the Mirlitons, are two are given in ihe press pages as to just made successes. Commandatore di Pi- picturesque ballet numbers. The Rus¬ societies. Retail price $1.00. Cincinnati College of Music for manv how the work should be given to the little From the Yellowstone by Thurlow For choirs desiring a cantata, we re¬ years. Our edition of this work will be rani, pianist, composer, author, as well sian Dance, the Arabian Dance and the commend the following works, which are ones. The author. Miss Bilbro, is well- Chinese Dance, are exceedingly colorful Lieurance. A Musical Drama for Solo somewhat enlarged. This is a book that known in Europe as he is here,—once the musically worthy, interesting to rehearse known as one of the leading, if not the and suggestive of the respective nationali¬ Quartette and Chorus. This work may be every teacher of Theory will be glad to assistant of the great Kullak, has in this and sure of receiving a cordial reception leading, writer for children and we are ties. The Overture and the Processional produced in concert form with or without own as it ranks as one of our most collection, made a dose study of the from the congregation, when rendered:— pleased that we can present to our sub¬ March are both charming numbers. As staging, and introduces a number of Mr. modern of text books on Theory and we motives and accomplishments of famous The Greatest Love, by H. W. Petrie; scribers such an excellent work along the musicians so that these chapters covering arranged for piano solo this suite lies jn Lieurance’s most popular “Indian Songs,” are pleased that we have come "into pos¬ arranged for mixed quartette and chorus. Dawn of the Kingdom, by .1. T. Wolcott; Kindergarten line. most of the famous musicians of the past about Grades Four to Six. Immortality, by R. M. StultS; Victory session of such a valuable copyright. Our special advance price on this book, The special introductory price in ad¬ It is worthy of the ability of the best Since the plates are nearly all made, the and of the present are really a series of Divine, by J. C. Marks; Wondrous Cross, which wilt contain about fifty pages, will excellent biographies all focused upon in¬ vance of publication is 40 cents, postpaid. artists, as well as for college and high special offer will remain in force only for be but 50 cents, postpaid. school use. It forms a most effective un¬ NEW WORKS. secondly, service to the teachers. If these by Irenes Berge and From Death Unto dicating to the reader the factors which two ideals can be successfully carried Life, by R. M. Stults. a short time; we therefore urge those dertaking for all choral societies. The who wish to buy the work at a eonsider- made the successes of these men possible. Child’s First Book of Melodies out, commercial success is assured. Send for a copy of each “on approval” Evangelistic Piano Playing’ work retails for 75c. Advance of Publication Offers — ble reduction in price to send in their It is a new viewpoint and one most help¬ By W. E, Honska We are constantly revising and publish¬ and select the one most suitable for your By George Schuler ful to the student. Order one now, be¬ In All Keys by M. Greenwald. Twen¬ order at once. ty-Four Study Pieces for the piano of ing new catalogs and lists which we choristers. fore it is published, and take advantage This is a genuine Beginners’ Book, but February, 1922 SpecPrfce”'* We have always held that any one who The introductory offer on this new not an Instruction Book. It may be used the most attractive and melodious charac¬ believe will be of service to the teacher, We also have some excellent Easter work will be continued during the current of the special advance of publication Brahms’ Album . i and we draw particular attention at this has anything to do with Theory, either to accompany any instruction book or ter. Each study well and characteristical¬ Solos, by Neidlinger, Delafield, Shelly, month. Those who are seeking the best price, 75 cents. Broekhoven’s Harmony. time to new editions of three of our as a pupil or a teacher, should have a any course of teaching. The little melodies ly named; a very pleasant set of studies. Carnaval Mignon—Schutt. Rotoli, Shackley, Lansing, Risher and method, of adapting hymn tunes and Casse Noisette (Nutcracker) Suite— catalogs. number of works on the subject so as to which are used are intended to inculcate The retail price is $1.00. other prominent composers and inspiring get different viewpoints and as this work other choir accompaniments for the Transcriptions for the Organ Modern Violin School by Theodore Tschaikowsky . The Piano Study Guide, perhaps the Easter Anthems for Mixed Voices, Wom¬ musicianship through the development of a Child’s First Book of Melodies—Honska most important of our catalogs, has been is quite an original one it will be very pianoforte will find in this book all the By Humphrey J. Stewart feeling for rhythm and harmony. To aid in Lindberg. A genuine beginners’ book, Child’s Play—Tompkins . en’s Voices and Men’s Voices. valuable to the teacher or student of needed information. Hymn tunes as they dealing largely with the first position and revised and brought up to date. The A selected list of solos and anthems will Dr. Stewart, in his recitals at Balboa the attainment of this end there are Class Method for the Violin—Oscar J. Theory. stand in the books are usually written for w7ell worth the investigation of every guide contains a full and classified list, be found upon another page, and choir Park, San Diego, has had occasion to a’«o writing exercises to be done by. the Our special advance price is hut 60 only four voices and if played as written teacher. We ask the perusal of this Evangelistic Piano Playing—Schuler. . with complete descriptions, of works directors can secure samples for examina¬ make many new transcriptions of various student. The book is of most attractive “Green Timber” Songs—Lieurance. . .. covering every detail of modern piano¬ cents, postpaid. they are weak and ineffective on the piano. works, chiefly modern, which are not to character and it will hold the interest of volume. Retail price $1.00. Kindergarten Book—Bilbro . tion by designating the numbers wanted The harmonies need filling out and in Preparatory School to the Sonatina, by forte study, and should be in the hands or we will send a package of our own se- be found in other collections. This work the young student far more than the. or¬ Original Four Hand Pieces. many eases redistribution in order to Franz T. Liftl. This book is just what its Preparatory School to Bach—Liftl.... of every music teacher in the country. Brahms’ Album for the is especially valuable on this account. dinary dry and scholastic finger exercises. Guide to Neie Teachers on 7'caching the make the pieces effective. In this book The special' introductory price in ad¬ name signifies, for the use of pupils in School of the Pianoforte, Vol. Ill— Pianoforte Dr. Stewart has included in its contents Theodore Presser . Piano. This little booklet has been re¬ Mr. Schuler starts in the simplest manner only such pieces as have been tried out vance of publication is 30 cents, postpaid. about the second grade of study. A.very Secrets of the Success of Great Musi¬ vised and furnishes not only practical 