Gardner-Webb University Digital Commons @ Gardner-Webb University
The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
5-1-1909 Volume 27, Number 05 (May 1909) James Francis Cooke
Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons
Recommended Citation Cooke, James Francis. "Volume 27, Number 05 (May 1909)." , (1909). https://digitalcommons.gardner-webb.edu/etude/547
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. MOZART
For all — LOVERS of ^-50 PerYear V MUSIC
Theodore Presser, Publisher'^p^hiladelphia, Pennsylvania THE ETUDE Two Pianos New Publications Eight Hands TO OUR READERS THE EDITOR’S COLUMN In this column will be mentioned from time to time our best offers in the way of premiums for the obtain¬ A THOUSAND THANKS. ing of subscriptions to The Etcde. as well as other special offers that are of interest to our readers. Again we feel the necessity for expressing to our many readers our sincere appreciation of their cordial interest in our work. Nearly A MONTHLY JOURNAL POR THE MUSICIAN, ' THE ROSE OFFER. MUSIC STUDENT, AND ALL MUSIC LOVERS. one thousand letters commending recent Edited by JAMES FRANCIS COOKE To those of our subscribers who are in¬ issues of The Etude have been received since Subscription, 91.50 per year. Single Copies, IS Cents. terested in flowers and who have a garden it the first of February. For a time we attempted Canadian I'ontage, 25 cents. Foreign Postage, 72 cents. would be well to notice our offer made in the to send an individual reply to all those who Liberal premiums and cash deductions are allowed for ob¬ April issue on the collection of five species had taken the pains to write to us, but some taining subscriptions. of roses. This is the same offer that was so may have been neglected and we employ this Remittances should be made by post-office or express popular a year ago and we repeat it because it method of expressing our appreciation. money orders, bank check or draft, or registered letter. United States postage stamps are always was received with favor by our premium One writer said in a letter: “The Etude received for cash. Money sent In tetters Is dan¬ workers and because of the testimonials we seemed so good that I felt it my duty to show gerous, and we are not responsible for its safe received from those who took advantage of it. arrival. it to all of my musical friends and I am send¬ DISCONTINUANCE.—If you wish the Journal ing you the result in the form of subscriptions. continued on explicit notlei ; paid up »ub- CAMERAS. I think that every music lover who fails to aeription expire*. Expiielt dire As the spring and summer approaches get the paper is missing a great deal.” We sent at the time of expiration HKKKWAI-No receipt In »ent f< there could be no more seasonable and no are working very hard to deserve your ap¬ more interesting a premium than a good preciation, as we know that you will tell camera. We add a new one to our list: the others if you like The Etude. Premo Junior, a small camera, but of the s addressed t_ same first-class make as the other two which COMING ISSUES. Chestmit S and should be written oi side we have given for a number of years with the sheet only. Contributions on topics con¬ We once heard a busy housewife say while nected with music-teaching and music-study are great satisfaction. boarding at a seaside resort: “It is the solicited. Those that are not available will be re¬ The Premo Junior we will give to anyone turned. greatest relief imaginable not to know in ad¬ ADVERTISING ItATES will be sent on application. sending us four subscriptions. vance what I may expect for the next meal. Forms close on 10th of each month for the suc¬ The Premoette folding camera, that fits in I enjoy the surprise more than anything else.” ceeding month's Issue. the pocket, making a picture 2j£x3}4, we THEODORE PRESSER, We have a number of surprises for our 1712 Chestnut St., Philadelphia, Pa. give for nine subscriptions. readers. The importance of a piece or an The Box Film Camera, making, a picture Entered at Philadelphia P. O. as Second-class Matter. article is not so much due to the importance Copyright, 1909, by Theodore Presser Co. we give for seven subscriptions. of the contributor as it is to the novelty and value of the ideas and the manner in which CLOCKS. the material is presented to the readers. We CONTENTS By a most extraordinary arrangement it is have some articles on hand that we feel will possible for us to offer a regular eight-day be of exceptional interest to all of our readers. “THE ETUDE” - MAY, 1909. solid oak clock, 10 in. dial., 38Vs in. in They are articles upon necessary subjects, height, either in mission oak finish or orna¬ written by writers who know the secret of mental golden oak, for seven subscriptions. Wagner and Verdi.II. T. I inch 297 holding the attention down to every line. We Who Shall Select the Pupils’ Music? We can aid in the getting of any of these have also several pieces that seem exception¬ Ulpha Smithson 298 premiums by allowing as many free sample Suggestions for Busy Teachers, ally charming to us and which we believe will M. C. Carrington 298 copies as is necessary. Any desiring our full furnish' our readers with much delightful The Etude Gallery of Celebrated Musicians 303 premium list may have one for the asking. The Origin of The Sonata.Henri Michel 305 Music's Great Debt to Poetry, Sir Charles Villiers Stanford 306 SOME SEASONABLE COMBINATIONS. Errors and Their Correction. . .Henry Fisher 307 AN ARTICLE FROM SCHARWENKA. A Short Autobiography of Eduard Schutt.. 308 The following special combinations have Among the many eminent contributors we The Price of Skill In Music, Frederic Maxson 308 been made for use during the spring months. announced in our Christmas number of The Making Difficult Passages Simple, They appeal particularly to women. We can Etude was Xavier Scharwenka, the famous Carol Sherman 308 Leschetlzky on Plano Playing. 309 recommend them both as to the quality of Polish composer, pianist and teacher. Herr Practical Aids In Training Children, the magazines and the lowness of the price: Scharwenka is now at the head of one of the The Etude and the Designer or How You Might £______t Your Teaching Busi leading conservatories of Berlin. His reputa¬ ness.Harriette Brower 3 New Ideas, fashion magazines, tion as a pianist is international; and his com¬ A Study of Sixteenth Notes .William Benbow 3 Short Practical Lessons In Theory, for .$1.70 positions, from the ever-popular “Polish Thomas Tapper 3 The Etude and McCall’s Maga¬ Dance” to his latest work, a piano concerto Self-Help Notes on Etude Music.P. it', Orem 3 The Teachers' Bound Table.A. J. Corey 3 zine, with pattern, for. 1.70 dedicated to Queen Carmen Sylva of 'Rou- Pedalling.Leonora Sill Ashton 3 The Etude and Pictorial Re¬ mania, have won him wide fame. Ideas for Club Workers.Mrs. J. Oliver 3 The Use of the Sound Reproducing Machine 3 view, with pattern, both for only Herr Scharwenka writes upon the important Keeping the Children Interested. eight months, for. 1.25 subject of octave playing, and this article will Alice E. Courtemanche 3 The Etude, Success, Pictorial be read with greatest interest by all who have “Irina, difficulty with that branch of study. He will Organ Department..* ‘ " ..Carl O. Schmidt 344 Violin Department.. 3-00 tell particularly how to avoid injury from the Children's Department. strain that frequently accompanies the im¬ Publisher's Notes. The World of Music .. proper practice of octaves. Think what it Answers to Questions . would cost you to journey to Berlin to secure What Others Sav . . . . lWthnuon'u Affli such information from an eminent authority, and then compare that with the price of the Daniel Bloomfield 3 next copy of The Etude, and you will realize Some Commonsense Fingering Hints, the nature of the service we are rendering to Frank It. Austin 3 Individuality in Technic.C. TV. Fullwood 3 our readers. Do not fail to get this number, The Reason for Inefficient Sight-Reading, if only for this one feature. M. Kingston 3 d Music . “ Oticron,Overture .. AN IMPORTANT ARTICLE UPON IN PRESS Oberon, Fantasy.— CZERNY. FOR SALE AT LOW ADVANCE PRH CES SEND FOR BULLETIN 1 Webb, The New Woman, March.88 •' Modern Chivalry, March.80 Twilight Idyl (Vioiin and Piano), Carl Czerny, the eminent pupil of Beetho¬ [ HAND CULTURE, Double Note Finger Train¬ GRIEG, E.. Op. 46, Peer Gynt Suite 1 PRIMER OF FACTS ABOUT MUSIC. II ing A. B. Flint. (Piano Solo). Questions and Answers. 51. G. Evans. II 1 We have large and valuable lists lor , from the “Seventh Symphony' ven, Clementi and Hummel, and the teacher | A BEGINNER'S PIPE ORGAN BOOK. Geo. E. GURLITT. C„ Op. 141. Elementary [FOUR-HAND MISCELLANY FOR CON 11 Beethoven 316 Made of sterling silver; quite he of Liszt, Thalberg and Leschetizky, has been Whiting. Velocity. Marche Nocturne . .r\ Sabalhil 320 beautifully chased. ^ Furnished in dead over fifty years. Most men who have LANDON & BATCIIELLOR. Kindergarten CERT AND HOME. . .Chas. Lindsay 321 ALBUM OF DRAWING ROOM PIECES by H. Method for Teacher and Pupils. been dead for that length of time are entirely Engelmann. TWELVE SHORT MELODIOUS PIECES LITTLE PRELUDES AND FUGUES FOR || TWO PIANOS— ...R. R. Forman 322 PIANO. J. S. Bach. . Geo. E. Whiting 323 usually wi forgotten. Czerny is not. He left a heritage i GRIEG, E„ Op. 12, Lyric Pieces for Pul: VMl'Ni; PLAYERS, I',..- rhe ..Oco. D. Martin 324 Plano, Book I. piano. Gezn Horvath. 1 MODERN MARCH ’ALBUM FOR PIANO. II 1 Four Hands. Six Hands. By the Lakeside.R. S. Morrison 326 or $i.7S f< of musical educational works that all the ad¬ Valse de Concert..4. J. Peabody 327 Lists on application. Discounts the same. Confession .L. Schuett 320 vances of time have not injured. Other Valse Barcarolle.Felix Borowski 330 writers are used less and less, but Czerny is Jumping Jack.J. Blied 332 Sweetest Rose of June Time (Vocal). used more and more. You will be interested THEO. PRESSER _ E. S. Phelps 333 to read about him and his work in an article THEO. PRESSER, Philadelphia, Pa. || | 1712 Chestnut St., Philadelphia Let Not Your Heart Be Troubled (Vocal 1. which is now being prepared for The Etude „ F. H. Brackett 334 Over the Hills to Mary (Vocal), or a portion of their time to soliciting sub¬ by Jaraslaw de Zielinski. This article will be Agnes C. Quinlan 336 scriptions for “The Etude.” Write for par¬ particularly interesting, instructive and valu¬ ticulars. able to teachers. | siveness of Touch, Unsurpassed Construction, Workmanship, STRICK & ZEIDLER ; and Excellence- and Mew Artistic Designs of Cases. Manufacturers of Artistic Grand and Upright Pianos. 132d Street and Alexander Avenue, NEW YORK in THE ETUDE when addressinj THE ETUDE 291 THE ETUDE. 290
-WANTED- HAPPY HANK” Barn Dance EASIER GRADE ORCHESTRA AND BAND LEADERS Send 10c for a copy of this clw., vatvUJ, new “barn dance.” Has the real barn dance send ••FREE1OFaceHARGE,,ra)m5ete Sam¬ rhythm, and will be very popular. This offer 44 HAPPY HANK.” ple Parts^to our Orchestra and Band numbers is good only until May 25, 1909. None sup¬ PIANO plied at that price after that date. ~ ’ To introduce Two New Waltzes COLLECTIONS PUBLICATIONS OF G. SCHIRMER: NEWYORK “ARCADIA” a.id “PRAIRIE VIOLETS” Orchestrations do and piano) 25c each. A New Two-Step “MY CHARMING MAID" STANDARD COMPOSITIONS Orchestrations (to and piano) 15c each. Graded and compiled by W. S. B. Mathews JUST PUBLISHED Or an orchestration of Six Volumes s Six Grades “ARCADIA," "PRAIRIE VIOLETS” and The popularity of this course is due to its un¬ "MY CHARMING MAID” limited adaptability. At any stage of the Lyrics From Sappho pupil’s progress some one volume of the course For Piano Solo The 3 for 50c postpaid e«n bemused wim me benefit; anc J Cycle of seven songs fox ® medium voi« We publish the well-known waltzes: since the course is plant KETTERER ALBUM. A collection of eleven favorite pieces by Words from “Sappho = One Hundred Lyrics, by Hliss L. Wedding of the Roses. Remembrance of KONINSKY MUSIC CO. muscianship, its use will-... „-gratifica- tion to both teacher and pupil. In single vol- Dept. E TROY. N. Y. STANDARD GRADED PIECES 4. If death be good. M. L. CARLSON & CO. Three volumes covering six grades 5. tcsn nev MUSIC PUBLISHERS By S. W. B. Mathews 3. There is a medlar tree. ,j,B roofs. 1132 Masonic Temple, CHICAGO. ILL. No better, more instructive and more music¬ HOW TO SING CORRECTLY ally attractive course than these Standard „ , . •» l «7?fh a seemingly effortless adaptability Graded Pieces in conjunction with the compil¬ Mrs. Salter is^ gifted ^ w ^ mould itself in perfect accord with the er’s Standard Graded Studies can be devised. By the World’s Greatest Tenor, ENRICO Better to dispense with unskilled experimenta¬ tion which results in disappointment, and Do Yon Play Moon Moths accept the greater and surer results which fol¬ CARUSO low the use of this widely imitated but un- Writeeand>s^ethiscyilV°tIUnIe’ ®1’00 each- ’ SHOCLD HAVE hi. o< Ana the World’s Greatest Prims Donna. Luisa IF SO" FIRST SONATINAS A volume of easy, complete sonatinas and From An Old Garden movements m the sonatina and related forms. Six songs for a high or medium voice. Verses by Margaret Deland. TETRAZZINI Modern and classic composers are represented A'0ll"ai“°' p”"*b>' in their most pleasing and melodious inspira¬ Music by EDWARD MACDOWELL a N elaborate series of lessons in which these eminent vocalists embody the tions. Musically and practically a work of great value, affording preparation for the study ™ results of their own long years of preliminary study and later practical of the easiei classics. Price 50 cents. S Src.r- I i: ?L'«rE?.“EF« experience on the stage and in concert. Each lesson is a regular mine of vocal i TS i'ivf. E toE. Me I 6. The mignonette. EtoE. 60c knowledge, containing many valuable hints on breathing, tone-production, style, MUSICAL POEMS Original Melodies with Appropriate Verses Sm. Ti- pi“by diction and the use and care of the vocal organs. Octavla Hudson This series of lessons should be in the hands of every singer,'student and liven the imagination. Wholesome andjoyonsj teacher, both as a practical text-book and as a book of reference. light and graceful, these little pieces, with As an individual the cost of these lessons would be prohibitive. their witty texts, are bound to cultivate a love for music in any child. For the teacher of The great demand makes the low price possible. children this work is unsurpassed. Price 50 Sent complete, post-paid, /\/\ anywhere on receipt of «p2.UU TUNES and RHYMES FOR THE PLAYROOM THE METROPOLITAN COMPANY, Suite 400, 25 West 42d St., New York City Geo. L. Spalding Here’s a help for the teacher of the kinder¬ garten or any class of young pupils. Fourteen mirth-provoking little selections (that may be sung or played, orboth together), accompanied CARSE TECHNIC FOR PIANOFORTE by amusing ditties set to melodies fancitul and pleasing. A volume full of evident excellence By Herbert E. Carse at the small price of 50 cents. TO ETUDE READERS An authority and text-book for students and teachers. ringer, hand and arm positions and strokes Theodore Presser GREATEST REDUCTIONS dra^rtiec^Ehdoreed ^OTOGRAPHS and accurately ---- uy vr. nans nartnan pianists. Price $2.00 postpaid to any address A collection 9f easy duets adapted for sight EVER MADE ON A Dainty Illustrated THEMATIC CATALOGUE of the CARSE TECHNIC PlIB. CO., Los Angeles, Cal. Complete EDITION KD3SNEB MsUed Upon Request. th.e Prtmo or the Secondo, to familiarize him with both clefs. Progressive, melodious and for Everything in Music L. C. KUSSNER, Publisher GLOAMING” and interesting. Price 50 cents. Lincoln Park Station,Chicago, III. ‘Birth of the Flowers.” Two mar¬ velously beautiful Reveries for pi- E. T. Pauli Music Co.’s mo, by Chas. E. Roat. In great THE VOICE OF AUTUMN A YEAR in the life of a CHILD TWENTY-FIVE YEARS AGO, as a sequel to iemand by teachers and players Twelve Little Four-Hand Pieces Best Publications INTRODUCTORY OFFER! werywhere. Sample pages free, )r complete copies, 22 cents each. A good teaching piece | Q q without words P. Baschinsky the foundation of the ETUDE (then only a journal for Famous publications at Ten Cents a Copy, Jrder of vour music dealer, or PUBLISHED BY postpaid, if you mention “THE ETUDE” direct of the publishers. HERBERT A. CRIBBLE, Negaunee, Mi h. nanied^respectiVeTy‘after the°mf„Ths SFS piano teachers), the publishing house of Theo. Presser 28 Magnificent Marches CHAS. E. ROAT MUSIC CO. year, that offers elementary four-hand mate ’ ’ Battle Cr * ' was founded to furnish pr xtical teaching material in con¬ Nothing Better Published pany ei Price formity with the suggestions and advice of the journal. NEW SONG A Posthumous Work by 24 PIECES FOR SMALL HANDS NEW PUBLICATIONS have been issued continually — ever 7!!,'*'IZa mnr j, “Roses, Dearer Far Than Gold” the late Eduard Holst H. Engelmann Refined Sentiment, Lovely Refrain Medium abreast of the times—adapted to all modern educational demands, Compass Eb to Eh. International Copyright. thethJ Vpracticalor?J,v^iare andw!i00 the.ling pleasing Tfor .P'eces are in happily Which carefully edited and annotated by tne foremost teachers of the day, Post Free, 25c. From the Composer. associated, don’t overlook this volume for ft and all of the most helpful character. Jas. H. Murray, “■ ‘■SS5SJS •’* a"d/qual to any FUfor at the I. 7 of so ce PROMPTNESS. A stock, second to none, drawn from every auarter of the world, linked with a corps of efficient and trained Sonqs for Children FIRST DANCE ALBUM workers means the correct filling of an order on the day of its receipt, forms? Easy and suita^fd^lll&nce ocra' whether'for one piece of music or the stocking of a music store. at'but 50 cents* Collection bound to please SATISFACTION. No doubtthe greatest factor in JSSa:::.-.:::::.:-::-.::: ECONOMY means not only the giving of the larg¬ CVLAYMATEs;mDiS boy THE H. BAUER MUSIC CO. first parlor pieces est discounts possible and the most favorable terms, the success of any business is the personal confidence 135 East 34th Street, New York Thirty-four characteristic selections antici paling every possible need for instructive and' but, mark you, fair retail prices as well. Our best engendered by fair and helpful dealings. No less than Fillmore Music House interesting pieces. No mistake will be made endeavors are devoted to the teacher’s interests, 25,000 accounts are on our books, denoting satisfac¬ in recommending this collection for pupils in saving time, thought, labor, giving the greatest value the second year. Price 50 cents. tion in our publications and satisfaction in our service. NEW AND ORIGINAL SONGS for the least outlay. MUSIC SURPRISE PACKAGE ■.■.ssfurssKrftSto THIS BUSINESS founded on the above principles has grown to be the largest mail order music SEE OUR SPECIAL PRICES TeTMde ^Something'Mot ^GO °U% fih 4 ^ fine**! sunnlv house in the world and is now established ina permanent home, six stones in height, 44x i5o, Any single copy. 20c.; any 4 copies, 60c. Z'raj75c.17.“ Sweet tSSftjSSffi ^itli an annex - all carefully planned and thoroughly equipped to attend to the wants of Shepherd Boy...’....! Silver Spring, Op. 6. ....i Every Teacher, School and Conservatory in the United States and Canada llsher^as’.SO MC,‘l J|?’I? Si This collection furnishes thirty II keys and with- compass?/ Suitahle fo. the INFORMATION AND CATALOQUES on any subject in music free; the On Sale plan (one of our many origi¬ i and third wo books, each, nal and helpful ideas to aid the teacher) is very liberal; our New Music Idea pleases every teacher. ^ Send us a postal Brehms’ Monthly Bargain card order as a trial. Write to-day for first catalogues and gt il' informat” ' thod of dealing. 4 TEACHERS’ GEMS S!~rer77/?r"sWA7z7NEW! On Lake Erie, 2d Grade . . SontM H DJAC BLOSSOMS? &!>ng bjW&rirh’.™A catcbj?tnnefui h My Flower1Gl"rd8,e’ la d'bH 1712 CHESTNUT STREET PHILADELPHIA, PA. ] Leo. Feist, 134 W. 37th St., N. Y. price i5c*£ujh or th^two’fbr’sSe.^ P0P“'"' I“ltoa,“tor7 THEODORE PRESSER E.T. PAULI MUSIC CO.“MR?' BRE1IH BROS., ERIE, PA. PHILADELPHIA, PENN. THE ETUDE 293
IMPORTANT For Recitals, TO TEACHERS School Concerts AND AND SCHOOLS _^ reason why some teachers have Entertainments School of Scales and Double Notes An Album of An Album of yourself. your communuy^and yovn lessons (and thus raise your stands g ionaence v-- FOR PIANOFORTE Music Music WILLIAM^^SHERWOOD By MAURICE MOSZKOWSKI. OP. M For Two Pianos For Two Pianos Book 1—Scales in Single Notes r"““^5g,*s.rn.ss.=s*s.-: “One Sweet Rose” Hands J Music School jar iistssss
jgue. By A. T. Akeroyd Price, SI.00 Net
^s“as*5S3;,;':,‘rarl” ia<„ „, CIRCUS DAY ’‘•zivSo* it st: ’
The Sydney P. Harris Co. DETROIT, l ^^Pr^lo Cents ANTHEM MAGAZINES FO?^SSSr “The Choir Leader” The0^,.tetr*?I"drth“ SgBggjgj^gg will be f in
«r.‘ s^s'rs.rssn.'su1"- ID Si# ib« considered singly, end sirs in ihd
mmmW rsKK srsss sss."sr i OUR GUARANTEE Price, $1.50 Net , . L . . ,hB, we canhelo vou to raise your standard by means of this Normal Course of Mr. Sherwood’s-Mr. Sherwood’s own Four Songs^ ^ Keys. By Ralph stMidfng^ndhis^ersonal assurance, the ^testimony of those who have taken and paid for^the course, the lessons and examination papers themselves—yeit^ in Price, $1.00 Net
S iAloncrieff. Price, SI.50 Net •sarssrv, sz
rsrsi We also give a Course in HARMONY, COUNTERPOINT Free Sample Lessons Price, Sl.OO Net
THOROUGHBASS and COMPOSITION by correspondence onrequeT" Writftoda^ sLt r Mr. ADOLPH R (Both ft BOOSEY & CO. SIEGEL - MYERS CORRESPONDENCE SCHOOL OF MUSIC, 1320 Steinway Hall, CHICAGO The John Church Company 9 E. 17th St. NEW YORK Cincinnati Ne„Yorti CWcago
Please mention THE ETUDE when addressing 294
kindergarten Method of Music CHARLES W. LANDON and DANIEL BATCHELLOR $1.00
the Daily Teaching of Little Folks. have been scientifically apphe to music { h “ Songs and : ■Primary&3f•> or Intermediate c/rcu/ars of the above work. music teacher a method where y 1** ranch The work is emi- No one needs enthusiasm through that never ending source of inspiration, the Dr. Charles W. Eliot, ex-president of Harvard Uni¬ 1 r*n111/ -k in anv other fundamental branch. SUPPLEMENTARY MUSIC more than the student and Success Magazine, has helped us over and over again, BOOKS FOR A bright two-part chorus for Primary or Inter- ENTHUSI¬ the teacher of music. The says in the March issue: “The quality which you versity is quoted as having »'»«•«»” *■*- "d SIR GRASSHOPPER. A bright, two ^ . ASM AND continual disappointments, put into your work will determine the quality of SELF HELP said: “I am contemplating making a list of a few books 1116THE6 BOTTLE FLY. A melody with two-part buzzing accompamme ; MUSIC the ceaseless struggle, and your life. The habit of insisting upon the best of STUDENTS lin-SSSS- .o b. without this book W -. hot sctvj the frailty of popular appre¬ which you are capable, of always demanding of your¬ that could be put on a five verj effective with piano accompaniment. Excellent STUDENTS self the highest, never accepting the lowest or foot shelf the reading of ,00, more ..loubio, it will incm* °f * cWs much outlier ciation can only be met with a boundless interest in your second best, no matter how small you remuneration, which for ten minutes each increase her earning power It will »rt*b?f1“ t0 the music rbSkneR T?pes.y work. It is enthusiasm that will make all the difference to you between success day would in time give a man than is now possible. The result will be in every way makes one forget the diffi¬ and failure.” This is part of an editorial in the a liberal education.” This is teacher’s advantage.__ culties. It was enthusiasm March Success, entitled “Not the Salary, but the good news for those music that carried Froebel through his years of trial and Opportunity,” and, although this editorial is evi¬ students whose general educational advantages have expensive book to produce and -- V°TlOVE THE (^A*unfscwF'song/Jrit music of this song are by Mre Dayno pjano accompan.ment A good labor; it was enthusiasm that led Paderewski dently aimed at young employees, it will pay any been slender but we doubt very much whether so " n accordance with our regular through the dark years of struggle and compara¬ teacher or any student to secure that issue and read conservative a man as Dr. Eliot would have com¬ Advance Offer: sarily voluminous. ;e of $1.00. When the book __ i. at the low introductory aa‘S^!lw?uWr.wd^ri.y.l.n,. I.Knaril*. swte- - • ■ tive failure; it is enthusiasm that will carry you to it over and over again. mitted himself by proposing such a comprehen¬ 5rSbr,hT.