19,000,000 We take pleasure in announcing that we find works up gradually to the most art¬ thoroughly and have been received valuable , work by one of the best Euro¬ cians—Pirani . istic forms of accompaniment. Every¬ pean teachers and composers. Short Melodious Exercises in Touch and advice from expert teachers on teaching Mistakes have in preparation a new and very com¬ favorably. They are only of moderate Technical Exercises plete Brahms’ Album, complete in "that it thing is made clear. Secular Vocal Duets. This work fol¬ Tone—Corbett. subjects but furnishes a positive practical difficulty and none of them are lengthy. for the Violin Technical Exercises for the Violin—H. course of pianoforte study in ten grades. The Hon. Will H. Hays, Postmaster contains all of the works by Brahms, that The special introductory price in ad¬ In addition to their value for recital use lows our Sacred Duets, an immensely van den Beemt. Our new Professional Price List—Mu¬ General, who has increased the efficiency are the most played, including the Waltzes, vance of publication is 50 cents, postpaid. many of them are suitable for church pur¬ By H. van den Beemt popular collection, and has been com¬ Transcriptions for Organ—Stewart. . . . sic Books and Music Supplies—has just of his Department and added a dash of Op. 39, Ballades, Op. 10, Piano Pieces, Op. poses and for picture playing. This is a book for daily practice of the piled in answer to a very great demand. Twelve Well Known Nursery Rhymes— The duets are all of the medium grade M. Greenwald . appeared. A catalog of only our own humanity long needed in the service, re¬ 76, Rhapsodies, Op. 79, Scherzo, Op. So¬ Child's Play- The special introductory price in ad¬ violinist. Just as the pianist needs cer¬ Violin Studies—Kreutzer . publications in book form. cently made a statement for the American nata, Op. S, Variations, Op. 21 and the Ten Little Pieces vance of publication is 75 cents, postpaid. tain finger exercises and technical work and have been Irird and selected from Young Folk’s Folio of Piano Music. . . . our large catalog of such works. Retail We will be very glad to send any or Reviews of Reviews, in which he pointed Gavotte by Gluck-Brahms. All these By George Tompkins for daily practice, so does the violinist all of these to any of our patrons who will works have been carefully edited by the need exercises for the development of the price $1.00. out that each year about 19,000,000 badly This is a little work that has a great Carnaval Mignon ask for them in connection with their directed letters go to the Dead Letter well-known authority, Mr. Louis Oesterle. left hand. This includes scales and ar¬ Special Music Club Issue correspondence, or a postal card will bring This will be a handsome volume and a deal of merit, as it is written by an ex¬ By Ed. Schutt peggios and also exercises in the positions Important Announcement! Office. All this is in addition to those perienced composer. The harmonies are of The Etude them or any other information on any which are readdressed from the city di¬ substantial addition to the library of any Schutt’s Carnaval Mignon, a suite in and in shifting. It is necessary that the Reduction in Postage Rates subject connected with music or music very carefully chosen; most of the little six scenes, is one of his most important violinist acquire certainty and this can The Etude plans to recognize the mar¬ rectory in different cities. In New York teacher or student. It will be a volume Beginning January 1st, 1922, first-class teaching. of about 150 pages. pieces are in four parts. It makes an pianoforte works and deservedly popular be done only by daily work. velous musical activity of American Mu¬ City alone there are 250,000 a day. We excellent preparatory work in part read¬ postage to tile following countries has would not believe this if we did not have The special introductory price in ad¬ with good players. The several numbers The special "introductory price in ad¬ sical Clubs in all parts of the country, ing although none of the pieces are be- vance of publication is 35 cents, postpaid. been reduced to two cents for each ounce including the splendid group working un¬ Our Talking Machine it upon the word of the Postmaster vance of publication is 75 cents, postpaid. are musically illustrative of the princi¬ or fraction thereof: Argentine, Brazil, vond the first grade or very little be¬ pal characters of the old fashioned pan¬ der the National Federation of Musical General. yond that. Every one of these little Ecuador, Costa Rica, Jamaica and Mar¬ Department tomime. There is a dashing Prelude, a Twelve Well-known Nursery Musicians are brought up to abhor mis¬ Original^ pieces has words and most of them oc¬ tinique. As announced in these columns last takes and blunders. A very considerable piquant Harlequin Serenade in which two month, we have enlarged our Record Four-Hand Pieces cupy but one page. The pieces are all Rhymes The postage rate on magazines, we hope, will be a joy and a help to part of the teacher’s business is in cor¬ themes are cleverly combined, Colum¬ wrapped separately, to foreign countries Mail Order Department and our facilities very carefully fingered and phrased and bine’s Lament, a beautiful slow move¬ By M. Greenwald every American music worker. There recting mistakes,—often wholly unneces¬ This work is now in press and it will it is an excellent work for every teacher has been reduced to one cent for each for supplying promptly all orders for sary ones. However, we have found in be ready in a short time. In order to give ment, a humorous Punchinello movement, This is a very useful hook for kinder¬ will be a very large edition, as we either Victor or Brunswick Records are Who has to do with young children.. garteners and those engaged in elemen¬ four ounces or fraction thereof begin¬ are anticipating a very great demand for our own business of The Etude, there are an idea of the scope of the work, we give a dreaming Pierrot and a final Caprice. ning with January 1st. greater than ever before. So many • The special introductory price in ad¬ Our new edition of this work has been tary teaching. It takes twelve of the best this issue. However, better place your hundreds of people who are engaged in a partial list of the contents as follows:— vance of publication is 30 cents, postpaid. The new ruling on magazines will re¬ Victor Records have been unobtainable music, who think nothing of failing to Rubinstein, Toreador et Andalouse: Gotts- carefully revised and edited. known Nursery Rhymes and gives them order for extra copies with your dealer from the factory during the past year, complete with the words and music, but duce the postage on the Etude from sign their names to letters, to checks, to chalk, Oios CrioUos; Moszkowski, Rus¬ The special introductory price in ad¬ 72c to 36c, a considerable saving to our that we have engaged in a systematic “Green Timber” Songs so arranged that they may he either sung Merely as an indication of the wide¬ orders, to subscriptions,—who fail to send sia and Hungarian Dance; Hummel, An- vance of publication is 40 cents, postpaid. friends across the seas. hunt for these missing numbers in Phila¬ their addresses when they move,—in fact dantino; Scharwenka, Gavotte: Hofmann, By