— w,ll not buy .. u.h« ■ success. The teacher’s salary is his fee. No matter how sive task. It is to books, however, that the music PUBLISHED BY You will find that there is no time or place for small that fee, the teacher should continually re¬ students and music lover seeking broader and wider SUMMY CO. anything but optimism in music. It never pays any¬ member that the opportunity is always greater than knowledge of life must turn. It is therefore inter¬ THEODORE PRESSER CLAYTON F one to be “blue,” and the musician who has a tend¬ the fee. One of the most successful teachers in New esting to make some note of lists of ten indis¬ York City started teaching at twenty-five cents a ency to melancholy and pessimism should remem¬ pensable books submitted to the New York Times 1712 CHESTNUTSTREET K PHILADELPHIA ber that every moment he gives to looking upon the lesson. He had secured the best possible European by Edwin Markham, Dr. E. E. Hale, Thomas Went¬ dark side of things is robbing him of an hour of training, but finding himself unable to secure pupils at the rate charged by the better known teachers, worth Higginson and others. Out of fifty-five In the vernacular poems of this country we find he took pupils at the ridiculously low rate of twenty- books, the Bible and Shakespeare received five a wealth of optimism. These poems represent the five cents. This barely “kept him going,” but it votes each, Emerson’s Essays and Hugo’s “Les spirit of American success. They teem with en¬ gave hinj his opportunity. Now, he receives five Miserables” three votes each, and Bacon’s Essays, < These songs « beta = ^ A Modern School for the Violin thusiasm, wholesome good judgment and optimism. dollars for each lesson, because he utilized the op¬ Browning’s Poems and Edward Fitzgerald (mean¬ W^thwspoon|V’v^lliamOIJohn1’ Hall, Thomas Evans Grhkh and The verses of Will Carleton, James Whitcomb Riley, portunity to show what he could do. If you ever ing doubtless the Fitzgerald translation of “Omar B Y Eugene Field, Edmund Vance Cooke and Bret feel like complaining about your opportunities re¬ David Bispham. Khayyam”) two votes each. These books will not Harte come a great deal nearer to the hearts of member the case of this man and bring yourself to give you a liberal education, but they will vastly in¬ August Wilhelm j and James Brown most Americans than do the verses of Whitman, the realization of the fact that your opportunity is crease your knowledge of men and things, and if Poe and Emerson. The musician should go to not some mysterious thing which may come to you you have not read them you have a great pleasure in 4 American Indian Songs them to replenish his fund of optimism and enthusi¬ in the future and overwhelm you with a wave of store for you. They will broaden you, and that asm. They will do him much more good than the success and fame, but that it is the chance to do means they will make you a better musician. Founded on TRIBAL MELODIES morbid and gruesome utterances of d’Anunzio, your best, your level best, on the work you have at Harmonized and Elaborated by HE purpose of this work is to provide, in one Maeterlinck or Wilde. In the following little ver¬ H nacular verses, from a poem by T. J. Cole, published Americans have the repu¬ systematic and comprehensive scheme, all CHARLES WAKEFIELD CADMAN some time ago in the National Food Magazine, there One of our readers asks, tation for possessing excel¬ ATTEMPTING that is necessary for the acquirement of the is a fine sermon for all music students and teachers “Is musical instruction really lent common sense. More¬ Op. 45 IS INSTRUC¬ Art of Modern Violin Playing. “A Modern who feel that their lives are burdened with difficul¬ necessary? Cannot a bright THE over we congratulate our¬ CONTENTS OF THE BOOK ties peculiarly their own: TION student work out his own IMPOSSIBLE selves upon our knowledge School for the Violin” consists of Six Books devoted musical salvation by means 1. From the Land of the Sky-blue Water REALLY BRINGS of the fitness, the appropri¬ to Daily Technical Practice, Six Books of Studies for “Lookin' blue keeps suns of hooks and attending con¬ 2. The White Dawn is Stealing ■ai'fs your NECESSARY? ateness of things. We think 3. Far Off I Hear a Lover s Flute Violin alone, and a large number of Pieces with rer helpslelps mmankind a bit; certs?” It would be quite RIDICULE we know “what is right” and 4. The Moon Drop* Low i»u i you think you’d better quit? Pianoforte Accompaniment, the Violin parts being Give your better self a place. impossible for anyone to be¬ “when to do it.” Years ago Show the world a smiling face. lieve more in self-help than Charles Dickens differed U*ued for High Voice, cod Mezzo or Baritone Voice Then you soon will feel it, too. specially edited for the purposes of teaching. That the world has smiles for you. we do. All the great men in from us and told us about it art, music, science, philoso¬ in his “Martin Chuzzlewit” in a manner that made Price, $1.00 “Lookin’ blue won’t help you higher, IA. Technical Practice (1st Position) phy, politics and commerce are men who have the red, white and blue corpuscles in our blood 2A. Ditto (1st, 2nd, and 3rd Positions Lookin’ blue will not Inspire. TESTIMONIALS FROM PROMINENT PEOPLE Lookin’ bine shuts up the scroll. helped themselves. If you depend solely upon your dance. Things have changed since Dickens’ famous 3A. Ditto (1st to 5th Position) Hides the music in your soul. teacher you are not likely to succeed; but from this YourM..a«,rr i“JsattWattt 4A. Ditto (All Positions) . . Let the sunshine break the ties, trip to America and we are a different nation and' they are very original and ve. > clevcr^m ^ effective in the best sense of that term, 5A. Ditto Ditto . . Then the music will arise, you have no reason to infer that a teacher is not a different people. If Dickens were to return he mony and voice ‘am r.u. y I_(_Pk0v.denck Julesas Jorda,Jordan Then the world will catch the strain, necessary. A good teacher will save you years of .reat aucceaiwith them. These songs .c 6A. Ditto Ditto . . Echo back to you again.’’ would find that the sale of his own best books was time in your study, will insure you against fatal to me a very grateful task for alUingers . Four absolutely original and typical tribal IB. Studies (1st Position). larger in America than in any other country. But PiTTSBURGH EM,L EAU',, melodies, clothed by Mr. L adman in appropri¬ 2B. Ditto (1st, 2nd, and 3rd Positions) mistakes in your career and will inspire you to do ate harmoni- whicr creates and sus- have we passed the stage of attempting to do im¬ for the 3B. Ditto (1st to 5th Position) Have you ever thought of many things that you might not otherwise have tains a mood or weiru auu u.uauiig effec your wonderful opportun¬ possible and ridiculous things which he satirized suggesting the wilderness and the Aborigin 4B. Ditto (All Positions) . . . YOUR thought possible. Of course, if you are so situ¬ success. ... All of tne songs a.c iuww--5, "g-lgs should be found on the progran 5B. Ditto Ditto ities? Don’t say that you ated that you cannot secure a competent teacher, in “Martin Chuzzlewit?” Some of our corre¬ characVerUfic.. and riogabK For exploring Th, OPPOR¬ I nrua singers everywhere. You are to i 6B. Ditto Ditto . . haven’t any, for you have. you are very unfortunate, but you should by no spondence would make it appear that we had not. ongratulated upon the attractive and artistic TUNITY TO No matter how or where you Mr. Cadman deserves the thanks of musij orm in which you present this latest vocal means despair. The Etude itself is a teacher and One lady writes “I am planning a pupils’ recital cal profession, and in doing it so well he has SUCCEED are, you always have the op¬ carries instruction into the hearts of thousands of in which my pupils are to be dressed like the ts Stephen Mart Stei t Hall portunity to do your best, musical homes, but even The Etude is made more great operas. I wish to make the costumes myself. and that is the greatest op¬ valuable by the assistance of a good teacher. Will you kindly send complete descriptions?” You H. W. GRAY CO., NEW YORK portunity in the world. That Of course, musical instruction is necessary unless will realize how impossible it would be to help this Lincoln’s opportunity, White-Smith Music Publishing Co SOLE AGENTS FOR you are obliged to take the chance of failure that well meaning friend. Just why she should attempt Millet’s opportunity, Beetho¬ those who depend entirely upon their own efforts to give such an affair in a little prairie town of two NEW YORK CHICAGO ven’s opportunity, Napoleon’s opportunity, Tolstoi’s boston always assume. Much can be accomplished with¬ hundred inhabitants, many of whom have never seen 13 E. 17
the etude SUGGESTIONS FOR BUSY TEACHERS. wonderful contralto was heralded as the greatest 298 Vi in the music singer of her day. The fees she received were said further study of Wagner, not so mucb11 text. BY M. C. CARRINGTON. itself as in its conscientious adapOTt^^ q{ Ws to have been far in excess of those paid any other singer. In 1836 her marriage with Malibran was Many a time, in composing.these■ known , „ ffl.v be done by a teacher’s mistaken GARCIA THE WONDERFUL annulled and she married the well-known violinist, Ola age, he ftmst have ^ishe^thwhen he lavished real har™ hoyity and her confusion of obstinancy The Story of the Teacher of Jenny Lind exercise of aut y and boys are very human, C. de Beriot. Shortly thereafter she was seriously what he now knew at the t . gifts on the An Account of the Most Remarkable Career in the History of Musical Education—How One Man Lived to See a Century of injured by a fall from a horse and after a few years' lutcly no evidence that he was a chdd.Prodlfy( his wonderful melodic and dramatic g fnJ sympathy and tact on the part of the teacher are Musical Advance in Which it Was His Privilege to Take an Important Part. must infer that Signor Baistrocchi did atrocious libretto of “II Trovatore. inseparable from ^uccess.^ a snare tQ fae died at the age of twenty-eight. She was overcome with exhaustion at a concert in England and her VERDI'S VIEWS ON TEACHING. TlTa^Tat^Tdi was 1P*«*™* C-°Hnd during lesson hours, but if a passage be last days were spent in a delirium during which she avoided dur | and flushed cheeks and nervous would break out into snatches of songs from her Unlike Wagner, Verdi did "°b ^he''might have On July 1, 1906, there died in London a man made comparative few omissions. Could any of very hard 1 ° d real despair, introduce tactfully favorite operas. position when he J^ sent y coramon 5Chool world any literary essays. But th J letters, whose honor it was to know personally more of the our present-day impresarios perform such a feat? protests P anecdote, perhaps of some famous After the death of Malibran in 1836, Garcia done this, and made his ”ark friends, great composers, singers and performers of the The following is also an indication of the kind of too, is shown by many, of his letters had it some mus ^ haps of some musical incident you devoted himself to teaching and achieved fame ass™qf».» r ---wM- composer, P. .. r turn to your dictionary for world than it is likely any other musician will ever work that was expected of musicians in those days: one of his teachers urged him to become a p Probably he would have Mancinelli, It was customary in those days for managers to rapidly. His first successful pupil was his sister, may have W1 nf the composer of the work In know. Manuel Garcia in his one hundred and because he had a gift for that language. not been for what he one , referred to as his second year closed his career as a teacher, a singer, allow their artists nine days to learn a two-act Pauline Garcia Viardot. George Sand called her printed in the New York Herald, reterre my a ShHon-resX any plausible pretext to rest the “the personification of poetry and music,” and question, moments, and on returning an author and an inventor. It is unlikely that the opera. For three acts the time would be increased BUSSETO AND MILAN. “great laziness,” adding: Jta8 **^nd cf life” puzzled bram forj wiu be SQ fe. world will ever see a similar career. That this man to twelve days, and for four acts, sixteen. That the Alfred de Musset went into veritable raptures over birth, and will be my companion to t:he e i elder Garcia did not always allow so much is borne her art. Later, Richard Wagner indicated how Busseto appears to have £“h*^“v£S who in 1825-26 had been an important factor in the Had I not reached the end cresting speci- freshed and Strengthened that the trouble will soon first real Italian opera season in New York, and had out by the statement which Maria Malibran used to thorough the training of Pauline’s brother had been f Tinti°[hfright musical atmosphere. The cite from his correspondence ^'and intellectual been the teacher of Jenny Lind, should live to con¬ make, that on one occasion her parent bade her by stating that Mme. Viardot read a whole act of beTitVtleCb”ks sometimes grow weary. Should the gratulate his friend, Charles Klein, upon the suc¬ learn a role in two days and sing it at the opera. “Tristan and Isolde” at sight. When Bayreuth was ‘cathelra^ had not only an bf.® really fatigued, let her rest for a short chdd be r y whi,e yQU ask a few questions, cess of his play, “The Lion and the founded Wagner invited Garcia to «- “*- There"^^'"^!^'^0 a ^hillmnnoni^Society, train the leading singers. space in a *j of the scale; give her some Mouse,” which is now touring this ssr o."“« ss Revmw the format ^ ^ ^ thc definitions of country, seems almost beyond belief. problems e unusual marks of expression; if Mr. M. S. Mackinlay, M.A., Oxon., - ““hins ”d the author of the recently published Undoubtedly Garcia’s most notable Ssrehas been studying musical history, review for- “Garcia the Centenarian and His pupil was Jenny Lind. Her wonder¬ -3E.12: Times,” who is himself the last pupil ful voice had been discovered in her mBullncsI'is business; therefore let every moment of taken by the master, and is the son of native town of Stockholm by Mile. thf hour be conscientiously given to musical educa¬ Antoinette Sterling, one of Garcia’s Lundberg, a dancer at the Royal Opera i;£i tion Children are quick to notice and will not best-known American pupils, gives us, House, who heard the child singing to resnect a teacher who accepts paylnent for an hour’s conductor a"d .orga"k*’ organist of Le Roncole but in an academy, never. Turn to the ant.q in the following quotations, many inter¬ a pet kitten in front of her home. also retained h.s position a. “ musical instruction and gives a part of that hour esting aspects of the noted teacher's life. Through faulty instruction her voice "IS bneowananddVthCen to performances of modern Seven years before the outbreak of was much impaired and when she went t0OfhcouSgthe tactful teacher will recognize the our second war with England and dur¬ to Garcia in 1841 (shortly after he had •wzr r—5 *?» operas, but do not allow yourself 1?J*e dazzlCd advisability of permitting the pupil to leave occa¬ their harmonic and orchestral brilliancy. • * ing the Napoleonic invasion with been appointed professor of singing at sionally before the end of the hour, should interest Spain, Manuel Patricio Rodriguez the Paris Conservatoire) he at once “Do not neglect your literary studies. No com flagg too perceptibly or physical weariness be too pos?r is worth his salt who is not at the same time Garcia was born at Zafra, in Catalonia. recognized her wonderful voice not¬ evident; but a record of each lesson should be kept His family name of Rodriguez had withstanding the injuries that had been played trained his rhythmic sense;at ■any rate, rt a man of wide culture.” A the time lost at one lesson made up at another been changed to Garcia by his father, when the body is fresh and the mind susceptible to who assumed the latter name as a Moved by her evident distress, he a'S.'SS.^aSi^ t impressions. . nom de guerre. Both of his parents recommended her to give her voice six More h, went to Milan he had wtttten short WHO SHALL SELECT THE PUPIL’S MUSIC? Few students enjoy exercises until some degree were noted opera singers. At the time weeks of perfect rest—to abstain during of technical skill is attained, but a judicious com¬ of his birth Beethoven, Schubert, the whole of that time from singing ST ELPHA SMITHSON. mingling of such work as Concone s and HeUers Auber, Bishop, Burney, Haydn, Cher¬ even so much as one single note, and tc charming studies for the more advanced wll do ubini, Halevy, Meyerbeer, Paganini, speak as little as possible. Upon condi¬ much to enliven the necessary course of the sterner Rossini and Spohr were all living, and ^Se^'h^ b.‘«“ Che, f.« As to who should select a pupil’s music I find tion that she strictly carried out these this to be a point worthy of consideration. I think and more formal Czerny and Bach. many of them had yet to become fa¬ injunctions he gave her permission to Whenever it is possible, urge that half an hour mous. Chopin, Schumann, Mendels¬ Sf"such'.'rMord'SSid 'taSr hm been found teachers find" this to be the case, that too often come to him again when the period of parents believe they are the proper ones to select be given to severe technical work before school; the sohn and Brahms were not even born. probation was ended, in order that he the music their child is to study. Now, I winder afternoon or evening practice is then anticipated Gounod, Wagner, Verdi and Liszt might see whether anything could be if it ever occurred to such parents that when .they with pleasure and the work accomplished of a much were still school boys when Garcia was done for her. Intense, indeed, must Conservatoire, rejection was , = probably pref- a full-blown operatic baritone. At the young geniuses private1 instruct^ is probably pay a teacher to give their child lessons they un¬ better quality. have been the relief when these six doubtedly have confidence in that teacher s ^ac - One student was greatly stimulated and interestea time of his birth Garcia’s father was weeks had at last expired. ing abilities, and, such being the case that teacher by the discovery that her teacher not only practiced achieving great success with his origi¬ Jenny Lind’s consequent success is must be better qualified to judge of the music the exercises daily, but was using the later numbers of nal mono-drama, “El Poeta Calulista.” now a very conspicuous part of the child is to study than is the parent. There is no the very same course (Mathew’s Standard Graded Garcia’s sister Maria, who was destined history of song. more reason in that than there would be in sending Course) which the student was attempting. to become Mme. Maria Malibran, one Jenny Lind had the priceless power for a doctor to attend a sick relative, thereby imply¬ There is no mental quality more important to be of the most famous of all opera singers, of taking pains, added to which hers ing perfect confidence in that doctor’s skill and medi¬ awakened and strengthened than imagination. The was born in March, 1807. was a glorious voice, properly devel¬ cal knowledge, and, as soon as the doctor came, to beginner who can fancy that a monotonously recur¬ Part of the master’s youth was spent oped under her master’s tender care. advise him as to what medicine to give to the ring chord represents the efforts of an old grand¬ in Naples, where he was placed under The combination of these gifts, mental 2 mi,“o“d Chang’ the name of their tn.t.tu.ton patient. In fact, to say, “Doctor, I know that you father to spur on the dancers by patting his foot is the careful tuition of the famous tenor and physical, enabled her to overcome Ansani, Zingarelli and his own father. to “Conservatorio Verdi! ought to give this,” or, “I am firmly convinced that on the high road to correct interpretation. every obstacle which crossed her path, you ought to give this other. I wish him to take Insist that every piece attempted be consider* and to reach the lofty position which HIS GENIUS SLOW TO DEVELOP. this medicine and no other.” Such is the advice as a whole; get the child’s views on the subject ot she retained up to the time of her re¬ Manuel Garcia’s operatic debut was the poor music teacher gets when she is endeavor¬ the picture the composer wishes to present an tirement from public life. Her career While the foregoing facts show that Verdi un- made in New York City on November ing to do her best. She feels sure that she is doing begin early to show the intimate analogy between was the pride of her fellow-countrymen, 29th, 1825. His sister Maria (Mme. Jenny Lind. ttTh?A»£ »- w«~^ the best thing for the pupil, and when she hears color and sound. and the name by which she became It is a good plan to mark scholars in their repo s 1 Malibran) made her debut at the same known, “the Swedish Nightingale,” the complaints of the parents it is discouraging. time. The opera was “II Barbiere,” and the com¬ on interpretation, technique, reading and mcffl°rlj' “I cannot’do it, father.” acted as a constant reminder of her nationality. So often it is the mistaken idea of the parent that a pany was one which the elder Garcia had brought ing, as well as the more general marks on t e “You will do it, my daughter; and if you fail in mer Night’s Dream,” composed when he was seven piece of music, just a little beyond the ability of to America largely through the managerial enter¬ teen ’nor is there a song more Schubertian than the lessons and average in practicing. They then s any way I shall really strike you with my dagger the pupil, is just the piece that pupil needs to study. prise of Signor Daponte, who had acquired fame as "Erlking,” composed when Schubert was eig teen. exactly where they are deficient and try to attain when I am supposed to kill you on the stage.” The reason they give is that the pupil will study the librettist of Mozart’s “Don Giovanni” and “Cosi Among his other famous pupils was Matilde Wagnef was twenty-eight when hec^posed Js a higher mark on that branch next time. 01 “And he would have done it, too,” she would add, more diligently if he is compelled to do so. Gener¬ Tau Tutle.” The performances were exceedingly “so I played the part.” Grauman, now known as Mme. Marchesi, who says first truly Wagnerian opera, The Hying Liutcn duets with the teacher are usually regarded as ally the sole aim of the parent is to push the child successful, and one interesting incident was the Work of this kind, however, proved such a great of him in “Marchesi and Music:” Si” ^nd Verdi was thirty-eight before he wrote unequaled treat, make them a reward of merit a ahead, to cause him to make more rapid progress love making of Fitz-Greene Halleck, one of our first “I need scarcely mention how the maestro’s clear, T work of lasting value-“Rigoletto”-bear.ng in decline to play with a child who fails, from care e I strain upon the younger Garcia that his voice was than he has been doing, and also to save time and American poets, who became an ardent admirer of seriously injured. He set out for Paris in 1827 with intelligent and thorough method furthered my every act the unmistakable stamp of h.s genius. ness, to accomplish a given task. I money. But where does it all end? Instead of ac¬ the little Spanish prima donna “Maria Garcia.” It the hope of repairing this injury and also to meet artistic efforts. His ideas on the female voice and Like Wagner and all truly great men, Verdi kept In conclusion I would suggest the pin" ® . complishing the desired result, it produces a lack of is fascinating to note the contents of contemporary his sister Maria who, in the meantime, was very its development were a revelation to me, and they on educating himself to the end of his life. The “company lesson,” which is very successfu | interest on the part of the pupil when he commences newspapers, which at that time announced such unhappily married to M. Malibran, a French mer¬ were the foundation of my future career. With last act of “Rigoletto” is so wonderfully dramatic young pupils. things as the death of Jefferson and John Adams, chant three times her own age. He- had been Nicolai and Mendelssohn I had only studied classical that one might suspect him of having learned the study of a piece of music that is too difficult for The teacher retires occasionally to a scat at ■ the vague possibility of the adaptation of steam to thrown into prison for debt and the singer had music; now Garcia initiated me into the style of the from Wagner, whose “Dutchman,” “Tannhauser him. And then, if he loses interest, who gets the distance from the piano, and, announcing tha ■ navigation, as well as the death of Czar Alexander I escaped to Paris. Garcia resolved to devote his time Italian school, as at that time a florid execution was and “Lohengrin” had already been produced when blame? Sometimes the teacher and pupil alike, but will impersonate “company,” requests a vaned P ■ of Russia, the news of which took over two months to teaching and after a short time spent as a soldier the principal aim of all good singers. The composi¬ “Rigoletto” was composed; but there is no reason more often the teacher alone is blamed for the gramme from the youthful performer. ■ to reach New York. in the war in Algiers he returned to Paris and tions of Rossini, Bellini and Donizetti were the whatever for supposing that Verdi knew anything lack of interest. Too much stress cannot be laid Every child loves to “make believe,” and the ga ■ Later, the elder Garcia took his company to Mex¬ commenced his physiological investigations, which chief objects of study and I was obliged, there¬ upon this one point. If parents could realize what ico and upon the arrival found that all of the scores about those operas at that time. It was not till he is usually entered into with high glee. I resulted in the invention of the laryngoscope. fore, to work away at countless scales, arpeggios, an influence they have upon not only the musical The teacher gets a good idea of the childish rep had been left behind. Nothing dismayed, the im¬ wrote “Don Carlos” (1867) and Aida (1871) that ■ etc., and what was worse still, with the metronome, career of their child, but of the music teacher as presario showed his ability by sitting down and MALIBRAN’S WONDERFUL SUCCESS. the Wagnerian influence became apparent; also the toire and obtains a much more accurate iirpre^heB I which sometimes rendered me almost desperate.” influence of Meyerbeer and the French school. His well, there would not be so much interference with of tone production, position and pedaling than ■ writing out the entire score of “Don Giovanni” from At the same time Malibran commenced the most the teacher’s work. memory. A later investigation showed that he had Through Marchesi, Garcia became the “grand “Otello” (1887) and “Falstaff” (1893) betray still close to the piano. remarkable part of her career. Everywhere this teacher” of her famous pupils—Suzanne Adams. 301 the etude THE ETUDE 300 „ am1?rican students differ from how AME|5!opean students. 10. Always practice with as much care as you do when your teacher is present. Aim to teach yourself Calve, Eames, Gerster, Melba, Nevada, Sanderson, in the absence of your teacher. Saville and Tremelli. Other famous pupils Garcia taught personally in • „ ctudent of music is i radically TEN DAILY PRACTICE RULES Paris were Johanna Wagner (niece of Richard spicuous .. » death (torn .Ugg* “ "Lily * The America^ his European brother or sister,sister. BY FOREMOST VIRTUOSOS AND PRACTICAL TEACHERS Wagner) and Julius Stockhausen. student errs in the matter of y y evgry other different type Euj.opean student, especially the Ger- A continuation of the interesting series started last month in which Mrs. Bloomfield-Zeisler, Perlee Jervis, In 1848 Garcia went to London and remained in the direction of excess, and this, ke seed. AS 3 accepts without question the suggestions of his B. J. Lang, J. J. Hattstaedt and others have participated the English capital the rest of his days In 1&48 good trait, may cease to be beautiful and g man, accep ^ understands the reason or not. he was appointed a member of the faculty of the When a pupil is forced to “"endeavoT to point teacher, ect this of him, and have little Royal Academy of Music. Among his early London fidelity, I am always moved but ^ Hi- ‘Twith any other attitude. As long as the EMIL LIEBLING. pupils was Stockhausen, who was afterwards to out to him the fact that there en£ed and as tion, when precisely the reverse is the case. With the Pat? is with hfm, he is merely a student, and his A collection of suggestions and hints designed to (Virtuoso, teacher, composer and lecturer. Pupil of Ehrlich, become the teacher of such famous singers as Leo. student uk s d h;s personality are not con- assist the student in his every day work, to which elbows low and close to the side, the play of the Kullak, Dorn and Liszt.) 1“ il"' 1 tel. h.» that 1 Hkes and dtshke^ano that in time he ^ fingers is much freer and lighter, because the arm Henschel and Van Rooy. „ . . many of the most able and successful teachers of I. Systematize your work, In 1854 he invented the “Laryngoscope, which, does not bear down upon them. It is almost im¬ M eoSe^V. .3™, Wth sidered. necessary for him to know, if he is the day have contributed. but do not become a slave although is little more than the combination of the possible to get the piano firms nowadays to send a something there^ and the , whenever Special note; Owing to the unusual amount of to your system. Have a little dental ■ hand mirror with a larger mirror 3 'sufficiently obedient, and perhaps in the end this low stool, and these high and most inartistic pin¬ sufficiency^ this way the student considers his excellent material we have received from our con¬ daily routine of purely adjusted to reflect a ray of light upon the smaller pupil can show m ^ t,„ ran utterly outstrip nacles or benches we sit on are the vogue. Artists tributors we found it impossible to include more technical work, embracing mirror in the mouth and thus reveal the various mother her teacher responsible for his progress and never who spend many hours daily at the piano know very this art I shall love him as than a few sets of rules in the last issue. Our scales, arpeggios, five-finger organs that had been previously concealed, was hinks of asking the question so often heard m our well that a chair is the most comfortable and steady first-born. readers will find those which appeared in the April work and wrist studies. destined to have an important bearing upon the schools—“How long is this going to last? or Do Etude as valuable as the following in every respect. seat. For a tall person the chair should be cut II. Utilize all finger work TEACHING AND WRITING. It would be impossible to include in ten rules sug¬ down an inch and a half, or even two inches. Seven¬ physiological study of the throat. you think I am making progress? etc. in a variety of touches; the In London, Garcia taught Charles Santley and gestions and advice that would govern more than teen or eighteen inches from the floor is about right The surest way to learn a thing is to teach it slow, firm legato, the light THE CASE OF THE AMERICAN STUDENT. a very few of the conditions for profitable practice for the average size person. also Antoinette Sterling. In 1895, with the assist¬ to others. The next best thing u to write abotit ^ and fast legato and the which every enthusiastic student should observe. 4. The proper position of the hands on the ance of Mr. Hermann Klein, now of New York, As to teaching, do not argue that you can get With the American student the case is radically wrist staccato. Moreover the very idea of a hard and fast rule is un¬ keys is of great importance to the student. The Garcia wrote and published his “Hints on Singing, pupils. If you cannot get a pupil at a respectaDie different The earnest student, as a rule, is am¬ III. Divide objects of pleasant to contemplate, but by requesting a number fingers must not only be as curved as possible, so a very unusual work for an octogenarian author. price, thenmen teachic«iui for no pay. You- will findip „thaton bitious a hard worker, full of confidence, and some¬ of our contributors to send us sets of suggestions as to play exactly on their tips, but the hand should be study: First examine the you cannot teach for nothing. For e y times of conceit, and he claims the right to know relating to those conditions and things which they very much turned out, so as to make the knuckles of new task as to its key, A REMARKABLE BIRTHDAY. you give you will be paid in knowledge o y i inclined to be impatient notes and time; later the work knowledge of the art of teaching and knowl¬ thei reason ofo* things....—*>— — - , , • , . consider the important factors in assisting the pupil the fourth' and fifth fingers higher than those of the Garcia continued teaching until he was ninety- restraint, and sometimes to do his work 11 to get the most out of the practice period we felt first and second. In doing this the elbow must not be marks of expression, phras¬ six years of age, and more remarkable still is the edge of human nature. You will receive that which little reverence for tradi- ing, and, finally, its mean¬ you cannot buy at the best-equipped conservatory superficial way. He has that many very valuable hints might be evolved. The thrown out in a triangular position, but the turn must fact that he lost very few lessons from illness during ing and interpretation. of music in Europe or America You will make very prone to begin his edifice at the results have been more than satisfactory to us and be made from the wrist. The thumb must also be these last years. On his one hundredth birthday IV. Hear yourself practice, and exercise strict self- friends that will lighten the dprk-hours of hfe .and attic rather" than the cellar. He has the proverbial we feel that our readers are to be congratulated slightly curved and quite free from the hand. Many March 17th, 1905, he was received by the King at you will make pupils who will be as the children “sweet tooth” common to young animals and is apt upon the enthusiasm and interest which the follow¬ persons impede their execution by not keeping the censorship; Buckingham Palace and his Majesty was abso¬ V. Analyze each composition as to its construc¬ of your very heart’s blood. to prefer Chaminade and Debussy to Beethoven and ing well-known writers have taken in this very thumb independent enough of the rest of the hand. The lutely amazed at the vitality he displayed.” Dis¬ Once I spent a half day tramping across weStCrn Mozart He does not always show his teacher the attractive symposium. As these rules represent a moment it contracts, the hand is enfeebled. Pupils must tion, and acquaint yourself with its composer; his tinctions of every description were showered upon prairie with a man whose genius as a writer, outward respect that is required of the European “digest of the experience of many very successful be trained not to let the thumb slip under the hand. life, peculiarities and moods may furnish a clew not otherwise obtainable. him, including the insignia of Commander of the philosopher and organizer has profoundly influenced student, and he is often “fresh” even when he is not men and women they are worthy of preservation. The r.bject of turning the hand outward is to favor the VI. Cultivate sight-reading and memorizing; both Royal Victorian Order (English), the Great Gold his generation. I asked him to tell me something original. But for all that, he may refer to his In order to place the matter in more practicable fourth and fifth fingers and give them a higher fall form for the use of the student and teacher we will are valuable aids to musical progress. Medal for Science (conferred by the German Gov¬ of the history of a certain industry of which his teacher behind his back as “the old man or per¬ when lifted. This strengthens them very much and attempt to select those rules upon which the greater VII. Do not endeavor to play as well as anyone ernment only upon the most distinguished scien¬ institution contained a flourishing department. He haps apply other endearing epithets to him; he ts gives a bigger tone. It also looks much prettier when number of the following writers agree and make a else, rather try to develop along your own lines. tists), Grand Cross of the Order of Alfonso XII replied, “I am sorry to say that I know nothing the soul of loyalty when once he is convinced that the outer edge of the hand is high. Deppe was wont (Spanish). Musical and Laryngological societies about that line of work. I shall have to write set which will be published in the next issue. to say, “When it looks pretty, then it is right.” VIII. Take every opportunity to hear others; you his teacher is really teaching him, and his gratitude will thus learn what to do and what to avoid. from all over the world sent representatives, and pamphlet about it as soon as I get home.” and affection are permanent. This is the great and 5. Five finger exercises are the things which most A moment’s reflection will show that the most FIND YOUR WEAKNESS. IX. Practice slowly, then still slower, and finally the entire day was one of the most memorable in principal reason why, as before stated, a teacher pupils dislike and shirk, and only the severest discipline valuable lessons in the life of an artist are those very slowly. the history of both music and surgery. should be one of great personality and authority. It it possible that there may be some little on the part of the teacher will make the pupil take the learned elsewhere than in the studio of his teacher. X. And do not ask “how long it will take.” Besides, he sometimes needs these qualities for self- flaw in your practice, that these rules will help you daily dose of them which he requires. The simple up Emerson remarks that the education that profits to detect. Naturally you will find much divergence and down finger movement is the best preparation for In addition read The Etude regularly. defence. the child most is in what he learns between house of opinion upon some matters. Here you must do the scales, which should be practiced every day. But and school—not what is taught in the class-room. STUDYING ALONE. TWO CLASSES OF STUDENTS. your own thinking, and decide what is best for your not for a whole hour, as I used to do them when I The student alone learns to think. TJiat is seldom own needs. The Etude will always welcome sug¬ first went to Germany! Ten minutes per day is suffi¬ BY RALPH WYLIE. taught by a teacher. To learn this greatest of ac¬ Music students of talent may be divided into two gestions from teachers and students upon symposi¬ cient, if studied with care. The two main axioms are, complishments from a teacher is about as difficult classes—those with executive and technical gifts, ums of this kind. We earnestly and sincerely desire to lift the fingers and to avoid stiffening the wrist. The It is hard to study a complex subject alone, just as to learn swimming by listening to lectures on and those of poetic sensibilities. When these two to help as many of our readers as possible and we pupil in his effort to produce a loud tone invariably as it is hard to earn a fortune without assistance. the subject in a drawing room. Men learn to think elements are combined there is a good chance of shall appreciate your cooperation and support. stiffens the muscles of the wrist and makes them tense, I say to earn a fortune—not make one. The stu¬ and to swim when they must do those things to be producing an artist. Many people mistake a passion Some of the following writers have written along like whipcord. He will never be able to play a scale dent earns his mansion; he cannot make it. A saved. . for music, especially for the sensuous expression of a slightly different line, but these articles are none correctly in this way, but he should test his wrist by JAROSLAW DE ZIELINSKI. The student without a teacher may learn sight magazine writer has said that the dollar you earn music, for real capacity. On the other hand, there the less valuable. practicing the scale with each hand separately, and (Pianist, teacher and writer.)' compares with the dollar that is given to you just reading. This accomplishment may mean the bread are some of great natural technical gifts who are feeling the under part of the wrist with the hand which To put down ten rules as your own children compare with other people s. of life to him some day. There is only one way insensible to poetical expression. 1 am grieved to is not playing. He will then detect at once whether in which human beings have ever learned to play AMY FAY. that should govern the stu¬ A principle of technique, dug out of the nothing¬ say that there is also a third class, who study music the tendons of his wrist are tense and hard, or supple at sight. That is by playing at sight. (Pianist, teacher and lecturer. Author of the widely read dent’s work would be, to ness by the sweat of your own brain, brings a joy because they have an idea that it is an easy and and easy. The thumb should not be turned under, as book “Music Study In Germany.” Pupil of Tausig, say the least, a risky ven¬ to your soul compared with which the distinctions profitable industry, much to be preferred to some Liszt and Deppe.) this throws the hand out of position twice in every oc¬ AN APPETITE FOR MUSIC. honest manual labor, for which they are much better ture; for the requirements of later life are as champagne gone stale. 1. What is the first thing tave. One should turn a little on each finger end, press The student alone has the keen, healthy appetite adapted. One of the great problems of musical of a beginner are quite dif¬ If one has enjoyed a period of good instruction to be done in practicing on it firmly down to the bottom of the key, and screw it for good music that a growing boy has for a education, as far as the student is concerned, is the ferent from those of a third he can sometimes profit most by studying for the piano? The pupil must round, as it were, on a pivot, till the next finger is Thanksgiving dinner. He enjoys every morsel of it, suppression of the unfit. The art of music ir this or fourth grade student, months alone. The process of dry farming is mak¬ clip his finger nails so that brought over its own key. In this way one prepares and digests it, too. His more fortunate brother in country will never receive its due respect until its whose work again differs ing a rich country of the Texas panhandle and west¬ they will not rattle on the for the thumb, which is kept free from the hand and the city is too often the victim of chronic musi¬ considerably from that of ern Kansas. They have a little rain there, early in votaries are those who have been born with a hear¬ slightly curved. By turning the wrist sharply out, the cal indigestion. He dallies with his abundance of keys. They must be closely an accomplished player, the season. The farmers harrow the ground over ing ear and an understanding heart. trimmed in order to permit thumb is brought down on its own key in the proper good things, has a keener ear for mistakes than he Far be it from me to disparage the conscientious still a student. and over until the surface is a blanket of dust. The the round, cushioned finger curved position. One must avoid throwing out the has for music and gets his greatest pleasure in find¬ efforts of the humble student and teacher, who, often Assuming, however, that moisture that is in the ground then remains there ends to press down the elbow, however, in turning out the wrist. The direc¬ ing fault with the service. The student alone can against great obstacles and with little encourage¬ the one who is to profit by through the hot, dry weather, and gets its work in keys softly and firmly, and tion of the hand in running passages is always a lit¬ learn the valuable lessons of concert management ment, struggles bravely on, perhaps in some remote tle oblique. these rules is of a grade on the seeds of the corn, the wheat and alfalfa. and bring a teacher to his door by the same stroke. make a beautiful touch. locality where great music is never heard, content 6. After practicing five finger exercises and a scale where Bach’s Two Voice The crop is surer than in places where rain is To the student alone I would say, the best artists 2. Touch is the most fas¬ if now and then he may awaken in some young for half an hour the pupil should take up the Etudes Inventions and Cramer’s plentiful. The seeds never rot and they have no are human beings, like yourself. With very few cinating branch in piano mind the same love and enthusiasm which fill j"s of Czerny or Bertini and practice those for half or Studies are part of the cur¬ smut. The student who is forced to dry-farm on exceptions they have suffered privations and dis¬ study, and the most con¬ riculum, the suggestion that follows should influence own soul. He is doing a great work, a work which centrated attention should three-quarters of an hour. As he advances in technical a little of the rain of teacher’s lore very often appointments that you have never tasted. They also those whose teachers have deemed it wise to perhaps no one else could or would do, and if this be devoted to cultivating it. acquirement he may substitute Cramer for the above achieves a healthier, purer growth and just as vigor¬ usually are well stocked with sympathy and horse- ever becomes a great musical nation it will be largely exchange von Buelow’s strict and narrow paths for ous as his more fortunate brother of the music sense. You can bring them to your city, town or Every student should have named, and by this route he will arrive gradually at due to his patient and unselfish devotion. But for Gradus ad Pamassum, by dementi. the more phantastic and more modern offerings of center. As to future rains or opportunities for les¬ village, one by one. Getting them there at your a trained ear to be able to Jensen, Neupert, Winding, Fuchs, and others. him some of us would not he here, and we honor detect whether they have a touch formed on correct 7- The classic writers are the ones which form tech¬ sons, don’t let us forget that where there is a will mercy, you can pump them for advice on anything Students, particularly those of an inquisitive turn ef him with all our hearts. And if America ever pro¬ principles. This trained ear can only be obtained nic and style. Schumann and Chopin should not come there is a way. The student who is determined, from technic to travel. mind; should know that before Cramer there was Cle- duces a truly great and original composer he is through association with a teacher who has a similar before Bach, Mozart and Beethoven. Mozart’s music with the determination that wins everything worth Thank God for obstacles and privations if you menti, the eminently superior Roman as regards tech¬ quite likely to come from these ranks.—The hem gift, and who can show the pupd how to hear him¬ is the best, most substantial and the most invaluable having, simply cannot be prevented from achieving thank Him for nothing else. Thank, too, the men nique; his mantle fell on J. B. Cramer, and in the Gra¬ his purpose, and he will always get there before Music Review. self play and how to discriminate between “what is” for finish and facility of technic. It is also a source of and institutions that will not give you what you dus ad Parnassum of the former, as edited by Tausig, it is too late. The only way to prevent him is to and “what ought to be.” The teacher must be able great delight for the youthful student. want and who drive you to devise your own ways and the Selected Studies (by von Biielow) of the lat¬ to illustrate by his own playing what is right and put an end to him. and means. Thank your enemies, they are your Music is at once the product of feeling and knowl¬ 8. Always count unless you are otherwise instructed ter, one can find all the art of solid pianoism. what is wrong in the touch of the pupil. The most common cause of discouragement to the unconscious friends, and the day will come when edge, for it requires from its disciples, composers by your teacher or have mastered your piece. This is of student who is left to his own resources lies in 3. The pupil should not sit too high, but should regu¬ greatest importance. Technique—such works as are offered us by Tausig, you will divide your substance with them and out and performers alike not only talent and enthusiasm, one of the noblest traits of human nature—the trait late his seat so that his elbows would be low and not Philipp and a few others, whose problems and enlight¬ of pure gratitude for the time when they opposed but also that knowledge and perception which are 9. Practice each hand separately unless otherwise of loyalty. I have seen the loyalty of soldiers to you and made you strong. An enemy is simply a way above the keyboard. Sitting high is a pernicious enments have been put forth not for the enrichment of the result of protracted study and reflection.- directed by the teacher. This is the quickest method, publishers but for the benefit of students with hands their flag, of college boys to their school, of pa- friend turned wrong side out. habit, and one which is avoided by artists. People have as it compels analysis of the piece or study into its Berlioz. that are straight and hands that are crooked—technique an idea that if they sit high it facilitates their execu¬ component parts. should receive daily the student’s undivided attention. THE ETUDE 303 THE etude 302 teN PRACTICE RULES BY ROBERT SCHUMANN (Taken from ScUuman^s^famoue, “68 Ru.es for Young ALEXANDER LAMBERT. Bach and Clementi, or Cramer, or some other master- THE ETUDE GALLERY OF CELEBRATED MUSICIANS (Teacher, p.anlst and author of technical works.) Vo must sedulously practice scales and other writer of studies, would receive the next consideration, destroy the binding of the iss - *' °^rcises But there are many persons who How to use this gallery. 1. Cut on dotted line at left of page (this will requiring great activity of the mind; rhythmic as well 1. Always practice systemnon’t^hink by^ractic- Use the pictures to m; tice over four hours a day. Don t think a fing!ine all will be accomplished if they keep on closely following the outline of the picture. 3. . as key problems are here of constant recurrence. Paste the pictures by means of hinge t Lastly comes the work on the so-called pieces; fantas¬ ing six or seven hours a ^day 5^ than he who hour, each day, .hay oR portrait and biography by pasting in the book by means of the hinge on reverse of the picture, ias, impromptus, idealized dance forms, sonatas, pre¬ practices four hours a day^ in mere mechanical practice It is about as ,f one sheet of a piece of music by the composer represented. ludes, fugues, etc. What a wealth of offerings to Your fingers cannot stand should busy himself daily with repeating the A B C choose from, and yet the publishers are constantly at so long a strain, and if y°u as fast as possible, and always faster and faster. it, putting forth so-called modern utterances, as if bent persist, they will take their Use your time better. upon the task of making us forget everybody, from H revenge a few years ater, 2 Flay nothing, as you grow oloer, watch „ Domenico, the son of Alessandro Scarlatti, to Chopin, when your fingers will b merely fashionable. Time is precious. One must have Henselt, Liszt and Saint-Siiens 1 gin to lose their strength a hundred lives if he would acquaint himself only Following rules, carefully observed and carried out and surety. A student w _o with all that is good. with patience and sincere application, will prove bene¬ cannot accomplish much in 3 Consider it monstrous to alter, or eave out ficial to earnest students: four hours, will not in six „,wthimr or to introduce any ne-. -fangled orna- 1. Intelligent technical work; this means slow work 2. Divide your hours ten ments”n pieces by a good compo- r. That is the in technique with a special stress on perfect mdepend- practicing thus: One hour ereatest outrage you can do to art. ence of fingers, and a development of strength in every and a half in the morning, B Love your instrument, but do not have the direction. Slow work, because speed and good work the same in the afternoon, vanity to think it the highest and only one. Con¬ seldom hitch together in study. and one hour in the even¬ sider that there are others quite as fine Remember, 2. Scales should be clean, double thirds, double ing. In the morning, de- too that there are singers, that the highest mani¬ sixths, and double octaves (from the wrist) to be prac¬ ALExiNDBK Lambert vote half an hour to five- festations in music are through chorus and orchestra ticed with all possible gradations of tone. finger exercises and scales; half an hour *° _e combined. 5 Without enthusiasm nothing real comes of art 3. Rhythmic problems should not be neglected, and etudes and half an hour to your sonata or piece^ 6 You should neither play poor compositions, nor those offered by Ferdinand Hiller in his Rhythmic Do the same in the afternoon. The hour m the even listen to them, if you are not obliged to. Studies will promote a sound knowledge in a direction evening may be devoted to reviewing your 7 Dragging and hurrying are equally bad faults. universally neglected. 3. Do not practice your whole lesson every day, 8 Never dilly-dally over a piece of music, but 4. To get a good idea of the piece to be studied, take attack it briskly; and never play it only half through. notice of the tonality, of the tempo, themes, modula¬ divide it into equal parts. You can learn one page a day, where you could not learn two or three 9. Play in time. The playing of many virtuosos tions, repetitions, etc. Take notice of all chromatic al¬ is like the gait of a drunkard. Make not such your terations, and remember that all such, unless cancelled, 4 Always practice slowly and carefully. you come across a difficult passage, practice it with eaca models. ... , are always good for the measure. 10. You must not only be able to play your little 5. The greatest of artists establish promptly and per¬ hand separately, repeating the passage first slo y and with strength, and then faster and more softly pieces with the fingers; you must be able to hum manently a certain fingering for the piece he wishes them over without the piano. Sharpen your imag¬ to play; if a teacher knows his business he will give until you have mastered it. 5. As soon as you feel the least tired, stop and ination so that you may fix in your mind not only music that is fingered, not by experimenters, but by the melody of a composition, but also the harmony musicians of repute; or he will—out of consideration rest. Finger cramps, sprained wrists, etc., are often belonging to it. for a certain kind of a hand, which may not find the the result of carlessness. It suffices to practice a printed fingering adaptable—he will finger the music, few minutes with a tired wrist to incapacitate you fEditor’s Note.—Owing to the unusual interest taken li the Ten Practice Rules Symposium, th and it should not be slighted, for correct playing and from using your arm for weeks. some Important contributions for which phrasing depends on absolutely correct fingering. When 6. Learn from the beginning to listen to yourself. been unable to find space. In the next the mnemonic work begins, surprisingly quick results This is too often overlooked. Listen to yourself as are obtained if the fingers find their proper places. though you were listening to another. You will thus 6. Watch your touch, the phrasing and expression avoid many faults. marks; these things develop the character of the music, 7. Take care while practicing that your arm and WHAT THE MASTERS THOUGHT OF DANCE and if the teacher fails to explain that a Polonaise is wrist feel perfectly easy. As soon as you feel it MUSIC. a broad, stately movement, take cognizance of the stiffening, it is a sign that you are not practicing A few moments reflection will bring to the mmd Joseph Joachim Raff Eduard Schiitt tempo indication at the beginning, and play it with properly. of the reader the great influence of the dance upon breadth and dignity. The nuestoso of Chopin’s Op. S3 8. Practice with as much strength as you can with the works of the masters. Exclusive of the Noc¬ does not imply allegro; this famous morceau overflows a loose wrist. turnes, Fantasies. Ballades, Sonatas, Idyls, etc., with boldness of phraseology, masterly continuousness 9. Always sit straight, with the shoulders thrown most piano music is cast in the dance forms. Mr. of purpose, brilliancy, and characteristics which distin¬ well back, and far enough away from the piano to be H. T. Finck, in the New York Evening Post, says of guish the national music of Poland; it is not a Galop, able to move your arms with perfect freedom. the dance music of the greater composers: and Chopin never intended to have it played the way 10. Do not endeavor to practice with expression “The number of the Bach dances is legion. we often hear it nowadays; unfortunately it adapts it¬ before having mastered your piece technically. Mozart said that he who could not create any good self to the vagaries of virtuosi and their imitators, but dance music was really no good composer. Bee¬ their playing is seldom authoritative. thoven wrote thirteen Landler and other dance pieces. 