Thurlow Lieurance or used as instrumental solos. In addi¬ spread interest in this number let us cite delphia and other cities, with very good tion, directions are given for using them some names of famous music workers and do all sorts of things that could have been Barcarole; Brahms, Hungarian Dance. ’Way up in the wonderful Green Timber Short Melodious Exercises Bang! Down Go Prices! results in many cases. We now have country of Wisconsin, where mystery as action songs by groups of children, music lovers, who will in this issue assist avoided with a little patience and care. Ho. f; Jensen, Evening Music: Bohm, in Touch and Tone customers for Victor and Brunswick Re¬ Mistakes of this kind often lead to deplor¬ Birthday March; Schubert, Marche Her- joins hands with romance, among the each song having an appropriate illustra¬ An old and favorite combination of us in pointing out what they feel to be cords in every state in the Union. We able misunderstandings which we would oique and Polonaise, and others. Every swirling crystal waters and the eternal By Ave Corbett tion of just how this should look. magazines at a new price—The Etude Ihe greatest work which our music clubs The special introductory price in ad¬ are pleased to announce that a great give a great deal to avert. The Etude piece in the book was written originally Verdure of the trees, Lieurance, already There is always room on the Teacher’s Music Magazine and the Pictorial Review should undertake: Edward Bok, G. W. many of the earlier Caruso records, with vance of publication is 35 cents, postpaid. —America’s greatest woman’s magazine, Chadwick, Dr. Frank Damrosch, Thomas lias been so fortunate in preserving a for four-hands, there are no arrange¬ internationally famous for his wonderful list for additional second grade studies. piano accompaniment, /which had been both leaders in their respective classes— A. Edison, Florence Easton, Arthur delightful friendly bond with its many ments. We are satisfied that the pieces melodies and harmonies in his studies of One tires of teaching the same things all eliminated from the Victor lists and for one year—only $2.65. A pretty hard Foote, Ossip Gabrilowitsch, Mme. Galli- patrons, that they must all know by this in this book are the best examples of Indian music, finds a new source of inspi¬ of the time and students too are greatly therefore were unobtainable, have been Violin Studies combination to beat. Save $1.85 over Curci, Rudolf Ganz, Percy Grainger, E. time that we are always anxious to have four-hand writing obtainable. ration. We are eagerly watching their helped by variety. The new studies by of R. Kreutzer restored to the new 1922 Catalogue; a them receive The Etude regularly and art development. Some are completed in Corbett are short and tuneful and are last year’s price—so let your orders come de Gogorza, Josef Hofmann, Alberto Jo¬ copy of which will be mailed to any ad¬ The special introductory price in ad¬ promptly. A very great many of the the composer’s masterly and original style, well thought out. They will prove benefi¬ These studies are now nearly ready for quickly. nas, Josef Lhevinne, G. Martinelli, Mar¬ dress upon request. We are also issuing vance of publication is 60 cents, postpaid. complaints we have received have been —here are a few of the alluring titles: cial from the technical standpoint and the press, but the special introductory of¬ cella Sembrich, Josef Stransky, Leopold a very convenient folder of our own, giv¬ traceable to the failure of our friends to Year of Dry Leaves, The Whistling Mal¬ they will also tend toward musicianship. fer will be continued for one month Another Big Bargain Stokowski, Reinald Werrenrath, Fannie ing in detail, descriptions and illustrations notify us at once of removals and to in¬ Players’ Book lards Fly and Sad Moon of Falling Leaf, They start quite simply and advance by longer. Wherever the violin is played, Bloomfield-Zeisler and many, many others. of the various styles of Victrolas and in Magazines! Other features of course will be articles accuracy in sending their own addresses. School of the Pianoforte all connoting the wonderful poetry of In¬ gradual stages through five-finger work, the studies of Kreutzer set the standard Brunswick Phonographs. This folder also of technical attainments. They are in¬ The Etude Music Magazine—Modern upon all practical phases of club work, Vol. Ill dian lore and the glorious out of doors, scales, chords, arpeggios, etc. Priscilla (needlework and housekeeping) contains a very choice list of both Victor set to I .ieurance’s inimitable miisic. The The special introductory price in ad¬ dispensable to every violinist who reaches from raising the club income to giving and Brunswick Records, which we can By Theodore Presser and McCall’s Magazine (style, fiction and. every kind of club function. These arti¬ Young Folks’ Folio advance of publication price is 50 cents. vance of publication is 35 cents, postpaid. a certain grade. Our new edition has recommend to our mail-order patrons— been prepared with extreme, care and will special articles)—the big three—all for cles will come from real club authorities. of Piano Music We are receiving a great many letters records, which can be safely ordered with¬ be printed from handsome new plates $3.75 a year. . We believe in lending our aid to this from the advance subscribers of this Class Method for the Violin Preparatory School to Bach Send for premium catalogue showing out hearing. As heretofore all orders for third book, of the “School of the Piano¬ with generous spacing so that reading will great movement because we know that records amounting to $3.50 or over will By Oscar J. Lehrer By Franz T. Liftl special offers and valuable premiums for every person engaged in music is benefit¬ forte,” by Theodore Presser. We wish to he easy. be sent postpaid, carefully packed and should be on the piano in every home. There is much demand for an instruc¬ The special introductory price in ad¬ securing one or more subscriptions. ed by the activity of the musical clubs of state that the work is not nearly ready Interest in the study of Bach is on the guaranteed against breakage. It contains the very best of our publica¬ tion book for the violin especially adapted vance of publication is 40 cents, postpaid. our country. You, as a teacher, will find and we can scarcely expect to have it, increase. Modern music is becoming tions along the rather easy line, nothing for teaching in class. This book is writ¬ more complex, consequently it requires a Valuable Rewards for Our it worth your while to go out of your way under the present circumstances, before ten by one who has had special experience to induce your patrons to secure copies Epigrams for in the whole volume is above the third spring. The work must be done very certain knowledge of polyphonic playing. Works Offered Advance o Faithful Etude Workers grade. The volume is intended for pleas¬ ill this particular line. It departs from of The Etude Musician Club Issue—a carefully and therefore only slow progress In no composer do we find this style of See page 127 for important announce¬ the Wall ure pure and simple; there are no techni¬ the style of the conventional instruction Publication Special Price wide-awake musical publication from can be made. We make this statement music better exemplified than in Bach. ment of a valuable series of rewards which Many individuals delight in having cal difficulties in any of the pieces. We books through the fact that all of the By taking the easiest works of Bach and Withdrawn start to finish—and the largest edition in reply to the many inquiries that have studies, melodies and pieces are written are offered to Etude Music Magazine little posters of this character for the predict a wide popularity for the volume. been made about this important book. by simplifying some of his shorter works, The following works have appeared of any musical magazine ever published. walls of their room or studio. There in parts of equal difficulty for several workers. These rewards are in addition to A few duets have been added at the back All this work is being done by Mr. it is possible to compile a volume which from the press during the month of Jan¬ commission, rebates or premiums. Don t are five in the set we are offering and of the book for variety, and there is not a violins, so that these parts may be used will afford ample preparation not only uary and after the publication of this Presser himself, who is solelv responsible interchangeably by members of the class forget the. page number, 127. Catalogs and Helpful they are artistically..printed in two colors dull piece in the whole volume. You will for the contents of the book. We can for the works of Bach himself, but for issue cannot be obtained at the special Lists for Teachers upon a buff, antique paper. The five not be disappointed in ordering this work, thus developing ensemble playing right everything written in polyphonic style. may be obtained for five cents, in cash promise that this third volume will be from the start. The work is an entirely offer price in advance of publication. The as it is just what the name Wsrests, a equal in merit to the two that have Mr. Liftl has done this in the most Tell your Music-loving Friends The success of this house has been or stomps, when ordered in conjunction volume to use in the evening when the original one, all the various studies and works are all Of excellent value to music been published, and we ask the indulgence thorough manner and lias produced a of the Feature issue of ETUDE founded on two things more than any¬ with any other order placed with us dur¬ young people gatheT ’round the piano. arrangements of melodies having been book which should be used extensively. education, mechanically well done, and thing else. First, the publication of meri¬ of the advance subscribers at this parti¬ made by Mr. Lehrer himself. This book priced at fair rates. They are all sub¬ MUSIC MAGAZINE Next Month. ing February. Be sure to state clearly Our special price is very low; we will cular time. It is now almost ready. torious teaching material practically in your order that the five cents you are will be ready in a short time. ject to our regular liberal professional See Page 76 send the volume when published for onlv Our advance price will be only 25 cents, The special introductory price in ad¬ made by practical music teachers; and enclosing is for one set of epigrams. 30 cents, postpaid. The special introductory price vance of publication is 35 cents, postpaid. discounts and will be sent on examina¬ postpaid, for the work. vanefc of publication it “0 cents,—*“ postpaid. Page 138 FEBRUARY 1922 THE fRE ETUDE FEBRUARY 1922 Page 1S9
Is Your Music Teaching FINE OLD VIOLINS Uncongenial On Easy Payments and Colleges NEW YORK AND NEW ENGLAND w^r ALBUMS FOR THE PIANO ir VOCAL 30 Days Free Trial By s. m. c. ) piay"'the violin Some teachers find music teaching an TINY TUNES FOR TINY TOTS ftjjj uncongenial task and are entirely out of Most || n you » desire t» master it. sympathy with their pupils. They never Interested in Piano Playing? :\_A Free! Magnificent give them anencouraging word or an ap- Then you should knou) of Recent Album-Catalogpreciative srn’'e- They are hirelings who ^ rW’^^tKt^fonlTstesineoVa^ meliely submit to the drudgery of teaching The Virgil Method, Vols. I and II ni’rtfmS shaittone of "stradi- until some more pleasant or lucrative rnrnmmm nanti? ftor^of^&’kTng®!Position offers itself. How When and Where to Pedal Publications ...“rREE^otJulatioS68 Do y°“ disgust and discourage your 175 Piano Pieces and Studies (Grades I to VI) In Book Form CREMONA VIOLIN SHOP pupils by perpetual nagging and scolding, CROWN COLLECTION OF PIANO MUSIC Dept. A 96 Chicago making their lives miserable by your un¬ All by Mrs. A. M. Virgil of the VIOLIN governable temper? If so, you are not (Graded catalog on request) fit to teach, and the sooner you find some You should know also Theodore Presser Co. other occupation, the better for you and album of favorite first ' Special Notices your unfortunate pupils. Perhaps you are The splendid instruments for Piano Practice called New and Important Works so absorbed with the financial aspect of The Virgil Tekmklavierl Kiybo>tJi pUno 'aSiaigrJ8.? El ANNOUNCEMENTS your profession that you lose sight of all A Progress) higher ideals. If this be true, beware lest The Bergman Clavier ) your pupils say of you what one pupil said Four and Two Octave Keyboards in Suitcases 1 WANTED and FOR SALE 1 of his teacher: “The only time you get a Rate 10c per word By Geo. F. I smile from him, is when you give him a five dollar bill.” The Child’s Pedal (A pedal and footrest for the child) are PIANO TEACHER desires position as an Z organist, accompanist, or piano teacher. Ad¬ Do not take too seriously the criticisms dress Miss R. M., care of The Etude. SELECTED STUDIES IN THE FOURTH, HALF of your teaching, especially when they Also the well known WASTED—Second-hand 2 manual and come from the parents of your pupils. AND FIFTH POSITIONS pedal Ksn Philharmonic Reed Organ. The following humorous incident may Style G-ti 1 or similar, motor driven. Send VIRGIL PIANO CONSERVATORY LEFT HAND PROFICIENCY specifications and details to W. W., care of show how utterly incapable some parents The Etude:. are of forming a' correct judgment con¬ 120 West 72d St. Ca,aI°s’ NEW YORK CITY TEACHING WORKS FOR B*A s cerning the accomplishments of their chil¬ 1 ANNOUNCEMENTS 1 dren: Mr. B., a well-known teacher of : ELEMENTARY INSTRUCTION Rate 20c per word music, was one day taking a walk, when MODERN VIOLIN SCHOOL he met the father of his most unteachable MRS. \. M. ISOOLD, A. G. O. Organ Recitals. Author of “The Power of Music." pupil. “It’s all over with me now,” said Morgantown, N. C. he to his wife, “here comes Mr. Smith, the New York School of Music and Arts •COMPOSI1 IONS CORRECTED, per¬ father of that hopeless pupil of mine.” 150 Riverside Drive, New York City fected and arranger for publication. Vocal What was his surprise when Mr. Smith or violin solos harmonized and arranged with modern piano accompaniment. Band and or¬ grasped his hand and said: “Mr. B., I Beautiful location overlooking Hudson River. Day and Boarding Pupils. - chestra arranging, any size up to modern cannot express my gratitude to you for the Ideal home life for refined, cultured girls. Symphony Orchestra. Send manuscripts. J. Rode Jacobson, 2638 Milwaukee Ave., Chi¬ wonderful work you are doing with my Europe and America’s Most Eminent Teachers cago, Ill. boy. I am delighted with his progress.”