7. A quiet seance with the work to be studied opens Nothing gave Schubert more pleasure than to sit to one’s mind a clear view of the spiritual conception at the piano while his friends were dancing, and of the piece, which conception is oftentimes neglected improvise those entrancing waltzes which Liszts for the sake of the mechanical work. version made still more fascinating, and which all 8. Practice everything in small sections of two or pianists play con atnore. Chopin wrote no fewer four measures at a time, with the closest possible ob¬ LOUIS G. HEINZE. than fifteen waltzes. Brahms wrote waltzes not servance of all technical requirements ; playing a piece (Teacher and writer.) through once, twice, or a dozen times will not develop only for piano but for the voice, and called them a kifjwledge of it or of its technical problems, which 1. Have a fixed time for practice. Let quality ‘love songs’—Liebeslicderwalzer. Wagner wrote a creep up oftentimes when least expected, and should come first. Quantity will follow. waltz in ‘Die Meistersinger.’ Tchaikovsky intro¬ be worked over by themselves. 2. Go to your practice with love, a free mind and duced one in a symphony. 9. Do not depend on the pedal for a legato tone; a the will to concentrate your mind upon your work. “Yet our pedantic orchestral directors are trying singing legato as well as its direct opposite, a crisp 3. Map out your work in advance, be systematic, to be more dignified and exclusive than Beethoven, staccato touch, are absolutely indispensable, and can change your work at least twice each hour. Schubert, Chopin, Brahms, Wagner and Tchaikov¬ be acquired only with patience and intelligence. The 4. Practice only what has true worth; life is too sky! The Strauss waltzes are really intended for use of the two ordinary pedals, individually and collec¬ short to squander any of it upon useless musical the concert hall quite as much as for the ballroom. tively, depends on conditions easily explained to a stu¬ trash. They are animated by a poetic rubato, or capricious dent that has a reasonable knowledge of chord rela- 5. Practice slowly, the only way to gain speed. coquetry of movement, which raises them far above ordinary dance music, and makes them quite as 6. Practice piano and pianissimo, the only way to worthy of a plac» at symphony concerts as Chopins 10. At least one hour a day should be given up to gain a large tone. waltzes at piano recitals. Let us have a little less mnemonic work, which again should be based on a fun¬ 7. Listen to your playing with mind as well as ear. damental knowledge of harmony. pedantic dignity, a little more emotion and huiuaiv 8. When mind and body are tired, rest yourself These and other suggestions as regards daily prac¬ nature about our concerts, and good music will by reading a musical essay or biographical sketch. tice depend on the intelligence of the pupil as well as make more rapid strides in popular appreciation. 9. Practice repose and style. Your playing should on the hand that guides him. “Too much dignity is the death of art. Lei os look as well as it sounds. recall what happened in Vienna some years ago. o. Have high ideals. All your practice should be when Hans Richter put a Liszt’s rhapsody. Griegs towards developing the best in you. Peer Gynt suite, and Weber’s ‘Invitation on a Philharmonic program. The result was that even Dr. Hanslick, the most academic and pedantic ot the critics, was obliged to write: ‘The public was jubilant, entranced by the brilliancy of the perform¬ ance, and the pieces. It was really a blessing not to Alexandre-Felix Guilmant Joseph Joachim have to listen, for once, to “profound’’ music only, not to be led along dreary, stony abysses by Ham¬ lets, Manfreds, Ibsen and Schopenhauer.' ” THE ETUDE 305 TH E ETE DE 304 Schubert and Chopin, for example, which have only an invisible rhythm of thought, a languorous “vertige” as the poet says, of recollections or HOW TO1U nvH-OILlXPRESERVE V L- THISUi^ VALUABLE-omposers, pianists,conductors^.purchasing numerou dreams. M. Combarieu correctly names them THE ORIGIN OF THE SONATA danse d’idees (dances of the mind). -W^^-^SS&SmSSpw^. "•J-lI-sa'SSSSJt By HENRI MICHEL ANCIENT DANCES. issue and thus has already included twenty-four portraits. Extra copies will ___ To find its origin we must recall the ancient which costs twenty-five cents. We have but a very limited supply.___ _ dances which had such marked influence on the forms of instrumental music. They were, for the JOSEPH JOACHIM RAFF. [Editor’s Note.—Very few music lovers know what a by the flute, viola, trombone and bass viol. The most part, what were called danses basses, that is to Sonata really Is. The best way to understand an art form FRANZ LISZT. (Rahf) is to study Its development, and the following selection same affinity existed between instrumental and say, the dances were of a gliding motion, the foot EDUARD SCHUTT. upon the subject, ny a nou-u (Leest, or, Americanized, List) Raff was born at Laken, near the Lake from an important work dance music. M. Comabrieu, in “The Origin of the not leaving the floor. They consisted of bows, (Schueet) Liszt was born at Raidung, near Oden- French writer, which has been translated expressly for Symphony,” cites, among others, the following steps, and turns, forming an ensemble of perfectly of Zurich, May 27, 1822. and died at The Etude, by V. .T. Hill, will be found both Instructive Schutt was born in St. Petersburg, burg, Hungary, October 22, 1811, and died work: “A collection of dances containing nearly regulated revolutions, which were repeated several Frankfort-on-Main, June 25, 1882. He and interesting.] October 22, 1856. Quite early in life he at Bayreuth, July 3L l886- He was first every dance, as Pavanes, Passepieds, Germans, times. This explains the return and changing of the was largely self-taught and showed great What is a Sonata? Quite often the word is used came under the influence of Anton Rubin¬ taught to play the piano by his father, Galliards, Branles, and several others adapted to theme which we find in the sonata of to-day. persistence and energy in acquiring facil¬ to designate a work written for one or for two stein, with whom he was on terms of steward to Prince Esterhazy, but at the both the voice and instrumental music, Anvers, This symmetrical order, so propitious to psycho¬ ity in the exercise of his profession. In instruments, as the piano and violin, for example. personal friendship. It was through the age of nine, as the result of his extraordi¬ But in reality the sonata is a special form of instru¬ 1583.” And he adds: “The collection referred to logical musical development, is but a transposition nary talent, some Hungarian nobles pro¬ 1843 Mendelssohn looked over some of influence of the great pianist that Schiitt's mental music, the most perfect and the most typi¬ treats of but three forms, the song, the dance, and or remote souvenir of the symmetry of the dance. parents were persuaded to allow Eduard vided for his education at Vienna. He his manuscripts, and, recognizing his instrumental music, all closely related.” But one great ability, gave him an introduction to cal. When written for three instruments it is called Apropos of dances, I can not resist the pleasure of to adopt the artistic career. Graduating studied piano under Czerny and com¬ must not believe that this was the only collection. Breitkopf & Hartel, the celebrated pub¬ a trio; for four, a quartet, and the symphony is but quoting the last lines of a charming dialogue on with distinction from the St. Petersburg position under Sal eri. He went to Pans, Toward the end of the sixteenth and the beginning lishers. Raff was also very much be¬ a “sonata for the orchestra” (Lavignac). Under all the choregraphy at Langres in 1589, under the pseu¬ conservatory, Schutt went to Leipsic, in order to study under Cherubim, who, of the seventeenth century there was a large num¬ friended by Liszt, always willing to aid these different aspects, one finds one uniform plant; donym of Thoinot Arbeau, an anagram of Jehan where he studied under Jadassohn and however, refused to take him as a pupil, ber of analogous collections. It was at this time as C. was opposed to prodigies. At young genius, and also by Von Biilow. the interior and organic forms remain the same, or Tabourot. The book is rare. The Library of the Richter. After completing his course at that there was a substitution, ad libitum, of instru¬ his public appearance in Paris he created In 1854 Raff married Doris Genast, a very nearly so. There is nothing unusual in the Conservatory of Paris possesses a copy of the Lcipsic he became a pupil of Leschetizky mental for vocal and dance music, which later de¬ a tremendous sensation, which was later well-known actress, and they went to origin of the sonata by which it might be confused Second edition. “Practise dancing correctly, and veloped to a greater degree. in 1878. He then commenced his musical duplicated in London. On the death of Wiesbaden, where Raff soon established with instrumental music in general. The sonata, in your partners are the planets which dance naturally career in earnest and went on tour. In his father, Liszt became a teacher in a reputation for himself as a teacher and the primitive and etymologic sense, is music in¬ It has been necessary to go back over this double and the nymphs which Marcus Varron is said to 1881 he succeeded Mottl as conductor of Paris. He was much influenced _ by composer. He moved to Frankfort in tended for violins or harpsichord, as opposed to the origin in order to fully comprehend the evolution have seen at Lydia, coming out of their pool at the the Wagner Verein, an important musical Paganini, whom he heard at this, time, 1877, and became a teacher at the Hoch cantata, which is sung by the human voice. of the sonata and the raison d’etre of its form. What sound of flutes, dancing and then returning again to organization in Vienna. On behalf of and was a friend of Berlioz, Chopin and Conservatory. He remained in Frankfort It seems that the word sonata has had three was, in fact, instrumental music as separated from the pool. And when you have danced with' one you this society he attended the first perform¬ many distinguished people. He soon came till he died. It is chiefly as a composer successive significations. According to . the most religious song, or, rather, what was this transition love, allow yourself to sink in the great pool of ance of Parsifal in Bayreuth, where he to be acknowledged as unrivaled in his that Raff is known, and in this respect general and ancient sense, the sonata is nothing from vocal to instrumental music? bliss ijnd enjoy it as God gives you this gift.” was accorded the signal honor of an ad¬ wonderful mastery of pianoforte technic he is more remarkable for his fecundity more than a piece of instrumental music. Taken in a dress from Wagner in person. From and toured Europe with amazing success. than for his refinement. He was the more correct and precise acceptance, the word came, THE CHURCH SONATA. THE SUITE. 1884 to 1887 he again went on tour. Since I11 1847 he was appointed court capell- by natural evolution, to mean instrumental music then he has devoted himself to composi¬ author of eleven symphonies, three operas meister at Weimar, where he remained of form l>ar excellence, and this also depended on It reached this stage by first becoming the As soon as a certain pleasure was taken in listen^ tion, and has remained principally in and a large amount of chamber music, till 1861, when he went to Rome. In the nature as well as the number of instruments. “church sonata,” music of a grave style, of deep ing to danee music, it was conceived that it would Vienna, where he also does a little teach¬ among which may be reckoned the ever- 1865 he took minor religious orders and Finally, the actual sense is a restriction of the pre¬ vary and prolong the concert to unite in one work ing. He spends a considerable part of his popular violin piece, “Cavatina.” He had and religious sentiment. Its origin explains the became the Abbe Liszt. In 1870 he re¬ ceding, by the usage which has prevailed since the airs of different dances, which by contrast of rhythm time in the Austrian Tyrol. His com¬ an astonishing command of contrapuntal perfection to which it attained from the first, since turned to Weimar and soon became the resource, and his scores are full of skill¬ end of the eighteenth century, to call nothing a it inherited all the rich and complex technic of an art in movement and measure gave a musical and' almost positions for the piano include the well- center of a brilliant group of composers known “Confessions,” “Canzonetta,” the fully wrought devices that were intro¬ sonata except what has been written forgone or two already several centuries old and which had pro¬ psychological value to the whole which each of and musicians interested in the romantic duced with the art which conceals art. instruments. This is not a just restriction. It has duced several chefs d’oeuvre. And this helps us .to these airs, isolated, could not have possessed in the beautiful “Carnival Mignon” and the movement in music, which had for its Raff was a great leader in the forces of created in the musical vocabulary an awkard am¬ equally comprehend some of the essential character¬ same degree. This form was called Partita or Suite, ever-popular waltz, “A la Bien Aime.” leaders such men as Wagner, Schumann the “Romantic School,” and took a prom¬ biguity which continually necessitates our having to istics of the symphonic sonata in its earliest stage; a style long in favor and of which remarkable works He is one of the most melodious and and Raff. Liszt has added greatly to the able composers of the present time, and inent part in the polemic discussions that distinguish between sonata form and the sonata it- for example, the predominance of an imitative style, were produced, such as the famous Suites of Bach literature of the piano. The Hungarian has a large following of admirers. He heralded the works of Wagner and Liszt. seir. more or less rigorously fugue, which was evidently and Handel. The custom was to combine in the rhapsodies and the famous operatic tran¬ has also composed in the larger forms. We now understand the origin of the sonata and borrowed from vocal music, so that one would have same Suite the most characteristic dances of the scriptions are best known. that of pure instrumental music, which were for¬ said, as we still say, “a fugue of three or four voices.” different countries of Europe and one can readily merly confused. It is not necessary to believe, how¬ In other words, all the art of fugue and style in imagine the elements of color and' variety which ever, that pure music—chamber music or concert Counterpoint is of vocal origin. But in adapting would be the result of their combination. A Suite musjc—;s an early form that has always existed, §s JOSEPH JOACHIM. ADELINA PATTI. ALEXANDRE-FELIX GUILMANT. it to instrumentation, abstract forms of music werie usually consisted of a prelude and four dances—thS we shall see later. The most beautiful of .the arts (Yho-ah'-kim) Patti is of Italian blood; her father (Gee'-tnongh) not long in becoming modified. German, whose name indicates - its origin, the is also the most recent, and it did not acquire its The celebrated violinist was bprn at and mother were both well known as Guilmant was born at Boulogne, As we more clearly see the resources which this Courante, (Italian) the Sarabande, (Spanish) and independence and its individuality until after a long 5^ Kittsee, near Pressburg, Germany, singers in their day. She was born in March 12th, 1837, and received his new condition opened to musical inspiration, the the Gigue which is of English and Scottish origin. evolution. f June 28th, 1831, and died in Berlin, Madrid, February 10, 1843. Her father better we understand the limitations which it im¬ Quite often French dances were added, the Gavotte, first instructions on the organ from his Primitively, during the Middle Ages, instrumental August isth, 1907. He commenced posed. The symphony freed itself little by little Passepied, the Rigaudon or Bouree, and sometimes became manager of Italian opera in New father, who was organist at one of the music was always associated with singing, dancing, playing the violin at the age of five, York while she was still a child, and it from its original form and in the same way, in its one of these was replaced by an Aria. Each of these and studied under various ^masters in big churches of that city. Lemmens and also (though this is of less intefest to us) with was while in this country that she re¬ progress, instrumentation discarded more and more types had' a physiognomy of its own by which it wa§ Pesth, and later in Vienna. At the age was much impressed with the young a dramatic representation, to accompany some ceived her training, partly from her half- of its vocal origin. easily recognized. At first tonic accent gave only a of twelve he went to Leipsic (1843), organist’s playing and took him as a “mysterious” portion of the plot, or an action, as a little unity to the whole, and still, practically, one brother, Ettore Barili, and partly from How was instrumental music separated from the where he came under the powerful in¬ pupil. Guilmant was indefatigable at tournament, or the entry of a prince into a city. is not constrained to employ it rigorously. her elder sister, Amalia, the wife of In certain ceremonies it accompanied and sup¬ dance? In the first period of its development it fluence of Mendelssohn, who was much practicing, and read every book on mu¬ The most ancient Suites were written for the struck with his genius. After a suc¬ Maurice Strakosch, the impresario. She sic he could obtain. He became organ¬ ported the voice and filled in pauses between the simply consisted of dance melody to which one listened without dancing. At private fetes, etc., dur¬ symphony. It was not until later that they wer6 cessful debut at a Gewandhaus concert, frequently appeared in public under the ist at St. Nicholas’ Church, Boulogne, parts which were sung. It also served to sustain ing the repast, concert dances were used. We re¬ written for the harpsichord. Joachim achieved a great reputation';in management of .Strakosch, and later went where he remained till he went to the tone. The organ was most frequently used, al¬ with Gottschalk to the West Indies. On call the Noces de Cana by Veronese. Seated around As the origin of the Suite disappeared from view London. Subsequently he returned .to Paris in 1878. His ^playing in the though there was, besides the organ, a liturgic or¬ Leipsic, and studied under David and ;her return to New York in 1859 she a large table are Francis I, Charles V, and Soliman, and the rudimentary and rather banal psychology 4 French capital created a great sensa¬ chestra, whose role was for a long time rather sec¬ Mendelssohn. He remained in that achieved a great success as Lucia. In surrounded' by a court of men and women. Nearby which puts into action the dance was forgotten, as I tion and he was appointed organist at ondary and did not assume much importance until city and was, together with David, 1861 she made her debut at Coyent near the end of the sixteenth century. In secular is a group of musicians, among which are Vero¬ music was desired for diversion and expression the Church of the Trinity in Paris, a leader of the Gewandhaus orchestra. .Garden, London, and became famous. life, instrumental music served specially for dancing. nese himself, playing the viola, and Titian the bass of emotions of a higher and more complex order, Frequent tours through Germany and She appeared with equal success in Berlin, post which he has retained till the It marked the time, the movement, gestures, and viol. What is this fanciful and sumptuous orches¬ music was written which consisted of different England firmly established his high Paris and Brussels. She sung chiefly in present day. His playing was a mem- gave to it a charm, warmth and precision which tra playing? There is no question as to that. From rhythms and various movements. reputation. In 1849 he went to Wei¬ the operas of Rossini, Bellini, Donizetti, orabls feature of the Paris Exhibition, dancing could not otherwise have. their attitude, one recognizes the music. Likewise It is thus that appeared at the same time the 1878/ Guilmant has toured abroad mar as leader of the Grand Duke’s or¬ Verdi, Meyerbeer and Gounod. Perhaps But little by little, as taste developed and culture we hear the children of Della Robbia as they ap¬ Church Sonata and the symphonic Chamber Sonata, chestra, but not being in sympathy her most famous role is that of Rosina many times, and has been cordially re¬ increased, it became apparent that instrumental proach' the floral arch singing an anthem of alter¬ direct issues of the Suite which was but an evolu¬ with the “new” school, did not remain ceived in England, Italy, Russia and' in “II Barbiere.” The composer, Rossini, music had a beauty of its own, which existed when nating parts with changing harmony, followed by tion of the dance. Among these three close rela¬ there long, though he continued to be. in America. As a composer he has partly rewrote the music ascribed to this not accompanied by singing or dancing, and it then an organ interlude or a motet. We may be sure tions the Church' Sonata, Chamber Sonata and the on friendly terms with Liszt*'ap¬ written much for his instrument^ and character especially for her benefit. She became the custom to use instruments for the' sola that later the players of the flute and viola will play Suite, the reciprocal borrowings and crossings, if pointment as solo violinist to fhe King few organ recitals are considered com¬ toured extensively and did not make her pleasure of hearing their sound, by playing ac¬ some light galliard or some languorous sarabande. we may use the expression, were continual so that it of Hanover suited him better, and he plete which do not include one of his final appearance in opera till 1895, at companiments for singing or dancing under other And no doubt the princely guests, who now listen is sometimes difficult to distinguish and trace pre¬ stayed in Hanover from 1853 to 1856. organ sonatas. “Marche Funebre et Govent Garden. Since then she has been circumstances than those for which it was intended. absently, will dance to the same airs used for music cisely the line of demarcation between them. In In 1863 he married Amalia Weiss, the appearing in ‘‘farewell concerts,” fortu¬ Chant Seraphique” and “Berceuse et It is thus that, by a process of evolution, music for during the supper. these primitive times of instrumental music, all celebrated contralto. Finally he went nately none ©f which have proved final Priere” are familiar to organists the singing and dancing was gradually liberated from However, by some phenomena analogous to that forms searched gropingly and hesitatingly for a to the Royal Academy of Arts in Ber¬ up to the present. She is the most famous world over. His music is polyphonic its servitude and that toward the end of the six¬ which we have just given regarding church music, long time before they established themselves. We lin, 1868, as instructor of the violin, of modern coloratura sopranos and will in style, though distinctly modern in teenth century pure instrumental music came into there was soon a marked difference between dance where he remained till he died. In go down to posterity as unequaled in her character, and exhibits consummate meet the same ind’etermination of style that ex¬ 1869 was founded the famous quartet existence. music intended to accompany dancing and that generation. Since her third marriage, in knowledge of the instrument which he isted at the beginning of literature—confusion full bearing his name, which, under his At this period of transition, music for singing was which was written for concert use. The latter ( 1899 (with the Swedish Baron Cedar- plays with such masterly skill. He has of promises, mysterious, laborious thoughts obscure¬ leadership, made frequent tours to the also played on instruments, but it was not consid¬ naturally refers to more scholarly forms—musical strom), she has lived,principally in Wales. also composed a symphony for organ ly organized without arriving at any conclusion. chief European cities. (The Etude GaIIer)., ered necessary to change the parts and adapt them (The Etude Gallery.) and orchestra. matter richer and more elaborate—and it did not Corelli gave to different parts of his sonatas titles to the instrument. Such a motet or such a madri¬ demand the same breadth and simplicity of rhythm. of dances in the same time as those of Allegro, gal, for example, could either be sung by four It is the difference we find to-day between the waltz voices—soprano, alto, tenor and bass—or be played Adagio, etc., and Frederic Guillaume Marmirg and mazurka as played for dancing and those of wrote, in 1762, “Sonatas are pieces composed of three 307 THE ETUDE THE ETUDE 306 _ ,ml Mendelssohn and the amazing interpre- Goethe a?d Robert Schumann, are part of some unlucky mischance the performer forgot what which the fingers are actuated. The fault under MUSIC’S GREAT DEBT TO POETRY. consideration soon becomes a confirmed habit un¬ or four movements under the names of Adagio, ^rt history of that nation. Then we have in- came next in the piece, but so deftly did he patch ERRORS AND THEIR CORRECTION less there is untiring vigilance on the part of both Allegro and Presto, but which might really be up the faulty passage that the substituted notes I ARLES VILLIERS STANFORD. stances oi men who combined both arts in them- teacher and pupil. One of the greatest obstacles to called German, Courant and Gigie.” M. Combarieu, BY could not have been detected except by one who had ifs—-Weber trenchant and enthusiastic critic; By HENRY FISHER the remedying of this bad habit is found in the fact analyzing a sonata of John Sebastian Bach shows Wagner, poet.’philosopher, prose essayist, dramatis, studied the piece in question. The leader of a very small theatre orchestra had occasion to be annoyed that the ear of the performer soon becomes so viti¬ that it is formed by the combination of a church As far back as history goes the arts of PoetJy * q{ and composer; Berlioz, one of the most brilliant ^ [The _ author of the fallowing^ a well-know^ English Teacher of m with one of its members. The orchestra consisted ated as not to be able to detect that the notes do sonata and a chamber sonata, the latter very much music have been the most intimately conn ense writers of French prose of his brilliant day; Schu¬ all. Each has gained from the other and in a sense Musi. ’ He is or of Muni of piano, violin, piccolo, and the inevitable cornet. not sound together. Not only so, if the teacher like a suite. mann, almost as poetic in his tender-hearted criti¬ *1.] During a former period the plan of the Sonata neither can exist without the other, for P t y The leader asked the pianist, who narrated the cir¬ tries the experiment of striking notes in both hands was so simple that it consisted solely in the alter¬ out music in it is as worthless as music without poetry cism as in his music. cumstances to the present writer, to be a witness to in different ways, these present the same mental But poetry’s debt to music is not less. For the nation of two slow and two rapid movements. Thus in it. The ground basis of both is rhythm. As Ham what he was about to say. Calling the piccolo image to the mind of the pupil. For instance, strike conceived for the most part were the sonatas of von Biilow once said in his witty, trenchant way, fact that great composers have immortalized poems There are