Institute »t Musical Art OF THE CITY OF NEW YORK Frank Damrosch, Director
I PIANO-FOUR HANDS f eSSSSPS
a=‘rESi': TWENTY-FIVE MELODIES FOR TEACHER FR0M DEATH UNT0 LIFE AND PUPIL A i.ouTu'enten or ^ 6° Ce”tS y Mrs. H. B. Hudson Price, 75 cents SSL" tSSS Harmony Book him to lose the respect of his most promis¬ ing pupil, who eventually gave up the study of music altogether and entered upon a STULTS’ ANTHEM BOOK for Beginners commercial career. Yet in this case, though the performance was bad, it might By PRESTON WARE OREM have been an unusually commendable one Price $1.25 for that particular nervous or stupid pupil. An Opportunity to Ascertain the Real Worth Brief, Simple, Vital, One cannot always judge. Be patient with pupils who show lack of the Publications of the Theo. Presser Co. Practical, New of talent rather than lack of industry. MRS. CURWEN’S PIANOFORTE METHOD Perhaps you were such a born genius that | LITERATURE ! and Distinctive (1st Step) With Duets for Teacher and Pupil Lays a strong foundation for you encountered no difficulties in your early attempts to master the rudiments of By John Kinross Op. 11 Price. 75 cent future musicianship by giving the main essentials of the subject in such music—and, therefore, cannot sympathize GREAT SINGERS ON THE ART OF SINGING simple, understandable and interesting with the poor beginner’s awkward endeav- By James Francis Cooke Price, $2.25 optoii,eb tomed manner. The best thing for you to EASY AND PROGRESSIVE LESSONS Theodore Presser Co. THEODORE PRESSER CO. do, is to take up the study of some new (C. "‘"■'pHiLADESiA,1' pi”" Words by Florence L. LISZT-CHILD’S OWN BOOK OF GREAT of the beginner in music, and make you __ musicians realize that patience is one of the cardinal th^nevllu1ltrrf.°U& 1710-1712-1714 CHESTNUT STREET virtues of a teacher. out”'the PHILADELPHIA, PA. THE etude FEBRUARY 1922 Page U1 Page lJfi FEBRUARY THE ETUD. =£*=
CHICAGO—Continued Schools and Collets SUMMER MIDDLE WEST MASTER COURSES -June 26 to July 30- SUMMER MASTER SCHOOL 8 Edouard SUMMER FACULTY: Hesselberg PROF. LEOPOLD AUER HERBERT WITHERSPOON OSCAR SAENGER ‘RICHARD HAGEMAN JOSEF LHEVINNE 1 •!» W-U F.mou. Singer end t.... C.I.br.Jed VjeJ gSS|gSi35!!E£BS His brilliant career as World-famous Pianist—Private Lessons, Repertory Classes, a pianist with such Teachers’ Classes artists as Nordica, PERCY RECTOR STEPHENS PERCY GRAINGER FLORENCE HINKLE CLARENCE EDDY IVAN TARASOFF Scmbrich, de Resske in Organists Master Notable Teacher of Teachers The Renowned Piai and Interpretive Dancing and Masini won him opportunities to play PIANO VIOLIN REPERTOIRE—INTERPRETATION CLASSES WILLIAM S. BRADY before the most dis¬ EDWARD COLLINS LOTTA MILLS HOUGH LEON SAMETINI HERBERT WITHERSPOON (Vocal) PROF LEOPOLD AUER (Violin tinguished audiences ncr*ap qapwccp LEON SAMETINI (Violin) One of America’s Foremost Masters of the Voice—Private MOISSAYE BOGUSLAWSKI HARRY DETWEILER MAX FISCHEL OSCAR SAENGER (Vocal) PERCY GRAINGER (Piano) MAURICE ARONSON C. GORDON WEDERTZ of Europe and Lessons, Repertory and Teachers’ Classes MAX KRAMM BARTON BACHMANN FREDERIK FREDERIKSEN RICHARD HAGEMAN (Vocal) BURTON THATCHER (Vocal) America. He is also MAURICE GOLDBLATT famous as a composer VOCAL RUDOLPH REINERS TEACHERS’ NORMAL COURSES and a most successful EDOARDO SACERDOTE JOHN B. MILLER RAY HUNTINGTON teacher of virtuosi. ROSE LUTIGER GANNON PIANO VOCAL GEORGE H. GARTLAN OSCAR SAENGER JOHN WILCOX VALh,KI EDOUARD DUFRESNE ORGAN PERCY GRAINGER HERBERT WITHERSPOON Director of Public School Music, New York City—Eminent BURTON THATCHER EDITH W. GRIFFING JULIA LOIS CARUTHERS MABEL SHARP HERDIEN THEODORE KRATT UNIVERSITY COURSE Educator and Writer—will direct Post-Graduate Courses for VIOLIN HAROLD B. MARYOTT Supervisors of Public School Music HARMONY, COMPOSITION, COUNTERPOINT, CANON and FUGUE PROF. LEOPOLD AUER • FELIX BOROWSKI BARTON BACHMANN PAULINE HOUCK MAX FISCHEL LAURA D. HARRIS HAROLD B. MARYOTT DOUARD HESSELBERG is another SIGHT READING, EAR TRAINING, SOLFEGGIO E JACQUES GORDON HAROLD B. MARYOTT of that band of artist-teachers, in the Sherwood Music School, who is Distinguished Violinist — Concert Master of Chicago Classes in the Art of Accompanying and Conducting Italian carrying on, so well, the aims and Symphony Orchestra (Vocal, Violin, Opera, etc.) AMEDEO C. NOBILI EXPRESSION and DRAMATIC ART ideals of its founder. RICHARD HAGEMAN WALTON PYRE Toe, Ballet, Interpretative and Classical Dancing HISTORY OF MUSIC The Sherwood Music School is the “mus¬ WILHELM MIDDELSCHULTE IVAN TARASOFF FELIX BOROWSKI ENSEMBLE PLAYING ical democracy” of which Mr. Sherwood Opera Classes (Repertoire and Action) ORCHESTRATION LEON SAMETINI dreamed, a school where unlimited means Greatest of American Organists RICHARD HAGEMAN FELIX BOROWSKI (Chamber Music) are not necessary. Acclaimed by many Profess, ler, Mr. Saenger, Mr. Witherspoon, Mr. Hageman, Mme. Delia Valeri, Mi Hinkle, Mr. Grainger, Mr. Tarasoff and Mr. Eddy have each lsented to rd a Free Scholarship to the student who after an open competitive exami i- r — the greatest gift for singing or playing. as superior to the Schools of the Old Free Scholarships J be engaged now. Private and Class World, it offers unusual opportunites to -- Lessons may ,be arranged with all teacners. advanced pupils and teachers alike. Summer Normal Session of six weeks, June 26th to August 5th, 1922 DORMITORY ACCOMMODATIONS FALL SESSION OPENS SEPTEMBER 11 COMPLETE CATALOG ON REQUEST ** Mme. Valeri is under contract to teach for the next two summers in the Chicago Musical College Summer Master School. The Sherwood Music School, with its more Lecture Courses by eminent educators than one thousand branches, can offer you Recitals by members of the faculty and artist pupils * Mr. Hageman is now a member of the faculty throughout the year. possibilities undreamed of. Special Course in Public School Music 620 S. Michigan Ave., Chicago, HI. If you are seeking an oppor¬ Designed for Post Graduates and also regular course CHICAGO MUSICAL COLLEGE tunity to realize your ambi¬ FELIX BOROWSKI, President DR. F. ZIEGFELD, President Emeritus RICHARD HAGEMAN, Vice-President CARL D. KINSEY, Manager tions in music write us today. Unsurpassed Faculty of Ninety-five Artist-Instructors LAKE FOREST IYCEUAV CREME mill PLIIIIC CORK! Among those in residence for the summer session will be the following: no\OLUP1BIA SHERWOOD PIANO—Heniot Levy, Silvio Scionti, Victor Garwood, UNIVERSITY Kurt Wanieck, Earl Blair Sarts SCHOOL OF-"1 MUSIC SCHOOL Conservatory VOICE—Karleton Hackett, Ragna Linne, E. Warren, SCHOOL of MUSIC FINE ARTS BUILDING, CHICAGO K. Howe, Charles La Berge Courses in all branches of music, including piano, A SCHOOL OF MUSIC AND DRAMATIC ART y? ORGAN—Wilhelm Middelschulte, Frank Van Dusen Courses in all branches Master Faculty including voice, theory, violin, harp, wind instruments, etc. Ellas Day, President and Director; Theodore USiq PUBLIC SCHOOL MUSIC-O. E. Robinson Special “Public School Music” course fitting Harrison, Director of vocal department, Lucille CLARE OSBORNE REED. Director ■ Stevenson, Paget-Langer, Jeanne Boyd and others TWENTY-FIRST SEASON VIOLIN—Herbert Butler, Ramon Girvin, Hans Muenzer young women for positions. of prominence. ■ A thorough education is offered in music and Piano, Theory, Voice, Violin, MUSICAL THEORY COMPOSITION-Arthur O. Andersen, * Faculty of collegiate standing and international Teachers’ Normal Training, John Palmer training. Public School Music Methods VIOLONCELLO-Robert Ambrosius Dormitories and studios hi our own beautiful build- Delightful dormitory for girls on college campus. Interpretation for Profession¬ ORCHESTRAL INSTRUMENTS - Lake Forest is situated within easy access of Lake Michigan, North Side: al Musicians. Members Chicago Symphony Orchestra Write Secretary for free catalog, An Accredited School Chicago and its advantages, such as the Art In¬ JEANNI HOWARD Box E, 1160 N. Dearborn St. Chicago, Illinois Certificates, Diplomas and Degrees by SCHOOL OF ACTING AND EXPRESSION- stitute, Chicago Symphony Concerts, Chicago Letitia Kempster Barnum, A. Louise Suess Grand Opera, performances of solo artists and musical societies. ~eZ m WHY has And Many Others 2} T»E A\ARY CHASE /€H®?L < I COLU MUSIC I V Governed by Influential Board o Chicago, Ill. J y ^FAUSIQAL ARTS 3 *1.1 mmmtmJr Write for Catalog 800 LYON AND HEALY BUILDING, CHICAGO, ILL. • THE DUNNING SYSTEM Free Scholarships MARTA M1LIN0WSKI, Director Theory, Piano, Voice, Violin, Dramatic Art, Teachers’ Normal Training Private Teachers Awarded by Josef Lhevinne, William S. Brady, by competitive examination Box 14 Lake Forest, Illinois benhip in the Western Conservatory may provide regula Moderate Tuition Rates, Excellent Dormitory Accommodations of Improved Music Study for Beginners Summer Prospectus mailed on request FOR DETAILED INFORMATION ADDRESS The COSMOPOLITAN Bradley Conservatory of Music CHICAGO COLLEGE Stood the test of nineteen years’ usage? SCHOOL of MUSIC Franklin Stead, Director —OF— and DRAMATIC ART All Branches of Music AMERICAN 16th Floor Kimball Building, Chicago, Ill. Languages Dramatic Art Ask any one of the 3000 DUNNING TEACHERS, or DR. CARVER WILLIAMS, President MUSIC Peoria - - Illinois DANFORK HALL, 4817ChrMlaaa Are.,'CHICAGO. ESTHER HARRIS DUA, Preside An eminent faculty of 60 artists offers to 27TH YEAR START N any one of the DUNNING PUPILS. prospective students courses of study Offers academic courses and private less CONSERVATORY based upon the best modern educational m all branches of music. Certificates, Diploi principles, also courses in collegiate studies SUMMER SCHOOL ANNOUNCEMENTS Degrees, Medals. Public Recitals, Orches KIMBALL HALL, CHICAGO, ILL. Schools and Colleges planning a summer school will find the student Ooncerts, and many free advantages. 40 for students unable to attend university. and 160 Partial Scholarships. 40 diamond, Names of Normal Teachers may be found in next issue. JOHN J. HATTSTAEDT, President already searching out the advantages offered by the various schools. An¬ and silver medals will be awarded this year. Do For information, address Dept. E nouncements to be placed in the March issue of The Etude, must be in E. L. STEPHEN, Manager hand February 1st. V..G. DUA, Man , Chit Please mention THE ETUDE when addressing our advertisers. Please mention THE ETUDE when addressing 01 Page U2 FEBRUARY 1922 TEE ETUD1 tee ETUDE FEBRUARY 1922 Page US Schools and Colleges MIDDLE WEST, PENNSYLVANIA and SOUTHERN t/ COMBS CONSERVATORY Detroit Conservatory of Music PHILADELPHIA THIRTY-SEVENTH YEAR JUNIOR- A Residential and Day School of unparalleled Facilities for the attainment of a complete musical Offers courses in Pisno, Voice, Violin, Cello, Organ, Theory, Public School Music and education in all branches. Drawing, Ore! Interpretation,^. ^Wor^ ^ase^j^bes^ A SCHOOL OF INDIVIDUAL INSTRUCTION (Theoretical and Applied Branches Taught Privately and in Classes) Because of its distinguished faculty, original and scientific methods, individual instruction, high Students may enter at any time etude: ideals, breadth of culture, and moderate cost, combined with efficient management, the Combs For detailed information address Conservatory affords opportunities not obtainable elsewhere for a complete musical education. JAMES H. BELL, Secretary, Bo* 7, 5035 Woodward Are., DETROIT, MICH. Faculty: Gilbert Raynolds Combs, Piano; Hugh A. Clarke, Mus. Doc., Theory; William Geiger, Mus. Bac., Violin; Nelson A. Chesnutt, Voice; Russell King Miller, Organ,and 90 assistant teachers. All branches, Normal Training Course for Teachers. Four Pupils’ Recitals a week. Full Orcheotral and Military Band Departments. Two Complete Pupils’ Symphony Orchestras. Reciprocal relations with University of Pennsylvania. TEACHER! Help yourself to SUCCESS CONDUCTED BY ELIZABETH A.GEST {Dormitories for Women) A School of Inspiration, Enthusiasm, Loyalty and Success by usinq the BURROWES Course of Music Study Bach Two-Part Invention Buried Talent Nellie’s Lesson Illustrated Year Book Free Claeeee conducted by Era Frances Pike, D 2289 W. 16th St., Los Angelos, Calif. Kathryn Jamieson, D. 119 Powell Are., Toronto,Ont. What does a Bach invention mean Nellie had just come home after her GILBERT RAYNOLDS COMBS, Director 0ffiT^.d"nd0I^i:rs^rd..stiudio■ Ersloon Parke, D 837 Clinton St., Carthage, Mo. Katharine Burrowes, D 246 Highland Are., H. P., Detroit, Mich. to you? Probably not as much as it By Minnie Olcott Williams first music lesson. It was not really her Write for Illustrated Booklets should, because you never really listened first lesson for she had takeft- Wss&nS’be¬ to one—although you may have heard one. Lucy Locket, Jessie King and Sue because it seemed too much like work. fore for two whole years, but it was the Brown were fast friends, and sometimes ?H^In Philadelphia 11 V Now in new building. A two-part invention, you know, is a Then she remarked, “Well, I know I do first one from her new teacher and she II jaM 1 Over 1300 students last form of composition in which the parts they liked to sit and talk together about not like to practice singing, so I can not just loved it. DETROIT INSTITUTE OF MUSICAL ART ™ their plans, just as grown-ups do. Lucy Musical Academy -GUY BEVIER WILLIAMS, President-- mD or melodies are independent of each other, blame Lucy for not wanting to learn any¬ “Oh Mother,” she cried in glee, as she could play very well on the piano, but she thing new. Besides, I just hate to hear a vanced pupils under eminent artist-teachers. Theory, I •ulilimusch;ring for and frequently imitate each other, but put away her music, “I have had the Instrumental and vocal.Students’ Symphony Orohea- 70 Artist Teachers; including 12 of the leading members of the Detroit Symphony Orchestra only the two parts are used. These parts was modest to such an extreme degree woman screech in public.” very nicest lesson, it was just wonderful.’’ that she did not like to play in the school For pnwpeotua a ddress*3 CHARMON^ Swi^MUE®,' Pittsburgh Musical Institute., Inc. are also called voices, and one makes the Then as the harsh words stood out and “I am glad of that, girlie, tell me about Managing Director, 1617 Spruce St. Students May Register at Any Time For Catalogue, Address H. B. MANVILL1.. Bus. Mgr. concerts or before an audience. no one replied, she began to feel ashamed 5405 to 5415 Woodward Avenue accompaniment for the other. A three- part invention is one in which three parts “I think it is wrong for you to feel that of what she had said, and she felt ashamed “You should have been there, it was so 5th YEAR Founded by CLARA BAUR or voices are used. Note the difference way, Lucy,” said Jessie, who was the of herself, too, for never trying to please different.” Conducted according to methods of most Minneapolis School of Music, between such a composition and a lyric thoughtful one, and who was not able to . her parents by making the most of her progressive European conservatories PERCY FULLINWIDER, Violinist “What do you mean, dearie, are not all melody with a harmonic accompaniment. take lessons herself. beautiful voice. music lessons just about alike? Tell me Head of Violin Department Dramatic Art—MUSIC—Languages “I can not help it,” answered Lucy. Jessie broke the silence by saying, “Girls, some of the differences, then?” asked her ffiiK Bach, Two-part invention, No. 8 “Father wants me to learn to play on the I think you will be sorry some day for Mother. [ * Faculty of International Reputation organ in the church, but I do not not making the most of your opportuni¬ LAWRENCE CONSERVATORY Nellie settled herself in her favorite to do it.” ties. I heard one of mother’s friends say¬ rAWM'A’ Exceptional advantages for post¬ ALL BRANCHES OP MUSIC AND DRAMATIC AB chair, and began: “Well, we started with ( Incorporated ) 7 “Why not?” asked Jessie, who could not ing the other day that if we can not make graduates and repertoire work. Department five-finger exercises, and you know I used A MASTER TEACHER This invention for two-parts, No. 8 understand why any one could refuse to good where we are we will never go one For catalogue and information, address of Opera. Ideal location and residence to dislike them, but we played we were Unusual opportunity for the serious student of violin. as it is generally called, is a very well- take lessons if she had the opportunity. step higher,” and so saying she left. Miss Bertha Baur. Directress, Cincinnati, Ohio department with superior equipment. having a military drill, and the teacher known composition; key of F major, "Well,” answered Lucy, “I do not Lucy and Sue sat a few minutes longer was the sergeant and my fingers were the triple time. The “motive” goes upwards in the swing, but they were not talking. squads of men, and she called out the or¬ Presently Sue said, “I believe Jessie is for an octave in a series of broken in¬ “Oh,” said Jessie, wistfully, “if I only ders. Then if my finger made a mistake right after all. Let us go home and prac¬ DANA’S MUSICAL INSTITUTE tervals in eighth notes and then comes back had the chance to learn!” it got a demerit.” to its starting place with a scale passage So far Sue had said nothing for she tice.”' WARREN, OHIO “That is a good idea,” said her THE GEMS OF CZERNY ARRANGED AS in sixteenth notes. felt rather guilty, • knowing in her secret “Yes,” said Lucy, “I was just thinking Mother THE SCHOOL OF DAILY INSTRUCTION IN ALL Ask some one to play this for you, if heart that she really had a fine voice, but about the story of the man who buried his “Yes it is. And in another exercise we A GRADED COURSE OF STUDIES you have not yet learned it, and listen to was not willing to practice her exercises talentand they each went home to practice. BRANCHES OF MUSIC played that the fingers were jumping the two parts. Address LYNN B. DANA, President Desk E> WARREN, OHIO rope, and they had to jump high to get Bach lived in Germany from 1685 to over the rope.” 1750 and he excelled in all forms of Little Fingers “That is a good idea, too,” said her Selected “Czerny” Studies "contrapuntal” (look that up if you forget jf^uisuiUe. ft Mother. it) writing, from these two-part inven¬ By Loie E. Brandon MMmmm “Oh, and then scales! You know how Conservatory a Revised, Edited and Fingered, with Copious tions to the most wonderful and massive TYTOTED FOR: Select patronage 30 states; pleasant of music »outh I know some little fingers The minutes were so very long I used to detest them? We had a grand 15 social life; location foothills Blue Ridge Mts. Annotations, by EMIL LIEBLING fugues. North of Atlanta. Standard A.B. course; specid ad- UOiyDFORlNDmDOALTRAIHlNO MH , That go up and down the keys, Before she made us see, march with scales, and the metronome ANI' l EL-ONAL ATTENTION ^ V \ We still could play a little game —that pesky little thing that I used to physicaY cu'lture’^S^'build^ngs^'inclu’dfng0 soroJfty IN THREE BOOKS PRICE $1.00 EACH Puzzle Corner They used to make some blunders houses, new gymnasium, swimming pool. Catalog And were very hard to please. While counting one, two, three. keep in the corner—was the band, and of and illustrated book. Address Each of the following represent the course the march just had to keep step VALUABLE and noteworthy addition to the technical litera¬ rhythm of a well known melody. How BRENAU Gainesville, Ga. A But now since teacher told them So if this method you’ve not tried, with the band. ture of the pianoforte. This work represents a diligent sift¬ many of them can you find? Some games that they might play, Just ask your teacher now, “I am so glad you liked your lesson, ing and careful selection of material from the entire works of <3> ’ J~7|J ; i | j jTJU J 1 Id They march along like soldiers About the games the fingers play girlie, and you will keep all these things Czerny, including all the popular opus num- And behave the nicest way. And she will tell you how. in your mind when you practice?” Asked bers together with many less known, but ® I i j j ij. t j ij j jiJ- rJi her Mother. equally meritorious studies. Mr. Liebling’s (D j =1.-—m j n\J. U J rn\J- “Oh yes, certainly, but there is lots editorial work has been of the most exact and more to tell: “I played a piece and it had *11. ' * $ 1 FPFrerica COWLES, Director HSHSiBSB © ^ n\nnn\~' r?\d painstaking character from both the technical many mistakes in it—just little ones. My teacher said the piece was coming apart and interpretative sides; the annotations (D \ j -at??\rm\J- tU are of real practical and needed some stitches here and there, Atlanta Conservatory of Music MR. and MRS. CROSBY ADAMS value and musical in¬ terest. The three ® \ : ;*-'/7T7i n'j nlrrnrm and that there were a few buttons off 1 So Annual Summer Class for Teachers of Piano volumes, which are THE FOREMOST SCHOOL OF FINE ARTS carefully and closely I only have to practice those places for IN THE SOUTH for the Study of Teaching Material graded, the studies be- © [J JTT7 | J J S' i. U J-/lf 0 Crour ^105 Wt>\ a_ fajTuafl'ij £ <>->vc| , next time and pretend that I am sewing Advantages Equal to Those Found Anywhere ing arranged in pro¬ July 27—1922—August 11 gressive order, range the buttons on. I need not practice the Students may enter at any time. Send for in difficulty from the © | j \isrn\fmA Catalog. OEO. P. LINDNER, Director Write for booklet early second to the sev- good places at all, except to play it all over enth grade. Czerny's lit" he roT iU Ifrwcj ( | Peachtree and Broad Streets, Atlanta, Georgia MONTREAT, NORTH CAROLINA mastery of technical de¬ Q) £ f|J Si S[J S J s-ffl\J. a few times and dust it off with the tail and his mastery of musical expression are clothes brush, as it were.” truly remarkable; he © | airs ms i srms-mi was a most voluminous d.0£j Vy»5 \7<2.rij bejrT Cook. cLo__y “That sounds very interesting,” said ESTABLISHED 1857 OTz' rm I o> writer. The object of this_ present __compila- the Mother. ti°n is to present his very best studies of all grades in attractive and Letter Box O'UcY 1*5 'The, Only ivciAj. “And then another piece I played was PFAROHY CONSERVATORY convenient form for general use. The success of this work has been quite perfect, only teacher said it was very 1 LfiUUi/ 1 BALTIMORE, MD. . Letters have been received from the fol- of the most nattering character. It is the best work of the kind nIJ: Evelyn J. Mather, Mary Foe McCar¬ monotonous, just as though it were all LJasL^ HAROLD RANDOLPH, Director ever ottered. . It is printed from beautifully engraved special plates ty. Sara Kartraime Payton, Mary Violet painted gray. So she told me to take my rwtg05ery’ Elizabeth Emanuel, Mildred The Music Lesson One of the oldest and most noted Music Schools in America. and substantially and thoroughly bound in heavy paper. xr V1?