many ways of regarding errors. Some player to him he said, “I give you a week’s notice the right hand immediately before the left, and ask Corelli, Bach and Handel. In 1597 under the reign the Gospel of St. John ought to have begun witn in song has made them known to many thousands teachers appear to attribute them to an extra dose to leave the band.” In great surprise at the unex¬ the pupil which hand came first, when the answer of Elizabeth, Thomas Morley wrote that "it is the words, “In the beginning was rhythm. . , who without the music would never have learned to of original sin which has been absorbed by the pected notice to quit, the reply came, “What for ? ’ will almost certainly be that both came together. desirable to alternate the Pavanes and the Galliards, is the heart-beat, the pulse which enables the ideas love the poetry, and who, perhaps, had no true ear pupil, and which must be exorcised at any cost. In “For making mistakes,” said the leader. The Then ask the pupil to watch the hands of the per¬ the first being music of a grave and dignified char¬ to grow, and the invention to make a living appea . for it until the music taught it to them. Wilhelm some cases they will think- it necessary to use vio¬ piccolo player very indignantly said, “Do you never former whilst at the same time listening to the acter and intended for slow dancing, and the latter The most beautiful body cannot compel admiration Muller, the father of our own Max Muller, is chiefly lent means to counteract a tendency to err. Other make mistakes?” This was intended to be a poser, notes. After a few attempts the pupil will be able being of a light and rapid movement. The sonata without the pulse of life in it. That is the first known here by Schubert’s settings. Heine would teachers, again, regard an error as a personal insult but the conductor soothingly said, “Yes, my boy, to recognize the real effect of the notes, when a in its primitive form is nothing other than the put¬ principle. The pulse is of no artistic value unless have been a sealed book to many Englishmen, if directed against themselves. Or they may be so but I know how to make a mistake. You don't." fresh experiment must be made. The pupil must ting into practice of this advice. it beats in a beautiful body. That is the second Schumann had not opened his pages. I had a sensitive that a false note causes them positive men¬ Here then is the philosophy of the treatment of watch his hands whilst striking notes, so that the principle. And this rhythmical force can be as curious personal experience of this. Many years tal pain and discomfort. As the result of any of errors. As we can’t do without them we must con¬ mental impressions of sight and sound may be accu¬ THE CHARACTER OF THE SONATA. strong in prose as in poetry, as witness the English ago I set Browning’s Cavalier songs to music. Not the causes named above we have teachers of the ceal them in every way we can. The average pupil rately correlated. The simpler five-finger exercises Without going into further details, what we of the Bible or of Bacon, of Junius or of Ruskm, or long since a man who knew them in old days sug¬ piano who storm and rave, shouting at the top of does not stop to correct an error because it has not may next be attempted, when it will be found that should retain is this. First, the point of view of that curious, fascinating compound of apparent gested their performance to a choral society in a their voice, or who moan and groan as if in actual been detected, but when the ear has been cultivated the fault in question is more liable to occur with form which the sonata has manifested from its very prose and real poetry, Walt Whitman. Both arts centre of light and leading over the Border. This physical pain. A false note will cause a sudden a little then this very objectionable plan is devel¬ certain fingers than with the others. When this is beginning, its architecture, its tendency to or¬ caused the committee to read the poems in a vol¬ ejaculation most disconcerting to a girl, who, in oped'. With some the habit is gained of stopping discovered exercises must be searched for, or if nec¬ ganization by the arrangement of its divers two principles. ume apparently unfamiliar to them. Browning’s Se¬ cases known to the writer, has been made to weep for a moment, striking the correct note, and going essary devised, by which these errant fingers receive elements. Just as it became enriched and Poets and musicians who try to express ideas, lected Poems. The result was an indignant refusal by the inconsiderate conduct of her teacher. Other on as if nothing had occurred. Such a plan is of suitable discipline. This is done by selecting suit¬ developed it became more and more a sym¬ even beautiful in themselves, without a sense of to sing such words, and an expression of belief that teachers, again, stamp their feet or thump the pupil, not the slightest benefit. Every error is the result able notes to precede those taken by these faulty metrical work—a musical discourse in which are rhythm are ineffective in their appeal. Those who no book containing such blasphemous language or, with violent gestures, use the classic phrase, “If of some imperfection in the operations of the mind. fingers, which should be approached in as many both order and movement, susceptible to a use their rhythmical power to perpetuate hideous would be allowed to lie on any respectable drawing- you make that mistake again I will knock you off Even if we assign the error to something which is ways as possible. practical development of progress of thought which and repulsive ideas are actively mischievous, pre¬ room table. But they began to read their Brown¬ the music-stool.” Whether any cases are on record wrong with the technique of the performer it arises the Suite could hardly know. Unity and variety are cisely because the rhythm rivets the attention and ing, and they’ll get better presently. of a pupil being actually “knocked off the stool” is primarily from something in the mind. Such being ERRORS IN CHORD PLAYING. the eternal conditions of works of art. The Sonata forces the ideas on the listener, often blinding him unknown to the present writer, but such cases may the case we should always ask ourselves if it is A chord of two or more notes, taken with either realizes this fact. That is why it has prevailed to their inherent ugliness or poverty. FAMOUS MUSICAL SOLECISMS. be known to some of the readers of this article. It worth while to investigate thoroughly the cause of hand, is frequently performed in a faulty manner. and it is why, under these different aspects, the Then there remains the third principle, which is used to be said of the late Madame Rudersdorff, the an error; if not it should be passed over. Regarded I alluded to the influence and help for which If the chord consists of three notes, the middle one symphony, the quartet (properly called a sonata) also common to both arts, and as vital to both as eminent soprano, that she used to “slap” any of her in this way, errors can be made most interesting to music is indebted to the poetry that inspired it. 1 is frequently absent. The note is pressed down, but has adapted itself for three hundred years with mar¬ it is to painting, sculpture and architecture—sym¬ young lady pupils who did not please her. She was both pupil and teacher. The thoughtful teacher velous plasticity to the most divers sentiments. might also speak of writers who have found their no sound follows. The reason for this is that the metry of form. It is becoming the fashion a powerfully-built woman, and there is no doubt says to his new pupil, “Ethel, can you tell me why Its form obscures neither the thought nor the finger reaches its note an instant after the others (amongst the ignorant and the hysterical) to sneer inspirations in music. But they have, especially in she could perform this operation effectively if she you played A instead of G?” The dear little hypo¬ emotion of the masters who used it for the ex¬ have begun to press theirs, and the remedy is at form. recent times, trodden on dangerous ground, espe¬ had any desires in this direction. Many other ex¬ crite, thinking to please her teacher, says, “Because pression of their ideals. We should retain the obvious. The curvature of the different fingers cially when they become technical. In Shakespeare amples could be narrated of the brutal teacher, but I was careless.” She does not really mean that, but knowledge—and this from a fundamental point of THE IMPORTANCE OF FORM. must be most carefully adjusted, so that their tips and in Milton there are no solecisms. How Shakes¬ those already given must suffice. view—that the Sonata derived at the same time thinks such an answer is conciliatory and therefore are in the same plane, and, at the same time, the Only the other day I read in a musical article, peare learnt the mystery of the craft no one knows. of service. He says, “I did not mean anything of from church and dance music, plunged its roots UNWISE PUNISHMENT. hand must be turned in such a manner that this into both the depths of religious sentiment and written by a man who is himself a composer, a dog¬ Milton had it from his father, an accomplished mu¬ that kind. In fact you were probably not careless plane coincides with that of the surface of the keys. secular life. The most burdensome lasting cares of matic statement that any musician could learn all sician, and the composer of one of the first madri¬ The first remark which must be made is that con¬ in the sense in which I understand the word, but For example, select any chord, as E-G-C, and care¬ man, the most universal inspirations and candid form from a text-book in two days. What a happy gals in the “Triumphs of Oriana.” In our day the duct such as has been described above is not teach¬ there must be a reason for the error, and it is worth fully adjust the tips of the fingers to be employed in emotions here mingle their echoes. relief this gave to many a younger writer who most notable example is Browning, and yet, oddly ing. Doubtless “attention” is stimulated in some our while to find it out.” How much better is a such a manner that they touch the notes with ex¬ It is the mirror of the genius of Beethoven and wanted to make his mark without the trouble of enough. Browning, who had a good ear for music cases by a threat to “rap the knuckles” of a pupil, plan like this, when consistently followed out, than actly equal pressure. Carefully raise the hand by by looking in it we can see our own reflection and working to make it! What an intolerably mischiev¬ and some smattering of knowledge of it, has al¬ or to “knock her off the music-stool.” In other the drawing of a ring round the head of the note, bending the wrist, and let it fall in such a way that recognize the confused image picture of all human ous piece of advice to any unformed and impres¬ lowed himself far less musical sound in his poetry cases the pupil is absolutely unable to do anything, a device much admired by some teachers. Drawing the notes specified above are struck. The ear must sionable mind! We all know how difficult it is to a ring round the head of the note is by no means longings. than either Tennyson, or Swinburne, or Rossetti, being paralyzed through sheer terror. How de¬ listen most keenly, so as to determine if one of handle form in painting, sculpture and literature. It an effective stimulus to the intellect. This is shown The Ariette (Op. ill) in a theme of some meas¬ none of whom appears to have had any pretensions grading a position for both teacher and pupil! An¬ these notes is less prominent than the others. If is far more so in an art so intangible as music, and other remark is that when a teacher has had charge by the frequency with which the purpose of any par¬ ures embraces the essence of all the songs that ever to technical musical knowledge. And, what is still this proves to be the case, the errant finger must rise to the lips of man. One listening may hear a a lifetime of sweat and tears is often not enough of the musical education of a pupil for a year or ticular ring is forgotten by the pupil. more surprising, he rushed in where the other angels be slightly re-adjusted, and this process must be resonance, a melody, which seems to come down to master it. No one can enlarge the basis of it or more, he must share the blame for any errors with continued until the ear is perfectly satisfied. To aid feared to tread, and discussed musical problems and COMMON ERRORS. through ages with deep meaning and sublime vary its types without a sure grasp of its principles. his pupil. There is something wrong with the plans in this consummation it is very desirable, in fact Am I not right in saying that Wren’s greatest claim introduced technical expressions with, I must say, thoughts. And the final allegro, with its quick and he adopts. Either the music is unattractive or it is What is the commonest error on the piano? It absolutely necessary, that a uniform system of fin¬ to fame is beauty of proportion? That Shakes¬ very varying results. In “Abt Vogler,” for example, light rhythm, a kind of feverish waltz, does it not too complicated; the symbols on the paper are not is striking the left hand before the right hand in gering should be adopted'. The plans described in peare’s mighty stagecraft is due to his grasp of recall the intoxication of past dances, the magic he speaks of that master, as he improvises, “sliding clearly apprehended, or they have not been accu¬ cases where the notes ought to be played simul¬ the preceding chapter are probably as good as any, what the dramatists call “the unities”—in other of festive evenings under illuminated branches, all by semi-tones till he sinks to a minor,” a method rately correlated with the requisite notes on the taneously. This is a most insidious fault, for if and may be adopted if the student cannot devise words, form? That the essence of the beauty of the the enchantment of life and all the regrets of the of modulation which would be the very reverse of piano. In all such cases the teacher must be to once a performer becomes a victim to it there is the any which he regards as equal or superior. Success Parthenon marbles, as a whole, lies in the co-rela¬ heart? masterly; and “I blunt it into a ninth” when it blame. Invincible ignorance on the part of the greatest difficulty in so training the mind that a in the processes described above is not attained un¬ tion to each other and to the general design? That should be “I sharpen it into a ninth,” finally atoning pupil may be pleaded by the teacher, who is to be right manner of performance can be acquired. Par¬ the great pictures of the Italian, Spanish and Dutch til a chord consists of perfectly even notes with for it all by that immortal expression, “The C major pitied rather than blamed' if he has not realized that enthetically it must be remarked that the reverse FITTING THE HAND TO THE KEYBOARD. schools are founded on it? That the only real live whatever force it is struck. A very useful plan is of this life.” a true educationist will never despair even in the fault of striking the right hand before the left hand to strike the chord several times successively, but pictures of so-called modern impressionism are case of the dullest student. By the selection of BY FRANCIS LINCOLN. And Browning once wrote a poem for music, the is probably non-existent, at any rate it is so rare so that each repetition is a little softer than the one from the brushes of men who, having mastered suitable music even such a one may become inter¬ that the present writer has never met with an ex¬ form, know how to vary it? And in all these, de¬ words for a tune of Avison, in “Parleyings with which precedes. As a pianissimo is reached it will ested. It may be, of course, that students such as ample. This very striking discrepancy must have be found that one or other of the notes tends to Every teacher knows that the hand must be fitted signs takes precedence of detail, and not, as is so certain People,” which made one doubt if he had a have been described will never attain to any emi¬ some connection with the mental operations which disappear, when by a still more refined adjustment to the keyboard and that it is only after years of frequent nowadays, detail of design. true sense of good declamation, for anyone who nence as performers; that is very likely. But there precede the actual striking of the notes. This of the fingers, the fault is again remedied. practice that the hand actually becomes so adjusted What is amorphous cannot do more than surprise tries to sing his words to the tune will find line is no reason why they should not perform simple sounds like a truism, but it is quite certain that such When the student has gained the power of strik¬ that the peculiarities of the keyboard cease to be or shock, and when it cannot do that (and often but attractive music in a style which will give pleas¬ wfr linC °f false acccnts a°d halting rhythm. considerations do not receive the attention they de¬ ing the notes of chords with exactly equal force, it considered obstacles. One of the first things the after having done that) it will weary. The best- When I first read it, I could not make the words ure to themselves and their friends. The true serve from the large army of teachers of the piano. will be time so to train the fingers that any one of teacher should do is to examine the pupil’s hand written novel without a story, the most brilliant and music fit. Mr. Birrell in his edition has gone mission of the average teacher is to make per¬ carefully. Then he should adjust the pupil’s hand' The chief if not the sole reason why so many per¬ these notes may be made prominent at will. There comedy without a plot, will not live more than a one better, for in a note to “Master Hugues. of formers of this calibre, and he must be thankful if, upon the keyboard so that it will approach the formers strike the left hand before the right is are thousands of examples of a melody with a passing day. Perhaps we live in times which prefer once in a while, he gains a pupil or two who have teacher’s conception of an ideal position. The hand Saxe-Gotha,” he defines a fugue as a “short mel- dependent on the manner in which we form a chordal accompaniment in the same hand in which surprises and shocks; but it is, I submit, unwise to exceptional talent. There are, of course, teachers with long fingers for instance will require a higher °dy- I suppose his mind was temporarily dis- mental image of any particular combination of this device is absolutely necessary if an artistic re¬ speculate on the continuance of a taste which is in¬ who pose as superior beings, and who tell us that position than the one with short fingers. By dint tracted by efforts to promote harmony in Ireland. notes. From the very first moment that we are in¬ sult is to be attained. This so-called' cantabile play¬ herently morbid. If both our arts make it their the average pupil should abandon the study of of great patience and repeated warnings the teacher If I might venture on advice, I should say, get troduced to the staff, the eye, and consequently the duty to fight for these three principles—strength in music, on the ground that any true artistic result ing must be ranked with the most difficult devices must cultivate the hand position which is best any musical allusions “vetted” by a musician. Some mind, ever travels upwards. The numbering of the rhythm, beauty in invention and symmetry in de¬ will probably never be attained. If we dwelt in of the advanced performer. The first requisite is adapted to the pupil. If the fingers break in at the of the greatest have slipped for lack of such advice. lines and spaces of the staff is an evidence of this. sign—in other words, for a sound heart, a’creative Utopia, where everybody always does the right the recognition of the note amongst the mass of first knuckle joint the teacher should show the pupil We cannot think of the fifth line of the staff with¬ brain and a beautiful body—they need not fear for George Eliot spoke of a sound as of “a long-drawn thing, such a dictum would be of value, but not so sounds, and the special direction of the mind to the how this must inevitably result in an uneven touch. tllAir flit tiro organ stop.” An organ stop is a piece of wood with out the other four lines being present in the mind, particular finger concerned. At the same time the in this work-a-day world. By making the best of perhaps in a state of subconsciousness, but always If the hand inclines toward the little finger instead --- wwes LU puetry is immens a knob on the end of it, which when drawn out an other fingers require equally careful and emphatic of toward the thumb the teacher should repeatedly indifferent material we are assisting musically in ready to rise into consciousness should this be re¬ In this country I need onlv specify such strikit inch or two allows the wind pressure to enter a res¬ guidance, otherwise their notes will be too promi¬ call the pupil’s attention to the fact that this wiil the pursuit of “the greatest happiness of the greatest quired. If we wish to find the notes of a chord we examples in the past as will be found in Buller number.” nent. Pupils, when they first enter upon the study lead to uneven scale playing. The mind of the pupil ervoir below a row of pipes. A “long-drawn organ nearly always take them into the mind in ascending reprints of Elizabethan poetry from the songs ai stop’ can only mean a piece of wood which will What is the greatest error which a performer can of the cantabile touch, have to contend with the diffi¬ must be made to command his hands. He must con¬ madrigals of the period, and later in the connectk order. When we come to the formal study of har¬ culties to which allusion has just been made. When draw out several feet, and the only sound it could commit? It is to come to a dead stop. No pro¬ stantly be taught to regard the keyboard as some¬ between Milton and Henry Lawes, and betwe. mony this habit is confirmed, for we always build they make a special effort to “bring out” the emit would be a squeak if the mechanism within fessional performer ever does this, and we should thing that cannot under any circumstances be Dryden and Henry Purcell. In Germany the i up our chords from the lowest note, whether this is melody, the fingers which play the accompanying changed to fit his hand', and be made to realize that were rusty or dilapidated. A little knowledge in always train our pupils to keep progressing by hook numerable songs of Schubert, drawn from eve’ the root of the chord or the base of an inversion. notes also move vigorously. The consequence is it is his hand which' must be trained to fit the key¬ music is a dangerous thing. (From an address re¬ or crook. A few years ago the present writer was conceivable author down to his own day the co The constant habit of taking in the symbols on the that the melody is lost amid the mass of sounds. board. listening to a performance of Liszt’s “Spinnerlied” nection between Goethe, Schiller and Beethove cently delivered before the Authors’ Society of Lon¬ music paper in an ascending order must react on The persistent practice of fugues is the best means don). by one of the most eminent pianists of the day. By the efferent nerves, and hence upon the muscles by for obtaining this independence of finger. There THE ETUDE 309 central line). Taking middle C as starting point on 308 the etude making difficult passages simple. member there comes a lull in the movement of the the piano. I trace with the scholar each note down¬ piece. Headed by the priest with his little bell, the I heard from my publisher that rtwas ward on the instrument for left hand and upward are far too many students who play all notes with by CAROL SHERMAN. sad procession made its way slowly through the had advised him to secure my works t v me Leschetizky on Piano Playing for the right hand, at the same time each note is the same degree of force, quite regardless Of any midst of the dancers, who, of course, ceased their tion; Brahms himself had never satd a worn being played, taking care to locate the same on each Ther- is always some part of a piece which seems From an Interview by E. Hughes motions, knelt on the ground and piously crossed directions as to f or p which their music may con¬ line and space of clefs to illustrate the succession of tain. The term “music" is dbviously a misnomer to defy tne best efforts of the pupil. When he themselves. But scarcely had the last mourner ^For many years I have been ^“-^Tyrol- sounds. In this way the difficulty of naming the when applied to such dreary and monotonous per¬ several months of every year m the 0f * to such a passage it is well for him to re- II. passed than they were on their feet again, whirling comes old axiom: "There is always some around more furiously than ever! I had seen a real notes differently in the two clefs is largely dispensed formances. one of the most enchanting places on th at which you can play a difficult passage tarantella at last! with. Attention has, in the preceding paragraph, been the earth. There in a quiet litt e house I. bring Without a thorough knowledge of notes we who ^P ,nrrect time proportion, notes and dynamic “The ‘Arabesque’ in A flat, opus 45, has been directed to the faulty playing of chords when their my work to maturity—that is, I prepare BEETHOVEN AND CZERNY. guide these immature minds know that all work we notes have to be struck simultaneously. It will now W‘‘l wnvided you play slowly enough.” The played often in America by Madame Zeisler. The Knowing that Leschetizky had studied all the melody notes in the upper voice are to be brought try to do in musical instruction is of little or no be desirable to consider the faulty playing of chords mar^S difficult passage in the most difficult Bach Beethoven concertos and most of the sonatas dur¬ out distinctly, and the whole played with an easy avail. which have to be performed arpeggiando. The chief fugue or the most complicated Schumann etude can ing the time when he was a pupil of Czerny, and fluency. Safety in striking the right notes in the There is nothing to hinder the teacher, however, faults in this case are unevenness of force, or speed, be played by any pupil who has mastered the secrets that Czerny had gotten the traditions from the skips is insured by ‘preparing’ them, i. e., placing from forming the hand of the child student in the or both. A well-played arpeggio forms one of the of musical notation, provided the pupil plays slowly S PRICE OF SKILL IN MUSIC. master himself, I asked for a few words on the the fingers quickly and silently on the notes before first piano lessons. A few exercises at first—fingers most artistic devices in a pianoforte performance. enough. It is net wise, of course, for pupils to at¬ lifting, whilst others hold the keys down, following interpretation of Beethoven. they are played. Its notes must follow each other with the most tempt pieces that they can not hope to play ,n the r FREDERICK MAXSON. “One must play Beethoven with feeling, with “The ‘Serenade,’ opus 43, is in imitation of the with double notes; five-finger development and such perfect evenness. This evenness is by no means tempo that the composer intended. Possibly more suitable finger-practice as they can commit to mem¬ time is wasted in this way than in any other. Young warmth. Beethoven