- ,I,Ielen Harrow, Dora Dufresne, Helen box of musical paints and color it up— p- Kolhoff, Wilma E. Harrington, Agnes avnivi Elizabeth Friedman, Sara Kinsey. To practice on the scale Over a score of times each day. making some bright, loud places and some A Great Issue of THE ETUDE Coming! See Announcement, page 76 T,,lth Kneeburg, Libby D. Slater, Mary New- The finger studies are of use pale, soft places. By the way, I think Bussey, Margaret Smith, Pray don’t be looking sour; THEODORE PRESSER CO., Philadelphia, Pa. To make the fingers supple. I’ll go and do that right away.” And so Music Club Number, March, 1922 Viil^ha. Washington Edwards, R. F. Maurice, For if you ever learn to play der J)!;u'ka.v. Lillian Miller, Stella Schny- Leave the wrist muscles very loose Elizabeth Lake, Edna Hair, Lucile saying Nellie took out her music; and be¬ Please mention THE ETUDE when addressing our advertisers. fitter, Dorothy Hamm. And play at least a couple You’ll^ practice many an hour. gan to practice. Page 1U FEBRUARY 19: THE ETUD
A Series of
Special Melodic Pianoforte Studies
Embracing the
Various Phases of Technic
By Arnoldo Sartorio Catalogue Opus Number Title Number 7844 Melodic Studies for Equalization of the Hands.. 853 $1.00 13137 Finger Freedom Studies. 1.25 14515 Melodious Studies in Passage Playing. 1.25 8684 Style and Dexterity.. 1.25 3248 Ten Melodious Studies in Velocity. 1.00 16636 Ten Melodic Studies-for Acquiring Certainty.... 1136 1.25 8685 Twelve Melodious Studies in Embellishments.... 902 1.25 13083 Studies in Syncopation... 1019 1.25 13010 Nine Melodic Studies in Double Notes. 1.00
SPECIAL LEFT HAND STUDIES 13492 Melodic Studies for the Special Development of the Left Hand. 1092 1.00 16637 Ten Melodious Study Pieces for the Left Hand Alone . H36 1.25 13379 Studies for the Left Hand Alone. 1103 1.25
Every Teacher GRADED OCTAVE STUDIES of Children Should 13392 Studies. Preparatory to Octave Playing. 1105 1.00 8658 Eight Melodious and Characteristic Octave Studies 911 1.25 Possess These Books 11087 Study Pieces in Octaves. 1021 1.25 11480 Ten Brilliant Octave Studies. 1044 1.50
Happy Hours b~Recital Land Any of the above Studies cheerfully sent for examination “ Now the children cut strips of paper sSrsSSS | r every one-fourth inch wide and three inches and "be W- Then they cut another whole note THEODORE PRESSER CO., Publisher,, PHILADELPHIA, PA. USESE :: ‘ife and I pin one of the paper strips to it and tell them this is a half-note and has lived A NEEDED WORK IN A m w only half as many years as the old man, What Educators Throughout ■ and that, as he has a leg, he can walk, but NEGLECTED FIELD the Country Think of this Work.
“Without exception, the best work POLYPHONIC of its kind I have ever seen. We will use it in Hood College Conservatory of Music. I am glad to join a large and “KEEPING STEP mighty host of the profession in con¬ Semple. - making eighth-notes. Then we use stems PIANO PLAYING gratulating you on account of the No.14 Same (gold < merits of this timely work.” Puzzle Corner Mems^ith'thrift sixt“nt[J1.'notes and PART PLAYING—COUNTERPOINT Dk. Johann M. Blose, WITH THE UNION’ Director, Hood College THEODORE PRESSER CO., Conservatory of Music. B Y stnut St.. - Phila, Pa. “The very excellent Polyphonic Stud¬ No. 7—Never ‘‘B"FUt """. ’. !sS THEODORE PRESSER ies that Mr. Presser has written will JOHN PHILIP SOUSA No. 7—Complete Set. 1.00 Iliggi stand in the future as a memorial to LIEUTENANT-COMMANDER, U. S. N. R.F. Mr. Presser’s Musicianship.” Kate S. Chittenden, p VERY pupil should be given some Dean, The American Institute of Dedicated to Mrs. Warren G. Harding Graded Studies instruction in polyphonic playing. Applied Music, New York. Students confined to exercises tend¬ IN ' of A TYPICAL SOUSA MARCH WITH A STIRRING ing to develop only mechanical dex¬ _ hi terity are apt to acquire involuntar¬ tory.” PATRIOTIC STORY IN ITS VIGOROUS ISrfif&Jl ily defects that leave no charm to Frank A Beach. Sight Singing their playing. These defects may Dean, Kansas State Normal RHYTHM AND MELODY be remedied by timely and frequent School of Music. By G. VIEHL use of studies that are polyphonic “I am convinced that it will he of '"PHIS MARCH is, without doubt, the greatest march since the in character. In this important the very greatest aid in piano teaching. A Graded and Progressive branch of piano playing the pupil . . . . This book will, if carefully earlier successes of JOHN PHILIP SOUSA. “Keeping receives a training differing from followed, undoubtedly lead a student to Step With The Union” is a musical inspiration to better “Ameri¬ Method Leading to a De- the usual technical routine and is a place where he can take up the Bach prepared for the study of the works Inventions and the larger polyphonic canism” and is a new gem in the crown of the “March King.” of an Ability to pf Bach and Handel and the class¬ works with ease.”, ical composers. Polyphonic means Frederic B. Stiven many parts ; that is, there are sev¬ Director, University of Illinois eral parts or voices produced sim- School of Music. We join ourselves to no party that does not carry the flag and mtaneously; in other words, coun- Aid of an 1 “I was surprised to see how fully yon keep step to the music of the union. appreciate the needs of the Student and ™s volume can be introduced early the Teacher in your work on ‘Poly¬ (From a Letter of Rufus Choate in 18SS) in the career of the piano student; phonic Piano Playing.’ Your Preface between the second and third year is worthy a place in any Lecture on is not too early. The material used Music. . . . May I thank you in be¬ is especially pleasing and. although half of the Students and Teachers in FULL BAND $0.50 PIANO SOLO.$0.50 it has been selected from many this School for your rich contribution SMALL ORCHESTRA .75 PIANO DUET . .65 sources, it all has been especially to cur studies?” adapted and arranged for this work. Prop. W. A. Smith, FULL ORCHESTRA .. 1.15 PIANO, SIX HANDS .80 City School of Music, TWO PIANO, EIGHT HANDS $1.25 PRICE, 75 cents Charleston, West Va. Published by Price, 75c students this volume is priceless.” THEODORE PRESSER CO. Chas. Fr. Mutter. THEODORE PRESSER CO., Philadelphia, Pa. Baltimore, Md. THEODORE PRESSER CO. UIO-12-14 Chestnut St. Philadelphia, Pe
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