himself hated this so-called lute. Imagine a gay young troubadour swaggering always attained by pupils, especially in the case of The old saying that there is no “Royal R°ad ‘classical’ piano-playing which so many pianists ory are needful and quite helpful. Finger-stretching students try to play piffs that great performers into a court full of brilliantly gowned ladies. He very extended arpeggios in which the hands have to Knowledge” is found to be just as applicable^ affect. That he was no pedant is shown by the fact exercises—first two successive fingers until all the 0 any other study hesitate to undertake. The Chopin Ballade is at¬ whangs his many-stringed instrument and sings his acquirement of skill in music that he wrote more expression signs in his com¬ ten are stretched; then alternating finger-stretching For skill in tempted before the student can play the little Heller almost impudent lay with an air of utter indiffer¬ —perhaps even in a greater measure, positions than any one else has ever done—and —will assist the smallest hand to span and play an pieces creditably. However, it frequently happens ence to the beauty around him, while the ladies A SHORT AUTOBIOGRAPHY OF EDUARD the use of the fingers and the various muscles changed them more often! octave. Continuing this with practive and perse¬ that one finds a single difficult passage in a piece gaze on his attractive person with whispered expres¬ SCHUTT. ployed in playing an instrument can only be ac¬ “These things I had from his own pupil, Czerny. verance, the chords or octave-chords can be properly that is otherwise simple. In such cases the fol¬ sions of surprise at such behavior. quired and retained through constant and regular There was once a critic in Berlin who heard what performed. The common complaint from so many lowing method will be found advantageous. “ ‘La Piccola’ is an excellent study for the first (Written Expressly for The Etude.) practice. It is said of Von Billow, the great pianist, was to him a new cadenza to one of the Beethoven lips that they would never play the piano because of The first process of science is to magnify. The and second fingers, but one must not play it as an that if he neglected his practice for a single day, concertos. In his critique of the concert he took their inability to span an octave does not feaze botanist the bacteriologist, the chemist, the geolo¬ etude, for it is very grateful when the melody is e of tl he himself noticed a diminution of skill; if for two especial pains to load the cadenza with all sorts of the writer. me composei gist the pathologist, the biologist all endeavor to carefully shaded and properly brought out.” Etude Mignonne, Gavotte Humoresque, days, his friends discovered it; and if for three days, abuse, declaring it absolutely unsuited to the style As a rule, the children under my care who memo¬ In Fonne la Vnlse, Reverie, Valse Lcnte, the superb the public recognized the difference in quality of find’out about their work by magnifying small com¬ rize the first hand-forming exercises are usually more Mtenon, and the very popular Valse a la Bien of the concerto. The next day he discovered that A NEW CONCERTO. his playing. The same is true in composing. The ponent parts so that they may see and understand desirous of doing the work than they are when ’ has— —epared the following little autobiographical the cadenza was by Beethoven himself!” Leschetizk/s publishers make him most flattering -*■ portrait has been placed In the' great composer, Mendelssohn, remarked that,, with their nature more clearly. Why not magnify your sufficiently advanced to read these from their notes, f Celebrated Musicianslelans for this amonth.] overtures for new compositions, but his time is so all his experience, it was still necessary, for him to music? Did it ever occur to you that you could? LESCHETIZKY’S COMPOSITIONS. so all the more occasion for taking “time by the occupied with teaching that little remains for crea¬ compose every day in order to keep his skill. The plan is a very simple one. Take the most diffi¬ forelock.” I was born in St. Petersburg in the year 1856. In conclusion, I asked Leschetizky to say some¬ tive work. A new concerto is now in the course of The skill of the finished musician, player, singer cult measure in your piece and double or quadruple Renaming the exercises, terming them Helpfuls, My first artistic impression of any weight was that thing about the interpretation of his own composi¬ evolution, and several smaller pieces were com¬ or composer has been acquired only by incessant the time. Imagine that all the quarter notes are seems to cheer other scholars at times, I find, and produced in my youth by the incomparable playing tions. He regrets that some which he considers pleted last season. toil and drudgery. The player must train his awk¬ half notes and the eighth notes quarter notes, etc. encourage them along the line. We find sometimes and the personality of Anton Rubinstein. I heard ward fingers to respond to his will in any manner among the most interesting are little known, or at “I have already one concerto entirely finished; It is surprising how this little plan will help you. least rarely played, such as the “Menuetto Capric- fjiat dreaded word “exercise” needs to be left out him not only in his concerts but had the privilege that may be required, so that the action eventually Of course the music will sound the same and you but when the work was done it did not satisfy me— of listening to his wonderful art in the intimacy of cioso,” with its charming contrapuntal workmanship, it was not real ‘Leschetizky.’ So I sealed it up very of our vocabulary. becomes spontaneous. This requires months and will have the aggravating proof that your previous Should a child fail to apply himself to piano- his own home. When I decided to choose the and the “Fantaisie Nocturne,” a mood picture full of- carefully and had it carried up to the garret—with years of thoughtful practice in every variety of mo¬ difficulty with the measure was solely due to haste, study naturally that mind may sometimes be con¬ career of an artist, he stood at my side and ad¬ tion. Next the eyes must be trained to intelligently fine feeling. especial directions that it be destroyed after my but the best part of it is that you really accomplish centrated with coaxing or with interesting games, vised my parents to yield to my wishes, since interpret the notation, and the various musical signs “The group of pieces entitled ‘A la Campagne’ decease!” your purpose, instead of "fussing” or "fooling" with etc. The game “Elementaire” impressed the notes they were by no means at one with me in the mat¬ and characters. The ear should receive equal atten¬ should be played together. It is, in fact, a suite, This is a good example of the sort of criticism it and achieving nothing. Sometimes it is a good on the minds of two of my pupils when every other ter. In 1876, having finished with distinction my tion, so that music and not notes shall be the domi¬ of which the first number, ‘Wellen und Wogen,’ which the master employs over his own work. And plan to write out the difficult measure in this effort failed to interest these youngsters. They play course in the St. Petersburg Conservatory, I went nant thought. forms the prelude; the ‘Consolation,’ the andante; it is the same at the lessons as with his composi¬ fashion: this game with me (this brother and sister), and to Leipsic for further theoretical study with Jadas¬ So too, the singer must practice breathing exer¬ ‘Primula Veric,’ the intermezzo; the ‘Melodie a la tion—always the same painstaking care that has Original measure Beethoven’s Sonata, Op. 13 the three of us have a good time part of the lesson sohn and Richter. After receiving the diploma of cises, and obtain conscious control of the vocal or¬ Mazourka,’ the scherzo, and the ‘Danse a la Russe,’ brought forth such brilliant results in the world (Pathetique). hour in this way. We shall not need it much longer, the Leipsic Conservatory, in 1878,1 settled in Vienna gans, and the production of a musical tone, all be¬ the rondo-finale. of pianoforte-playing. to perfect myself on the piano under Leschetizky. fore the attention can be given to the rendition of “The six numbers in opus 39 are souvenirs of an as the rudiments are now becoming clear, but I shall Italian journey. The ‘Barcarolle’ (Venice) is in {Pari 1 of this interesting interview was printed peed it in another such predicament. I do not advo¬ Since then I have always been on terms of the the simplest song. Distinct articulation of the vow¬ in the April Issue.) warmest friendship with this great teacher, who by els and consonants must be practiced, or we shall reality a ballade. With the arabesques ot the intro¬ cate home-work for the little students if they apply his untiring zeal in cultivating what talent I possess hear a vocal tone, beautiful in quality perhaps, but duction one must create the atmosphere of the themselves and are apt pupils, but when the other won my heartfelt gratitude. conveying no thought or idea. As in instrumental lagoons. The first theme (Moderato) paints the extreme occurs I advise any plan at all that will In the first concert of my own compositions in work, the vocal student must also gain complete forsaken lover as he sits alone in his gondola unijer PRACTICAL AIDS IN TRAINING CHILDREN. interest the mind and impress the essentials on the Vienna I had the assistance of a young girl, then mastery of the entire range of expression, and of the shelter of a vine-grown bank of the canal, await¬ brain as long as the mind is not wearied. entirely unknown, but who has since attained interna¬ execution in every variety of speed and lightness. ing the passing of the bridal procession of his for¬ BY MAUD H. WIMPENNY. When home-work is necessary I write notes on tional fame as the greatest pianist of her sex—Fanny A musical education would be very incomplete mer beloved. the staffs or clefs for these children to name by Bloomfield-Zeisler. She v as also a pupil of Les¬ without the cultivation of taste through the frequent “An especial tenderness is produced in this part In all studies, musical or otherwise, the teachers letter, and also write rests, dotted notes, examples chetizky, and since we often played together, it was hearing of good music, adequately rendered, and an by breaking the voices in the right hand often. The of little folk have the greatest need of forbear¬ of time, signs of flats and sharps, to be answered in only natural that I should ask her to play my intimate acquaintance made of the best thoughts of train of gaily decorated gondolas is now heard ance, tact, insight and discrimination. writing. When this can be accurately accomplished variations for two pianos in my concert with me. the finest composers. Memorizing of music to be faintly in the distance. The thirds picture the light To train the very young children in any branch I ask that the wee fingers write notes, a few at a It was a great pleasure for us to work together, splash of the oars and must not be played ‘bravoura.’ of study or art the instructor must, as it were, be time, and name them, a scale or two, rests, etc., and played or sung is very desirable as a means of stor¬ The same measure magnified four times: and our friendship has never known a shadow from ing the mind with these precious musical thoughts, With the aid of a supple wrist they may be brought born again or rejuvenated during each lesson. To bring them for my correction and the deserving that time to this. which thus become an inspiration, even during ab¬ put with the required gracefulness. The procession put one’s self in the child’s place should be the average. For good work some trifling gift once in From 1879 to 1881 I traveled a great deal, giving sence from musical surroundings. Just as one who passes on its way to the church, and then comes a aim of the teachers of juveniles; and if one has not a while is readily appreciated. concerts with Madame Norman-Neruda and with loves poetry and commits it to memory has an un¬ short recitative. the natural ability to do this it is hard to be suc¬ Usually children are great imitators, and this any¬ Leopold Auer, the master of Mischa Elman, both failing source of delight in recalling his favorite 1 fetr '-^.-1 .st- s-st-*- “The lover meditates on his fate, but immediately cessful in shedding light on the dark problems one knows who has made childhood a study to any in Austria and in Germany. In 1881, after the de¬ quotation, so the musician may hear again in mem¬ the bells in the ‘campanella’ break in upon his medi¬ which beset the wee students. great extent; therefore the wise teacher must ever parture of Felix Mottl for Calsruhe, I was called to ory the beautiful tone poems to which he first lis¬ •/ i=~ f tation, and, overpowered by thoughts of the hap¬ To instruct young minds in music, and especially be the perfect example, and never grow careless or take his place in Vienna as director of the Wagner tened with delight. / JL f piness which has been torn from him and given to in pianoforte study, is to some an arduous task. disinterested in manner of speech or mode of Verein. As a delegate from this society. I not The musician’s equipment would still be incom¬ —jffff -"h* f f-i another, he casts himself with a wild plunge into One who teaches this particular branch must of playing. Sometimes great things are accomplished only attended the first performance of Parsifal, plete without the comprehensive study of the theo¬ L l- j T ^ v l--^ the somber waters, which gurgle and bubble over necessity be a lover of the work, for even then by this gift of imitation in musical study when the in Bayreuth, in 1882, but on being received at Wahn- retical side of music. Harmony, Counterpoint, his disappearing body. Quiet has come again. The the task proves often nerve-exhausting and dis¬ immature mind would fail to grasp the verbally con¬ fried was distinguished by an address from Wagner. Fugue, Orchestration, etc. Each of these depart¬ bells have ceased and the procession wends its way couraging. veyed idea. This I consider the most memorable occasion of ments requires years of study; in fact, as in other stately back from the church. The new bride¬ One small student of mine actually did not seem Tell the little ones how you personally grasped my life. Another high honor was mine in a concert studies, there is no end to learning; and the musi¬ groom sings a love song to a soft accompaniment to realize the meaning of “up” and “down.” In the meaning of certain ideas; how you stumbled of the Wagner Verein. in which I directed the cian who aims at perfection must be a student all This method is especially good for pupils who do and slowly the cortege disappears in the distance.” reading the notes off lines or spaces he would re¬ over some difficulty, explaining how, by constant choruses from Liszt's Prometheus, while the com¬ his life. not use a metronome and who have no means of in¬ In connection with the “Tarantella” from opus peatedly say E was on the last or fifth line of the endeavor, you overcame such trials, mentioning poser himself undertook their accompaniment at After the most complete and thorough course of suring a slow performance. In fact, all the metro¬ 39 Leschetizky told me the following story: treble clef, and so on, reading from top to bottom, assuredly its glorious reward and the happiness the piano. study in any or all branches of study, it remains nome does is to set the time desired by the teacher instead of upward on lines and spaces. So I quiz¬ crowning each effort. AN INTERESTING TARANTELLA. From 1884 to 1887 I traveled in concert tours for the musician to put himself into his music, so at the rate which in the judgment of the teacher zically asked him if he crept down a hill and went Illustrate largely and choose little pieces of music through Russia, France and England, playing my that he has a personal message to give, the value or student permits of a perfect performance. But “When I was in Naples I wanted, of course, to sliding, uphill in. wintry weather. This point of suitable in tone and title to the disposition of the piano concerto, then recently published, and of which will depend upon the life experiences even the metronome is not so efficacious as this see a tarantella danced. You know there are troupes reminding the children to read upward always notes child whenever it is convenient to do so. chamber music of my own. In 1892 the firm of which it reflects and portrays. method, since the metronome if not carefully used of dancers who will perform before you if they are on the five lines and four spaces, viz.: E, G. B, D, F A kind message to the delinquent; a trifling favor Simrock, in Berlin, proposed that I give them the may become a crutch, while this method strengthens properly paid; but these paid dancers left me un¬ and F, A, C, E, and . the same in the bass clef up¬ to the deserving, showing how you sympathize with exclusive right to publish my works, and this ar¬ the pupil s imagination and sense of proportion. The satisfied; it seemed as though the real spirit were ward from the first line, turns out a great help. It their struggles; applauding all efforts in the right rangement, on a friendly as well as a business basis The judgment of the true connoisseur is always dis¬ metronome is, however, exceedingly valuable and not there. Shortly afterward I went over to the was almost amusing to find the mites could think direction, and in the kindest possible manner guid¬ with the head of the house, has remained undis¬ tinguished by moderation. With him it is a point of should' be possessed by all earnest students. island of Capri and happened quite by chance on a of reading them upside down. ing the small hands and childish minds through the turbed to the present day. For the interest of this honor to weigh his words, and not to offend against band of peasants who were dancing a genuine taran¬ Another question that is sometimes asked of the labyrinth of musical instruction is the teacher’s house, I thank no less a personage than Johannes truth. The ordinary art gossip, on the other hand tella for all they were worth! I could watch them teacher is, “Why cannot the notes of the bass clef crowning aim. In nine cases out of teh this whole¬ Brahms, with whom I was thrown into close asso-. indulges in the superlatives of a real or feigned en-' from a little distance without disturbing them in be named exactly the same as the treble clef?” In heartedness, sympathy and tact will be amply re¬ ciation during the summer months of every year thusiasm; for his favorites he has nothing but un¬ “Compositions which find lasting and decided favor their amusement. from 1887 to 1895, in Ischl, where we met each other with the public must needs possess some inherent answer I tell these questioners to draw an imaginary warded by the rapid advancement of the scholars qualified praise; for all others, nothing but adverse criti¬ ''Suddenly there appeared on the scene a funeral line for the middle C (as in olden times there was often at the home of Johannes Strauss, the famous power, and enunciate adequately and vigorously an idea and the coveted possession of their good will and cism; and truth is to him of less consequence than cortege from the village church near by—you re- only one clef of eleven lines, middle C forming the waltz king. It was not until many years later that some piquant turn.—Moscheles. ot the time that gave it birth.”—August Wilhelm Ambros. 311 THE ETUDE THE ETUDE 310 •, -„t»rirening notes. The chord movements are 4. How are Diminished Intervals produced from IMchtag. If you think that a little oudiue of the talk £ ,£“ fhe table. (Ulus...* « «bl« M Perfect? HOW YOU MIGHT START YOUR TEACHING 5. How are Diminished Intervals produced from I gave would be of any value, I will gladly send BUSINESS. pi on these careful and thorough foundational Major? From Minor? you. Just let me know. -Uy yQurs> r t that we begin the study of this beautiful in- 6. Why may the Prime not be Diminished? Some Practical Letters to a Young Teacher. 7. Write above A the Major, Minor, Augmented ■;;e»men. £ “d “ " LETTER NO. 3- mn beo-in to express with our hands what and Diminished 3d. BY HARRIETTE BROWER. TtWnk and ffel. ‘Why talk of expression before 8. Why must the upper letter name (in Question D You? letter, urging me to send on my “talking Z fingers are capable of expression,’ said Kullak. 7) remain JS? My Dear Lee: Everything depends beginning at the right end and 9. What Intervals occur in the tune America? Your recent letter interested me greatly, for it not notes” at once, has just come, and I comply. TALK ON TECHNIC. Ling a good foundation in piano study _ only told me that you are well and happy, but that you “We want to have a little heart to heart talk on the “H you have been interested in this brief outline, SOME TEACHING PRINCIPLES OF DR. are wide awake, and anxious to get to work and to [Editor’s Note.—It is the aim of this department to Thus, C to G is a Perfect Fifth; C to G8, an best way to study the piano F.rst of all. Why d I announce a second ‘talk’ to follow soon Parents MASON. make your years of study and practice count for Erovide our readers, not only the teachers and students, Augmented Fifth. C to A is a Major Sixth; C to we study music? Because it is one of the greatest ut the dilettante as well, with the rudiments of theory, what they are worth. You have studied hard and are especially invited; further points will be ex¬ expressed in the most concise and clear manner possible. A#, an Augmented Sixth. means of education, of thought-expression that exists. BY LEONORA S I think have made good use of your opportunities. plained, and any questions they may wish to ask will Each lesson is complete in itself, but we advise our readers Why do we learn the piano? Because it can easily dc to secure the entire series in order to have all the matter You say you wish to plunge in at once and begin be answered.” available. The first lesson appeared in the April issue. APPLICATION: The following Intervals are called a universal instrument, combining the qualities In conclusion this short program was given: This department will be useless to you unless you follow Major, Perfect, Minor and Augmented. First ascer¬ to teach the piano in your city, which, you add, is not Mr. Tapper’s suggestion in regard to the work outlined. at all a musical one, though there are many poor 'piano of all the others, not to be sure, in the same way that Duvernoy, Op. 120, Nos. 12, 4; Czerny Op. 299, tain the number name of each. Then apply the In the final estimate there can be no question that Dr. Teachers who will take the trouble to have each one of Mason's work in Musical Pedagogy will rank with that of teachers in it. And you want me to tell you how the organ does, but still sufficiently so to be used for Nos 1 and 2; Scarlatte, Pastoral and Capnccio; their pupils secure a copy of The Etude and have them General Rule for determining the Major Interval, all kinds of music. Liszt said, ‘according to my views read tnis department thoroughly will find that tnoy may the greatest teachers of all times.] to begin. Ah, there is the problem for us all— Chopin, Nocturne and Valse; Mac Dowell, To a secure a really excellent knowedge of the subject with com¬ and name each given example by virtue of its relative 1st. Begin with your fingers. Place your hands how to begin! the piano takes the first place in the hierarchy o Water Lily; Mac Dowell, Polonaise. paratively little assistance upon the part of the teacher. on the piano and raise the little finger independently, music. In its compass of seven octaves it encloses a All inquiries should be addressed Theory Department, The Two things are at once in your favor; you are a good Any other pieces may be given in place of the moving it only trom the knuckles and keeping the whole orchestra. Through its means it is possible to Etude, 1714 Chestnut St., Philadelphia, Pa.] pianist, and you have studied in Europe. That second above. You might give several of these talks, which C Db Bit Bb B C Alt Ab wrist, fore arm and upper arm perfectly loose. diffuse works which without it would be unknown to point doesn’t count for very much in these days. I for should quickly make you, your aims and ideals DISTINGUISHING INTERVALS. Eb Bb E F C D E Eb This is the movement for light finger exercise, the majority.’ We do not learn the piano because it one believe a first-class musical education can be ac¬ known. The pupils will soon come to you. The for trills, for scales run evenly and smoothly. is the easiest instrument, far from it. One of the most The remaining classes of Intervals for our con¬ quired on this side of the Atlantic, and that Europe first season you will have to do much talking and DIMINISHED INTERVALS. 2d. Keeping the finger tips still on the keys famous teachers in the world has said: ‘It is more sideration are the Minor, Augmented, Diminished will be coming to us before long for instruction. At also playing, if possible. The second season give These may be described as next smaller in size use the same motion, only let the fingers fly up the same time the prestige of several years of foreign difficult to play eight measures on the piano correctly, pupils’ musicales as frequently as you can, and have and Perfect. With the knowledge already gained, than it is to conduct Beethoven’s greatest sym¬ it will be found an easy matter to construct or to than Minor or Perfect Intervals, the letter name re¬ from the keys as soon as they have brought forth study will no doubt he of help in your town. Besides technical exercises played as well as pieces. Throw maining the same, (i) Thus, to ascertain the Di¬ the sound. This is the lightest and most delicate phony.’ name the Intervals correctly. these points I think you have earnestness, pluck and your heart into the work and you will have success minished Fifth from F, first write the Perfect Fifth staccato—the touch of fairy music, elf dances and tact. You will need all three in large measure to be¬ “If, then the piano is difficult to learn, it would be in large measures. F to C, add a flat before the C, and F to Cb, the graceful embellishments. come a successful teacher. If you have them, go in only common s^nse to find out the best way Yours faithfully, Fundamental rule: The Major Scale is the basis of to do it, the most logical, exact, sensible thorough measurement for all Intervals. Diminished Fifth results. 3d. Still keep the fingers over the keys and with and win! (2) To ascertain the Diminished Seventh from the very finger tips snap them away. The elastic So much for that side. Now for your pedagogical and scientific way, and not waste time and touch this has been happily called, and there is no equipment. Have you a well-thought-out plan of teach¬ money on superficial unthinking methods-. Music MINOR INTERVALS. Cif, first find the Major Seventh. This is Bt, hence A STUDY OF SIXTEENTH NOTES. Clt to B is Minor; and C# to Bb is the required exercise practiced persistently which will give a ing—have you a positive technic yourself and can you is altogether mental and needs the most careful Familiarly expressed, we may say that the Minor Diminished Seventh. more musical touch than this. It first contracts and teach it? Do you know what to do at the first les¬ thinking—correct thinking. When we first begin to Interval is next smaller in size than the Major, the BY WILLIAM BENBOW. then liberates the muscles of the hands as 'to give son? Can you teach beginners? No doubt you expect study the piano it is not music we study; we are not letter name remaining the same. Thus, with the ready for that. A painter has to learn to draw straight APPLICATION: Add the proper chromatic sign entire freedom of motion. to have advanced and talented pupils who will study The trouble that students have with sixteenth following given Intervals, proceed as we did in interpretation. That is all very fine in theory, but lines and curves; then tries to mix colors and use to the given upper notes to produce the required This touch may be used in all practice for assur¬ notes comes of the fact that they think these notes Lesson I: you will find that ninety per cent, of the young peo¬ them in the simplest way before he can paint a picture. Intervals. ing a positive position and certainty of the fingers. A singer has to learn how to make tones before at¬ are of such slight value as to be negligible. Conse¬ In performing, it is suited to single note passages ple coming to you will need good, thorough drill in Eb Db Ab foundational technic. So you will have to roll up tempting the simplest solo. So the would-be pianist quently, they are very liable to give them either too GENERAL OBSERVATIONS ON INTERVALS. of a decisive character, and, indeed, is called for little or too much value. In a quick tempo the six¬ C F Bb your artistic sleeves, and get right down to that has to study into the mechanics of her art, so to Usually Intervals are reckoned from the Unison in single notes and chords whenever a marked speak. She has to learn how to hold hand, fingers, arms teenth will usually get one-third of the time of the staccato is shown. kind of hard work. Are you ready for it—do you (1) The process is as follows: Ascertain the num¬ to the Ninth inclusive. The Major Intervals are and body, how to move each part, how to make tones quarter note instead of one-fonrth, unless accom¬ 4th. Now bring the fingers back to the keys once know how? ber name of C and Eb. This is a Third. Next the 2d, 3d, 6th, 7th and 9th. The Minor Intervals on the instrument. She can express nothing at f i st, panied by two eighth notes in the other hand. In more, and with single notes, double thirds, and Granted that you are fully armed at all points and ascertain the third Major Scale degree from C. are likewise the 2d, 3d, 6th, 7th and 9th. The Per¬ have everything in your favor, all I can do is to give and all she needs is concentration, obedience, patience, slow tempo it is the opposite. Every teacher, prob¬ sixths and chords let the weight of the wrist and the This is E. The given Interval is consequently not fect Intervals are the Primo (Unison) 4th, 5th and and a good teacher. ably, has been surprised to see how that works out whole arm press them in. you a little advice born of my experience, which I hope Major, but next smaller in size and of the same 8th (Octave). In modern music all Intervals may will be of use to you. Every one’s experience is dif¬ “Now, what shall we do at the first lesson? I seat in the case even of advanced students when they It will take long for the majority of pupils to letter name. appear as Augmented, and all (except the Primo) ferent, and you will have to find it all out for your¬ the pupil at a table and ask him to rest one arm come to play Beethoven’s “Funeral March,” in Op. accomplish this, and even when accomplished the (2) F to Db. The number name is six. Is Db may appear as Diminished. self sooner or later. Still, for the first plunge, you upon it, to insure relaxation. I explain the parts 26. A pupil whom I never would have suspected performance of the act is wont to slip away with¬ in the Major Scale of F? It is not; D is the sixth shall have a helping hand. Write me fully as to of the hand, the acting joints and shaping joints of as capable of such inaccuracy brought that march degree of F, and F to D is a Major Sixth. Hence, APPLICATION: Intervals should be studied out constant practice. what prospects you have for the start, and I will answer the five fingers. Pressure and relaxation are ex¬ for a lesson some time ago, and the only way I F to Db, which is next smaller in size (the letter analytically (in actual music) and constructively. If there is one tense nerve or thread of muscles at once. plained, and a correct position taken. (This posi¬ could induce him to get the proper value of the the tone will not be complete. This movement in¬ Your Interested Friend, tion is illustrated to the audience.) sixteenth was to make him count four to every name remaining the same), is a Minor Sixth. To apply the former, turn to the music page of this (3) Bb to Ab. The number name is seven. Is issue of The Etude and find as many of all the volves the utter relaxation of every muscle in the “Up and down movements of the fingers are now quarter, otherwise he would tend to deliver the six¬ arm from fingers to shoulder, with the nervous force taught, and various thumb movements which will be teenth as a thirty-second note. the upper tone (Ab) in the Major Scale of Bb? It Intervals as you can. This practice must become is not. The seventh degree of Bb is A, and Bb so completely habitual that it leads to instant recog¬ of the whole, concentrated in the finger tips. Miss My Dear Lee: ttsed in scale playing. (Illustrated.) Together with Another point that the pupil must be taught is nition of the Interval. Kate Chittenden has aptly likened it to a rope hang¬ Your letter, which has just come, tells me that you table practice will be taught a great deal about the rhetorical value of the sixteenth as a proclitic, to A is a Major Seventh. Hence, Bb to Ab, the Interval next smaller in size, is a Minor Seventh. Many forms of constructive exercises may be ing limply by its own weight. have a cheerful, sunny room for your studio, which music—notes and rests, the staff, the notes above and that is, a something that leans fortvard to something When rightly understood and practiced, this pres¬ APPLICATION: The following Intervals are carried on .to increase one’s familiarity with the In¬ contains your piano, a set of shelves for music and below, the formation and recitation of scales and more important. This is its general significance, sure action forms the basis of all true legato play¬ either Major or Minor. First ascertain the num¬ terval. The following will suggest many other books, good sensible chairs, a settee on one side of chords in different positions, and the training of the although there are other uses for it. ing, and it was the perfection of this which brought ber name. Next ascertain if the upper tone is in forms of practice to the student. (CAUTION: the room, and plenty of pictures on the walls. That ear. A thorough use of the metronome wall be made. The sense or meaning of the sixteenth almost forth the admiration of Liszt at the “wondrous is all as it should be. A pleasant studio is one of (Explain and illustrate this point, as some of your the Major Scale of the lower tone. If it is, the ALWAYS employ the Major Scale as the basis of always belongs with the following note, while its limpid touch” of his American pupil, William Mason. the teacher’s important assets and cannot be made too audience may never have seen a metronome.) Interval is Major. If the Interval is next smaller measurement. This must be done consciously until time value is thought of in connection with the 5th. Traveling back from the fingers one reaches attractive. “When the pupil has learned correct positions of in size than Major (the letter name being the same), independence is gained.) preceding note or rest. Especially beginners should the wrist, another important link in this musical To this pretty studio invite a few friends, either for body, arms, hands and fingers, and can make simple the Interval is Minor. 1. Write above C a Major 3d, a Minor 6th. be taught not to play the sixteenth until the fol¬ machinery. an afternoon or an evening hour. up and down movements with each pair of fingers 2. Write above Db an Augmented 1st, a Dimin¬ lowing note in both hands is looked at and pre¬ Here other relaxation is again the rule, and other Tell them what you intend to do. A short, amusing at the table, he can play the exercises at the piano. E Db Cb Bbb D G ished 4th. pared. One has to be particularly watchful across relaxation seems almost impossible to those whose sketch of European study and a little piano music will Such an exercise develops into the trill, and can be G F Ab Db F# Bb 3. Write above E a Perfect 5th, a Major 2d. a bar when a sixteenth is the last note of the hands are so small that it requires a slight stiffened be of interest. Announce that in a week’s time you worked up to any degree of velocity. (Illustrate at 4. Write above F a Minor 3d, an Augmented 5th. measure. This point must be emphasized also in the stretch to reach even an octave. It will be obtained will give a “Talk on Piano Study,” illustrated at the the piano with trills of two, four and eight notes to PERFECT INTERVALS. 5. Write above G a Diminished 7th, a Perfect 4th. delivery of the little trumpet effects and where the though if toiled for patiently. piano. Each person present is requested to bring a beat.) pupil often plays the sixteenths as a separate group A Major Interval has been described as one of 6. Write above Ab a Major 6th, a Minor 7th. her friends and to tell as many of them as she can. “In trills and passage playing, not involving the This movement is a common one for staccato, but to be thought of alone instead of including the quar¬ which the upper tone is in the Major Scale of the 7. Write above B an Augmented 6th, a Dimin¬ primarily for rapid playing. A free use of the You have now one week in which to work up the turning of the hand, we preserve what I call ‘five ter in the phrasing. lower tone. A Perfect Interval is likewise Major, ished 5th. wrist alone will bring faultless technic and beauty recital, and I am sure you will not be idle. Cards finger relation of hands to keys.’ In scale playing, but in addition to its regular Major quality we find of invitation, either written or printed, can be sent to Chopin had a characteristic time-figure that he Continue this form of practice indefinitely until of tone, while without it rapid octaves are impos¬ on the contrary, we have to turn or slant the hand employed in four of his waltzes: C sharp minor, that its lower tone is also found in the Major Scale all the people you can think of. Many more than you all such exercises can be performed with a sure sible. to accommodate the fourth finger and thumb, and so of the upper tone. That is to say, it is Major in expected will come to insure a good audience. Invite aPo 64V,No‘ 2= G fla‘- Op. 70, No. 1; the two in and rapid application of the processes already em¬ 6th. Finally comes the “upward arm” motion, we have the ‘scale relation of hand to keys.’ Scales A fiat, Op. 42 and Op. 34, No. 1. It always occurs both relations. Thus the Interval F to C is a fifth. especially mothers who have children who are study¬ ployed. when full power of sound is required in all brave are studied at first with pulse notes with metronome, It is Major because its upper tone C is in the ing the piano. They will be all the more interested. in the last half of the measure. Very few pupils passages. each hand alone, and afterward hands together! play these notes correctly. The sixteenth here Major Scale of F (its lower tone). It is Perfect QUESTIONS ON INTERVALS. Ask the city and society editors of the different papers, (Illustrate with a four octave scale in quarter Place the hands over the keys forming a chord. throws a bad retroactive effect upon the first eighth, because its lower tone F is also in the Major Scale for they ought to know of your work. I hardly need eighth and sixteenth notes at from M. M. 176-200.) The following questions are again suggestive. Let the full weight of the arm fall upon the finger which is nearly always played as a sixteenth be¬ of its upper tone C. suggest that you will have your business cards or an “Arpeggios are studied in the same manner as the The student should carefully write out each, and tips and then throw the chords out with all your cause of the tendency of the first two notes to imi¬ artistic little folder ready to send out and to hand to scale. (Illustrate with a four-octave arpeggio in formulate others of like character, as a test of his force, remembering always there must not be a tate the rhythm of the last two. When properly APPLICATION: Which of the following Inter¬ the people who come to the recital. If the home three chords, the common, dominant and diminished work and as a basis for practice. If any question terse or strained muscle in wrist or fingers. done, the deliberate character of the first eighth note vals are Perfect, and which are Major? studio is too small for your proposed opening, per¬ of C.) or exercise is puzzling, the writer will gladly fur¬ These embody the rules for “Touch and Technic,” haps a larger house will be offered, or the use of a really serves to heighten the piquancy of the six- nish any information. But it must be remembered “For chords we use special exercises which give us Bb Eb E A D Db the fundamental laws upon which the art of piano small hall. Only be sure that you have a good a number of effects. The old-fashioned wav of play that this bit of knowledge is like a Greek verb or playing is based and upon which alone that art can F Eb G D G Ab mg chords with the hand or at the wrist is no longer the declension of a Latin noun, to be learned only be perfected. What shall you say to the people when they come? used. The whole arm from the shoulder is brought tW T a d,Vme ca,ling >s music! Though c AUGMENTED INTERVALS. by constant practice, and the cultivation of memory: You must work that out yourself. Be simple, clear, into requisition, and a rotary motion gives poise the Lit? ",ay ,aPPear shallow and repulsive, r. How are Perfect Intervals distinguished from The operas of Gluck can only be studied as they de¬ rractieal and very much in earnest and you will be These may be described as next larger in size Major? power and variety to the touch. The fingers plav’ the sniaiiest task in music is so absorbing, and serve, by being heard and seen, and, moreover, under convincing. Not long ago I gave an illustrated talk in mg the notes of the chord should be held firmly than Major or Perfect Intervals, the letter name 2. Why is CS to Alt not a Diminished Seventh? all far from town, country, earth remaining the same. conditions of careful and magnificent presentation.— a small town for a pupil of mine who wished to begin while those not playing are well extended, not to S£2£42£,,,““"u -1’’* * 3- What musical Intervals are Minor? Chorley. THE ETUDE 317
312 the etude Tn this arrangement the movement has been some¬ VALSE DE CONCERT—A. J. PEABODY, JR- what shortened. The principal themes are pre- intact but the so-called “working-out” sec- ALLEGRETTO This is a showy concert waltz by a promising tton (or middle portion) has been omitted. This Self-Help Notes on Etude young American composer. It must be p aye - portion is not so effective in transcription and needs from “Seventh Symphony” dashing manner but not hurried. It will requ^ the orchestra to bring it out properly. Excerpts nimble fingers and a clean technic, of this character from great orchestral works are Allegretto m.m.J =88 PRIMO L.van BEETHOVEN Music the double-note passages. This piece should prove exceedingly valuable for study, aiding to familiarize - 0 ""— useful as an exhibition or special recital numbe . students with the immortal thoughts of the masters. By P. W. OREM It will prove popular with audiences in general. ... T— “DUKE STREET” (HYMN—POSTLUDE FOR 1 EROS—G. D. MARTIN. VALSE BARCAROLLE—F. BOROWSKI. THE PIPE ORGAN)—GEO. E. WHITING. \ 0 f Pviola This is a dainty, fluttering waltz movement by a This interesting number is taken from a set of This piece bears a somewhat unique title. It is composer well known and always welcome to our six postludes based on well-known hymn tunes. a genuine barcarolle, although the rhythm in occas¬ readers. It should be played with lightness and Nothing better for the close of church service ioned passages suggests the swing of a waltz, one rapidity throughout. The introductory passage tneasure of the 6/8 time being equivalent to two could be found than pieces of this type. Mr. Whit¬ divided between the hands should be played in such ing has woven the old tune “Duke Street into this -pleasures of 3/4 waltz time; hence the title. This a manner that it may sound as though played by a piece is a beautiful example of modern pianism, brilliant and uplifting postlude m a most skillful and single hand. It is to be understood, of course, that musicianly manner. This piece must be played charming in melody and harmonic treatment and a waltz of this type is not intended to accompany steadily and with precision. The composer’s phras¬ grateful in technical structure. Our new edition has dancing. It is merely a playful idealization of the ing and marks of expression must be carefully ob¬ been carefully revised by the composer. It should characteristic rhythm. served and the registration followed as closely as be played in an expressive manner throughout with possible. The pedaling is very accurately indicated full singing tone and with a due regard to bringing BY THE LAKESIDE—R. S. MORRISON. throughout. This piece will appeal to all practical but the inner voices. The passage work should be brilliant and rippling. A splendid concert or recital This is a characteristic “polka caprice” based on piece. a typically pianistic figure (a triplet of sixteenth notes followed by a staccato eighth note). The TWILIGHT IDYL (VIOLIN AND PIANO- MARCH NOCTURNE—F. SABATHIL. word “caprice” appended to the secondary title of P. A. SCHNECKER. this piece serves to disassociate it from the ordi¬ This is a dignified composition written in the So effective is this number that it might origi¬ nary polka movement intended for dancing purposes. nally have been written for violin, although it has grand march style. At this season of the year such It implies a certain freedom of style in performance pieces are particularly useful. They are in demand proven exceedingly popular as a piano solo. It will and a flexibility of rhythm. The principal theme afford excellent opportunity for the study of the for processional purposes at commencements and must be played in a snappy manner with crisp, exhibitions, and are also available as opening num¬ singing tone, bowing and expressive style of per¬ clean touch. The staccato repeated notes must not formance. The piano accompaniment is interest¬ bers at recitals. In addition to the above the musi¬ be hurried; if anything, a slackening of the pace is ing, affording good support to the solo instrument. cal interest of this piece, and its technical value as desirable. The middle section of the piece must be A very attractive recital piece. a chord study, render it suitable for teaching pur¬ played in more graceful, flowing style. In this por¬ poses. It is the work of a well-known and success¬ tion of the piece particular attention must be given ful contemporary German composer. It begins to the left-hand part. An excellent third grade THE VOCAL NUMBERS. pianissimo, the principal theme being worked Up teaching and recital piece. Three very useful songs appear in this issue. gradually in manner somewhat suggestive of Schu¬ Mr. Brackett’s sacred solo, "Let Not Your Heart mann’s well-known “Nachtstueck” (in C) and his FAIR DAFFODILS—R. S. FORMAN. Be Troubled,” is a fine number for church use and “Novelette” (in F). The chords should be played Here is a very taking “song without words,” very will be liked by congregations. It has much variety with the down-arm or up-arm touches, as the ne¬ aptly illustrative of the familiar lines of Herrick of melody and rhythm, the three verses being well cessities of the case may demand (the arm held printed at the head of the piece. It should be played contrasted, and a broad and taking refrain. Mr. loosely and easily), and the octave passages should in a jaunty, lilting manner, with precision of rhythm. Brackett is himself a singer and knows how to treat be taken from the wrist. A bold, martial style is The section in B flat should be taken at a brisker the voice. The accompaniment is varied and can required. The principal theme of the Trio is of pace, somewhat capriciously. When the principal be played effectively either on the piano or organ. more lyric quality and should ..be so inter¬ theme is transferred to the left hand bring it out Mr. E. L. Phelps’ “Sweetest Rose of Junetime’’ is preted. Imagine how this piece would sound if strongly. For an early third grade teaching or re¬ a timely springlike number, suitable for an encore played by an orchestra or concert band and en¬ cital piece this number would be hard to excel. song and available for teaching. It is easy to sing, deavor to give similar quality and contrast of tone catqhy and very pretty. IN THE BARN—CHAS. LINDSAY. “Over the Hills to Mary” is a typical, character¬ istic Irish song, naive in melody, quaintly harmo¬ L CONFESSION (AVEU)—E. SCHUTT. This little “rustic dance” is one of the best of its nized. It might be used as one of a group of recital type we have seen in a long while. It should A portrait and biographical sketch of this noted songs or as an encore number. It will be liked. achieve immediate popularity. The opening theme composer and pianist appear on another page of in the left hand is very taking and characteristic, this issue. His delightful “Confession,” Op. 30, quaintly harmonized. The remaining themes are SLOW PRACTICE THE ROAD TO VELOCITY. No. 2, is one of his shorter and lighter pieces, be¬ equally characteristic but well contrasted. The longing to an earlier period, but it serves admirably sequence of keys is good: C major, A minor, F to illustrate the delicate fancy and expressive me¬ major. This piece must be played with humor and lodic vein so characteristic of this composer. It also spirit, not too fast. The accentuation may be some¬ All authorities on technic, all experience, and all goc displays his fondness for pleasing harmonic sub¬ teachers say, and say emphatically, that stove practit tleties, with a touch of modern polyphony. This what exaggerated, in keeping with the character of the piece. is the foundation of good piano playing. And yet. wit piece suggests a duet for soprano and baritone voices all this warning, pupils do not seem fully to understar with a syncopated accompaniment reminding one of the importance of it. Generally, they seem to take tl the tinkling of distant bells. It is a genuine love JUMPING-JACK—J. BLIED. injunction to mean “somewhat slower than for perfom song and should be so interpreted. Play it so as This easy teaching piece is one of a set, entitled ance.” There should be no misunderstanding about i to bring out the principal voices, giving due regard “Among the Toys.” It is suitable for pupils of the to the delicate accompanying effects. This piece The first practice of a piece should be four times < early second grade. It will serve particularly well slow as the speed of performance, and the longer it should always be carefully studied before taking up as a study in rhythm. In fact, the “mazurka the larger compositions of Schutt. practiced at this slow tempo, the more unerringly rhythm” is always good for teaching purposes. will be when executed at its marked tempo. Even a Pupils should become familiarized with the various ter a piece has been worked up to its full speed, it dotted rhythms as early as possible. This little PULSE OF SPRING—HENRI WEIL. absolutely necessary to return constantly to the form mazurka will be found very acceptable to younv A charming new piece, rather out of the usual slow practice if it is to be kept in use. line. This American composer, who has been suc¬ It is a mistake to practice a piece incessantly as cessfully represented in our Etude pages on several whole. The difficulties should be attacked at once ai previous occasions, has a genuine melodic gift aild ALLEGRETTO FROM SEVENTH SYMPHONY thoroughly practiced, beginning a few notes before thci a vein of originality. The principal theme of this (FOUR HANDS)—BEETHOVEN. and including a bar or more at their end. So the mil piece is to be delivered in the manner of a ’cello The seventh has been termed the most picturesque •in practice is put in the same condition as in perfort Solo, with warm full tone and some freedom of of all the Beethoven symphonies; by some it has fnCe' J-'G” tlle act Passing from an easy passa tempo. The right-hand accompaniment must be been called the “apotheosis of the dance.” It is a to a difficult one. This kind of study should be co played lightly but steadily. At the change to 12-8 symphony without a slow movement, at least a slow tinued just as long as the piece is used. time the pace may be somewhat accelerated, leading movement of the generally accepted type. The Practicing a piece as a whole is like trying to let up to a tempestuous climax just before the return “Allegretto” takes its place. The term “dance” is mountains by digging on their tops and in their valle of the principal theme, this time assigned to the hardly applicable to this movement. Tt is rather a alike, so while the mountain tops lower the valle right hand. In this case the principal theme must meditative, retrospective “intermezzo” between the sink, and at the end of a hundred years of this kii also be well brought out and the chords of the left more boisterous dance movements. The four-hand of work their relative heights will be the same. E hand subordinated. The 12-8 time again appears, arrangement will be found very effective on the nla-“T " Tps alone until they are level with t after which the piece is brought to a quiet, graceful piano. As an instructive aid to the interpretation plain, then unite all together. Close. A reading of the motto at the head of the the orchestration has been indicated here and there ptece discloses the composer’s intention. shl\rtlCU,lar ,difficulty Prove obstinate, construct the names of the various instruments being given’ f ar’ but more difficult- passages and th end'.avor to overcome it. THE ETUDE 319
318 the etude 321 320 THE ETUDE march-nocturne FERD. SABATH1L
IN THE BARN THE ETUDE 323
the etude 322
j
'' | <
A I THE ETUDE 325
EROS SCHERZO VALSE 3*7 THE ETUDE the etude 3*6 by the lakeside VALSE DE CONCERT R.S. MORRISON POLKA CAPRICE 388 THE ETUDE THE ETUDE 830 THE ETUDE, 303 THE ETUDE 3 3? To Miss Syrena S. Steere SWEETEST ROSE OF JUNETIME E. S. PHELPS r\ Vivace_ p4<. * :nrr7¥i t S
1 fbrillante legeremet ite rail. nt lf m. rtS
6 r r N1 s ft FJ r 1 J ~i~T1 ^ Tell me once a- gain, dear, i 3o the flow’rs may hear, dear, That you love me fond and tnwT Hand in hand to-geth - er In bright and storm-y weath the etude 834 LET NOT YOUR HEART BE TROUBLED
FRANK H. BRACKETT
ALICE M. HOLMES
REFRAIN THE ETUDE 337
PUPILS’ CLUBS.
“I have a small class in music and wish to or¬ ganize a club in order that my pupils may study the lives of the great composers. I know nothing about club work, and therefore hardly know how to go to work. What books will It be best to use for students from twelve to fifteen years of age?
A club among your pupils need be nothing more than a regularly appointed time when all the mem¬ COUNTRY AND VILLAGE STUDENTS. pupils might not be able to understand the text. bers of the class may meet for the study of such Teachers should apply its principles in the exercises musical matters as cannot be brought into the les¬ “1. I live in a village of 2,000 inhabitants, and they give. As the pupils grow older and advance son hours. Combine the idea of entertainment with have many country pupils who only desire to learn ‘to play a little.’ They take so little Interest in in musicianship, they should own copies, and be it so that the students may not infer it is to be an studies that they hardly look at them, hut are en¬ taught how they should be used. hour of dull study. Give the club an appropriate thusiastic over their pieces. Some are tractable and willing to do as I tell them, but the majority are 6. Pupils never “thoroughly master” scales and name, and let the members elect officers from among impatient. Should I compel them to take studies? arpeggios. Even great players continue to practice themselves. This will give them an active interest. “2. What studies would you suggest for pupils in the fourth grade? them. Practice the scales in octaves, thirds, sixths Do not keep them too long at study, but after from “3. Should pupils finish their pieces as perfectly and tenths, double thirds, double sixths, and double one-half to three-quarters of an hour let them visit as for concert use before dropping them? “4. Do you advise beginners from six to ten octaves in both major and minor. Arpeggios in together for a time. Then for a few moments before years of age starting on little pieces? triads, dominant and diminished seventh forms, in “5. Do you think all teachers should follow dismissing take up some simple ear training exer¬ strictly the Mason system? Is it necessary that the various groupings. Then there are many other cises. Make this competitive, or like a game, and students own a copy of Touch and Technic?’ "6. When pupils have thoroughly mastered the necessary and special exercises in Mason, Philipp, you will interest them. Occasionally have a little scales in thirds, sixths and tenths, and also the or Plaidy. After these the technical exercises of more elaborate entertainment for them in the even¬ arpeggios, what can we use for a change? I have had pupils who had worked on these for five years, Tausig, Moszkowski and others may be taken up. ing and you will find that it will help materially in and I believe that if I could change to something 7. The harmonic minor would better be taught different it would be better. holding their interest. If you can devise some “7. Which form of the minor scale should he first; afterwards the melodic form. amusements which they can get up themselves they taught?” will be still more enthusiastic over their club. For HARMONY A NECESSARY STUDY. You would better regulate your work in accord¬ a text-book get Thomas Tapper’s “First Studies in Musical Biography.” In it you will find a preface ance with the intelligence and experience of your “Do you consider a course in harmony essential material. Pupils who have never been so situated in a musician’s study? I was recently talking explaining how it should be used. “Pictures from with a musician who contends that harmony is un¬ as to have opportunities to Paten to music of a good necessary, that although it may sound well to be the Lives of the Great Composers,” and “Music class must be given elementary conceptions and able to say that one has had a course in harmony, Talks with Children,” by the same author, you will yet not one harmony student in a dozen could har¬ led gradually and patiently upward, giving them monize a melody. This musician further contends also find helpful. things of a higher quality as they show themselves that the world has no use for theoretical musi¬ cians, and places sight-reading above every other capable of receiving them. It is a mistake to attainment. To me harmony seems very important, STIFFENED MUSCLES. dampen the ardor of such unformed minds by in¬ although my own training has not been very thor¬ ough. One of my teachens gave this definition of sisting on their spending overmuch time on things harmony when asked in regard to Its value in a that they detest. Their taste should be led and course of study: ‘Harmony is to music what grammar is to language.’ Will the Round Table kindly answer a question THE HILLS TO MARY .r.HKS C. QUINLAN built up, not forced. As time passes, they may grow for me? I have been able to practice but very lit¬ “Are scales a necessary part of a violinist’s tle on the piano for two years on account of poor OYER THE-L _crvATfij^sh song to enjoy practicing the music they formerly disliked. health. I desire to begin practice again, hut my If they show signs of musicianship you can lead fingers are very stiff. What exercises would you There is not space to discuss this question^ here. advise me to use? Would exercises from Philipp’s Con affetto them forward more rapidly. If they show none, ‘School of Tchnic’ be advisable, or would Mason’s but simply wish to play such music as is enjoyed I would say briefly that your teacher’s analogy in ‘Touch and Technic’ he better?” by their humble associates, you would better teach regard to harmony and language is correct. What them to do this well, than discourage them by in¬ would you say, then, of the common school educa¬ To restore yourghands to a pliable condition, you sisting on their working on things that neither they tion that gave the student no idea of grammar? would better, exercise them in every way possible nor their associates can understand. Limit the Does not this of itself show the ridiculousness of away from the piano. Oil rubbed into them a couple amount of work such pupils do on studies. Try your “musician’s” statement? No one has any right of times each day will help to soften the muscles and select those that are the most interesting. Often to be called a musician who does not understand the and loosen the joints. Get from your druggist a give only a portion of a study for a lesson, so that fundamental principles underlying its construction. preparation of oil of almonds in which a small they can have the greater part of their time for Would you employ any one to teach you language amount of oil of wintergreen has been worked. Hands pieces. You can select many pieces that will con¬ or literature who knew nothing of grammar, or the that have been temporarily stiffened may be restored' tain points in technic which will serve as etudes fundamental principles of its construction? The if treated with this for a time. I would recommend without the student realizing it. Try and make them that you own both of the technical books you men¬ realize that the hand is the machine with which they fact that students have not studied harmony long tion. Mason’s books contain a fund of information must do their playing, and that to do this as they enough to learn how to harmonize a melody has no which you should make a thorough study of. desire the hand must be properly trained and formed, more to do with its being unnecessary for musician- and hence that to do this they must devote a little ship, than it would be to say that it was unneces¬ Philipp’s book contains a lot of passage work exer¬ time each day to giving the fingers special drill on sary for a pupil to study the piano because he could cises with the hand in a quiet position which will exercises and etudes. not play a Mozart sonata after the first three be excellent in loosening up your fingers and joints. 2. For the fourth grade use the Standard Graded months’ tuition. But even though a person does not Everything depends upon yourself, however, as to Course. When that is finished, select the most in¬ study long enough to learn to harmonize melodies, whether you hold your hands in a loose condition, or teresting studies from Heller, Opus 46 and 45, they do learn something about principles of con¬ whether you allow them to become constrained while using 46 first. It is a good plan to precede the struction. A knowledge of harmony is a great help practicing. Simply tapping the keys loosely, without Standard Course with the second book of the in sight-reading. When ’a so-called musician tells depressing them, while practicing some of the exer¬ Czerny-Liebling Selected Studies. you that a knowledge of harmony is unnecessary to cises, is an excellent method of inducing a pliable 3. In the majority of cases, yes. Certain pieces the music student, you may unreservedly set him feeling in the fingers. should be kept in the repertoire after others are down as a very superficial individual. You will not taken up. This will keep them in constant review, be likely to know of his pupils rising above medi¬ LEARNING AFTER TWENTY. develop that ease and freedom of execution which ocrity. “I was interested in your answer to the ques¬ makes playing interesting, and the student will al¬ I should think that scale practice would be an tion in rgard to a man learning to play after ways have something to play. absolute essential to a violinist’s progress. twenty. I have played popular music since the age of fifteen. I am now twenty-four years old, and 4. Certainly, after the first few lessons. You recently began lessons again. After eight weeks’ can only capture their interest by means of the RECITAL PIECES. study I passed the primary examinations, and seem J}e ?n favorably, ami am growing very little pieces. If you use Presser’s First Steps, and fond of high-class music, although mv taste ore- “I am planning to give a pupils’ recital, but am viously was for cheap tunes. My question is—am the Standard Course, you will find little pieces al¬ not able to go away to select suitable music. I piaced at an advantage over the man who begins most from the start. These should be supplemented Would you please suggest a solo for a pupil who his first lessons at twenty, and does my limited is well advanced? She played Raff’s ‘Polka de la playmg give my fingers the required suppleness?” with others. When the little piece is learned and Reine’ last year.” 5S?-~~~7 When Ma - ry’s by my committed to memory, so that the pupil no longer You certainly are at an advantage, and your con¬ . 0h what is all the Y°r When Ma - ry’s by-my si e. needs to look at the notes, you should continue Raff’s “Cachoucha Caprice” was very much in stant playing during the years has without doubt work on it until the pupil can play it with right vogue a few years ago. It is finer than the polka, kept your joints from stiffening. The kind of music Se? a11 the world_wili-^ ~-p-j-==-]- finger motions. Any defects along this line can brilliant and always pleases. The same composer’s you played, whether popular or classical, would more easily be remedied when the piece is well “Rigaudon” is also a fine concert number. Kath¬ make no difference in this regard, although if you enough learned so that the pupil can give his entire erine Goodson has included it in her programs this had given your attention to a higher class of music attention to the fingers. season. For a quieter number, Brassin’s Nocturne, the tendency would have been to lead you on to a 5- Not unless they thoroughly understand how to Op. 17, is excellent. E. R. Kroeger’s “Arion” will greater degree of proficiency. No one travels very use it. I have known several teachers to make an also be sure-to please. “In a Gondola,” by Bendel; far by confining himself to “cheap tunes.” As to awful muddle of it, simply because they did not use Matph, Op. 39, by Hollaender; Die Forelle, Heller; the point of “required” suppleness you mention no their brains to thoroughly master it, but only opened Kamennoi Ostrow, Rubinstein; Rustle of Spring, one can answer this at long range. A personal’ ex¬ the leaves and told the pupils to take such and Sinding, and Valse in A flat, by Moszkowski, are amination would not only be necessary, but one such exercises on certain pages. “Touch and Tech¬ all most excellent things for pubiic use by advanced would need to watch your rate of progress for a nic” is, in a sense, a teacher’s manual. Children students, and are of a sort to please all tastes. back to refrain and sing to Fine. * From here go THE ETUDE 339
when the new term will begin, and a the performer, and on the opposite page written on cardboard. As our teacher r foreign chord in the middle parts, and fresh, clean, unmutilated supply may was a short description of the piece or calls out the degrees of the scale, tonic, THE etude because of aJ°r Myriad harmonies woven up be ordered. To tide over this hapless song itself, how it came to be written, supertonic, etc., a pupil rises, takes the 1 1 to memorize, show him the my first part correctly for period try this party. and any interesting fact in connection letter, stands in her place. If she for¬ Je right hand. ^ the pedal through each IDEAS FOR CLUB 338 Get a good supply of heavy manilla with it. Several numbers on the pro¬ gets the sharp or flat she is turned Select „ch Pi-. -J-SfA-ftt rs him first- Then blur in the bass. Then down; those holding the third, fourth, Team how to analyzethem ^ q£ them ^ Measure, to show him^ ^ octave_holding the paper, a fresh pot of library paste, several gram, like “The Erl King,” “Hark! L00KIN° ^Rlng WORKERS sheets of transparent gum music mend¬ Hark! the Lark!” “Who is Sylvia?” seventh and eighth degrees of the scale and you will bke the Chopin marcation. bring both Jaad hdle ffleasure-and let him hear stand close together, the others further nedal through a the mlxed hatm ing paper, and a liberal quantity of the the B Minor Symphony, and others, up of short Pen° marked points of d them- apart. We also form the chords in moreor less periods ^le composi- Conducted by HES. J. OLIVES “Multum in parvo” binding paper, you had most interesting little stories about that the sounds middle of the piano would the three positions. Sometimes we Learn these Phrase mmit the vvh°l ieCes will find the latter invaluable all times how they were composed, or, rather, selves. Do/°yrjeltitasasenesoftshor 1’^^ like that Played Press Secretary of National Federation in the music room. Invite your class how Schubert was moved to compose wear a button with the pictures of a be undesirable. s which may be used to Women’s Musical Clubs Yo„.» “•■•“‘'„b' “ or musical club to your home some them. This might be of use to some composer on it, and tell all we have beAs for ?thlr™StXn take a few of the funds- wWchyouput together anSoty°sure°that you^you afternoon, and request them to bring other club, and might be elaborated learned about the master.” 5 tssrsrj«—^^*-1*; all their torn and ragged music. Show upon if really printed and given more Bessie Fene Ham. THE ADVANTAGES OF THE them how to mend it, and let each space. ,_ have committed a. Piece, hj the repertoires o MUSICAL CLUB. pupil do his own work- You will a„d do not forgetthat from year to y HAYDN, THE MODEL OF CLAS¬ . need a large library table to work on, THE MUSIC OF THE SEASONS. SICAL MUSIC. great virtuosi wh°"alively limited »» the ^ and perhaps some smaller ones, if , • .hat must sound legato. BY FANNY EDGAR THOMAS. The Musical Society of Queens find n from Europe, are• £ biicly performed. t he L “With skips that nu.^^ Strike a notc „ your class is large. Their fingers will this < »r‘.R- Reading Album.” l’'would Borough (New York City) reports a In music, Haydn stands for classi¬ I do not see why it would not be a fly as they work together, and a sociable endlhat yoS procure these first. I" totang This is very half 0f the piano. Using that most interesting and rather unique cism. When we talk of classical music, random on the lower ha ^ ^ fihh beyond ^ good plan to have associations or soci¬ feeling is bound to spring up, and if you splayed vrpszjz when he first o ^ them all. -“v program of recent date. The subject we mean Haydn’s. Fie created the eties of teachers and pupils of music. can excite a little competition by offering note as tim cers of the recent concert was “The Trend thing, and it ended with him. He has “CpC »Jtr-a shoCu!dCs°e>'^ Having years ago, and so a small prize, which may be something reach of y«ur 8 biid to hear how the pedal joins By this I mean little informal meetings of the Times.” There were instru¬ sanity, lucidity, pointedness, sometimes decided this point, boldly attack: tne P ^ through musical, for the best and neatest piece It is easy tor a it there is an emptiness, a in which there would be much talking mental and vocal numbers representing epigrammatic piquancy of expression; you regard as proper tempo anu ^ are not of work, so much better will be the these two, how 1 tes> but be sure he does tor about music and less playing of it. each month in the year. The following dignity without pompousness or gran¬ break between tme and dQes not merely “under- There is so much playing of notes, so results. You can, also use the op¬ is a program suggested from the pro¬ diloquence; feeling without hysteria. little thinking and talking about music. portunity, inductively, to instill a few :«S5S»"attempting _r.,so of musical phrases, by LEONORA SILL ASHTON. before you teave ’ gram given by this society. It makes His variety seems endless, his energy There is so much to be thought about chance words on the value of neatness eyesight and g Pmusic that is simple enough, stand.”“in & succession of chords which are to be a unique program, and doubtless many never flags, and often he has more yourself at hrst t at your hands, lake music that is never thought at all, and and tidiness in caring for their music. of our readers would be glad to try a than a touch of the divine quality. He that you do not need t f facility increases, joined.” in the same way as with the talking, with properly directed discus¬ With tact and discretion point out the similar program, representing the did not attempt to compose tragedies up more difficult onesv no one takes his eyes from This may be done sion, incites to thinking. Reading on dirty pages and drop a well-timed months of the year, for the sake of of life, for his temperament forbade it; In playing from memory, committed a piece simple notes. { mei0
The Ave Maria Bell announced the the ETUDE sound of stately music, which received Chopin’s Polonaises into two distinct after the subjugation of Poland this herself a composer, and who had mar¬ hour for beginning and for ceasing exclaim, raptur- the name of Polonaise. And as the groups. In the first class the martial national dance also became a Russian oner he was wont t ried an artist. men are said to have been very hand- element predominates, and may be spoil, and is now performed by an in- labor. The Vesper Bell was the call In one of her letters, dated April some and martial in appearance, while taken to represent the feudal court of definite number of couples. It be- to evening prayer. The Passing Bell ously. , iost his good 23d, 1840, sixty-nine years ago, she Unfortunately, the go he was the ladies were very beautiful and Poland in the days of all its splendor, came fashionable in Paris, and finally was so called because it was tolled writes, --“GounodA hash: a perfect passion gorgeously dressed, it must have been It includes those in A major. Op. 40, reached England about 1845. when anyone was passing from life. for music. It is a pleasure to have a splendid pageant upon which the No. 1 (to Rubinstein this seemed a On its native soil the Mazurka must CHILDREN’S such a listener. My little Venetian air eyes of the new king rested. picture of Poland’s greatness); F# be one of the liveliest of dances, but as THE CURFEW. delights him; he has also a strong lik¬ Afterwards, whenever a foreign minor, Op. 44, and Ab major, Op. 53- we know it the tempo is much slower The ringing of the Curfew Bell was ing for the Romance in B minor, com- prince was elected to be King of In the second division there is a than the ordinary waltz. DEPARTMENT ures. and large, b g ^ t£) have had an ancient custom common throughout posed here at Rome. As well as for Poland, the same brilliant ceremony dreamy melancholy, symbolical of Other composers have written Europe duuring the Middle Ages, and the duet of Felix, his Caprtccio in A was repeated, and out of this custom Poland m her adversity. It comprises Mazurkas, but it was Chopin who introduced into England by William mjnor—and especially for the concerto the Polonaise was gradually developed the Polonaises in C# minor and Eb, adorned the framework of the national the Conqueror. The word curfew is Hints to Little Folks and Their Teachers rSA — - of Bach—which he made me play more as^the opening dance at court festivities. Op. 26; in C minor, Op. 40, No. 2; in dance, and adorned it with garlands of from the French couvre-feu, literally to That Hay Hake Music Study More 3 like music, than ten times over.” Peacock-dance was an ancient D minor, in Bb mapor, and F minor, his choicest melodies. Schumann says cover the fire. It was rung at eight spoke, Pleasant and Profitable have " nT ' I °"e-for ther® °P;7i. that there is something new to be in the evening, when all lights and nrker at his studies, for^i ^ ,w_ famous compositions. must have been much strutting and The Fantasie Polonaise Ab major, found in each one. And as he is fires were to be extinguished. This was great display of fine feathers. Op. 61, differs from both groups and estimated to have written fifty-six in to prevent fires. declare that he saying that Gounod wrote beautiful melodies, which have been the delight of singers, . *1* Z±Tany’( "n Cre !t 1S tho,ught to rePresen‘ the national all, we> who come after him, have a In Charleston, S. C., there is a chime things less complex and more satis¬ 1"S ‘"fway to spell happiness—is CHARLES GOUNOD. the world over. „ „„5..?„ ngF>°[.a .COun sVuggles as ending with a joyous song rich heritage in these tiny tone poems of bells with a most thrilling story; factory for his choir boys. tr"P iT that is the case Gounod balls. And a genuine Polonaise is of triumph. 1818-1893. r-o-r-k. The famous “Ave Maria” was c< musical, though a conquered, among other things they have crossed well contented, for danced and sung at weddings in the Chopin wrote fifteen Polonaises, the Atlantic Ocean five times, enturvVCadndWahisbnCamenwtase Guido Should have been only* of posed upon The first Prelude of Bach,I district of Krzeszowice, in Poland. The list includes Op. 3, for violoncello ,v c. A. browne. cW, *"d J^ret-zo, as the en- he was an earnest sU art> as £ging thc prelude m place of accomp, seventy long years these bells regulated In former days it was at one and the and piano, and Op. 22, for piano and the social life of Charleston city. They d Arezzo fgc-u ^ for ug)> muslC! but ot meia niment. It was while he was in L..n- same time the symbol of war and love, orchestra. THE STORY OF THE BELLS. called to worship, celebrated all oc¬ The future composer of the famous c/“op™Z of his many musical in- well. . he had his little don that he wrote that popularjayor-| a vivid parade of military display and The story is told that after com¬ (For Reading at Children’s Clubs.) opera of "Faust” was a June baby, And- _ us is the As be grew older, he ha “t e<« Ue** “Nazareth,” and the solo, “There casions of joy or sorrow, and they an interweaving, coquettish dance, posing the celebrated A major Polo- ruled the movements of everyone, with born in the year 1818, at Paris. VCntl°nSthoSe same odd names for the oddities. For sacred mu- Is’a Green Hill Far Away” which' But the modern Polonaise rather in- naise, Op. 40, Le Militaire, Chopin, the nightly curfew. In two ways he was lucky from the He took the first syllabized ^enJossibU^ surroundings-usu^ly so often heard in our churches. clines to seriousness, and is more of a ailing, and between sleeping and China’s civilization is so old that it first; not only to be bom at Pans, 1 hymn to St John and applied The celebrated “Soldier’s March,” in some church or cathedral, promenade to music than a dance, as waking, in the dreary hours of the The subtle fascination which' the is claimed the Chinese fed silk-worms which is the center of France, mentally, 3 the scale. The hymn reads: “Faust,” is said to have been composed demption” was mainly written it consists of a procession in which night, imagined that he saw the door sound of bells has for most of us before King Solomon built his throne. artistically and musically, but he was and originally for another opera which was both old and young take part, as they of his room open and that a long _ “■£7f~queant laxis None Dame Cathedral; must have its root deep-seated in And their ponderous bells rank next especially fortunate in having unusually never produced in public. What made move several times around the ball- of Polish Knights and noble ladies, /ee-sonare fibrls human nature, because history relates those of Russia, herself, who clever parents. Mi-ra. gestorum the success of “Faust” so remarkable room in dignified order. richly robed in the old-fashioned cos- Someone has said that to educate a faLTaTa/Rhdms3.11 ^d^cated the that they have been :, from the excels all others. goJ-ve pollutl was the fact that Goethe’s poem had The tempo of the Polonaise is that tume, entered and moved slowly by child you should begin with the grand¬ “The Redemption very earliest ages as 1 means of call- . Ao-bil rentum „ oratorio u, —“ 7; * ,,.-0. been set to music a hundred times be¬ of a march, played between Andante him. Terrified by the ghosts of the parents. However that may be, Sancta Johannes. Oueen Victoria, and it was nrsi F ing people together. THE LARGEST BELL IN THE WORLD. fore, but that none of these efforts and Allegro. Nearly always written in past which he had raised, the com- Gounod’s father was a talented artist And tills i. fk.. the Latin words diced a. the Birmingham Festival o, were considered worthy of the theme. 3-4 time, with the accent on the poser fled frdm the room and would Some authorities declare that they For the king of bells, largest in the and engraver, while his mother was a figured in the festivals of the goddess world, is the great Bell of Moscow— mean in English—“Oh St. John,- , m 1882. “In 1839,” says Gounod, “I won the second beat of the bar—for in Slavic not return to it for the rest of the UlbUHBUiouvudistinguished pianist. It-- fijjfs from.t *r'rn herlf. *r order that the students may be able to AX the conservatoire. Grand Prix for musical composition, at music the stress often falls on other night. Isis, in ancient Egypt, and were used City of Bells. It weighs about 216 that he received his early musical edu- also in the responses of ancient oracles, tons, or 443,772 lbs., is a little over 21 with relaxed (vocal) cords the the Institute of France, and as a conse¬ beats beside the first—its rhythm re- Liszt said that the Polonaise is the As a young boy, he first studied com¬ Others date their origin from the ft. high, and about 22 ft. in diameter, _ers of thy deeds, do thou “ - quence, it was my privilege to occupy sembles that of the Bolero. true and purest type of Polish national that her little son should one day be position under Reicha, one of the most time of Moses, when small golden Historians are in doubt as to whether away from them the reproach of chambers for the ensuing two years at character, and represents the noblest numbered among the greatest of celebrated theorists of his time. .After Polonaise Rhythm. bells, alternated with pomegranates, this giant was ever hung, clean lips." the palace of the Villa Medici, at Rome, traditional feeling of ancient Poland. French composers. We all know that it is almost impos- he completed his general education at are mentioned as ornaments worn upon In 1837 the Czar Nicholas caused it He very soon showed signs of ex I was at that time twenty-one years of sible to sing it our throats1111 oats *“v meJ utuegvCollege ofu. St. Louis,--- he- . Q - THE MAZURKA. the hem of the high priest’s robe of to be used as a chapel, the entrance ccptional musical aptitude. Indeed, hi: age.” “*’♦5 ^wTthit cramped or strained in any way, and the classes of the Conservatory, in i»3', It begins, as you will notice, with blue (Exod. xxviii, Vs. 3, 4). These being through a fracture in the side, love ofot music was noticeable that P }t wag thought ;n those days where he received instructions in coun- “Nothing equals the Polish women, little bells were called “phaamon.” We Americans would probably look the neighbors used playfully to call t£e saying of Words produced that tefpoint from Halevy—another eminent Mm sharply accented eighth note, followed wrote the susceptible Franz Liszt by two sixteenth notes and four eighth <‘The Mazurka is their danc( The great city of Nineveh was buried upon it as a waste of good money. him “Le petit musicien (The lift undebirabie condition; just as older French musician, composer of the cel- THE TALE OF TWO__FAMOUS Tt srenerallv romdati! of “twn r"uauco n. is me s0 long that Xenophon and his ten For the cost of the monster, in bell- musician). .. f folks used to tell us that the “darning ebrated opera, “La Juive” (The Jew- POLISH DANCES. parts sometimesimetfmes followed bvby a trio in masCuline Polonaise.”? f Just between thousand troops marched over its site, metal alone’ w'as °ver $340,000, to Mademoiselle de Bovet, m a 4ite 01 need,es„ flying around the meadows ess). more than two thousand years ago, which was added more than $100,000 in Gounod, which she has written, tens wouJd sureiy sew up our mouths—if In ,837, at nineteen years of age, his a different key—the number of bars ourselves, you can spell it either way in each part being irregular. Its clos- wjth the o or without it without speaking of its existence. Yet precious jewels, plate, etc. As the many interesting stems of 'His enu- ^ didn’t watch out. cantata, “Mary Stuart and Rizzio,” ob- there, delving beneath the rubbish and records say, that at the casting of this ing measure shows an eighth and two in the salons of St. Petersburg im- hood days. She^says t a vr Anyway, from the wording and the tained the second prize. And at twen- Unhappy Poland, divided as it was, - decayed vegetation of four thousand hell, nobles from all parts of Europe after its deplorable fall, between sixteenth notes, a sharply accented mense ballrooms, **TaVZ of P-assv purpose of the hymn, it sounds as ty-one, 1839, his cantata “Fernanda” quarter note, an eighth note and an space, the Mazurka L Hi). °f years’ smaI1 Assyrian bells were found, Vere present, who vied with each other taken , of Paris’ though the little choir-boy nature was WOn the Grand Prize for musical com- Prussia, Austria and Russia, and now ra » mncF grace- by Layard, among other antiquities, in *n casting gold and silver int erased from all maps, as far as being eighth rest. Perhaps we can remem- ful 0f all—“a soul-thrilling dance,’ which was formerly • unusual very much the same article ten centu- position, awarded by the French Insti- easily that the chief peculiar- nn Pno-lBli as the ruins of the palaces of Sennacherib furnace. Listening intently to the unusuai j ^ ^ h t0_day tute. an independent country, was once sounds, he would say. you wjil notice that the first syllable upon a time a large and important ity of the Polonaise lies in the fact ^“Born b^mong^the^wly!4' it has Some^^th^^rtH0”1°fh^fyria' FOR THE WEE ONES. in Sol (G). , rj. H i. wa<; to THE PRIX DE ROME. kingdom, situated in the northeastern that a strong emphasis falls repeatedly achieved distinction in high life. It M Tlr ’6 5 ^ in the half-beat of the bar, and that derived its name from the word Mazur, I exhlblted m the British Museum. ______part of Europe. • °ntf the'sTreet so the 'ut was afterwards changed to lhis “Grand Prix de Rome,” as it is another special point is that the close which means a native of the nrnvinre Amon& the camps and garrisons of E, G, B, D, F, on thethe li:lines, have theh '"aai*6 dLhIn"he suddenly exclaimed, Do. And the last syllable, Si, was caned, is a four-year pension given by Conquered, brow-beaten as they are, takes place on the third beat, which Tf Maz“vfa province the Greeks, the patrols used hand bells, V A, C, E-they Peddlers cries out a Do added still later, when the octave scale tbe French government, which entitles the people have steadfastly remained 'Oh, that poor woman is often preceded by a strong accent Mazurkas originated in national : the sound of which the sentinels Oh. that noor woman c ^ was introduced. _ the holder to musical instruction ' J Poles at heart. They have clung to on the second beat. songs, which were accompanied with were to answer. No doubt they v!13! Whowkpd her carrots and her In the course of time, Guido became Italy and other countries for that their native tongue, cultivated their It has been spelled also Polonais and dancing, and were known as early as also used to call the troops together history and traditions, and for these cabbages actually formed thc minor so famous as a singing-teacher ‘ami length of time, and is awarded cachMMM^iMI Polonoise. Polacca is the same thing, the sixteenth century. At its best it at mealtimes, although one hesitates reasons continue to be three thorns m third C and E flat. ' musician that Pope John XIX, whom year to the musician who gains thc and alia Polacca means- ~ the style of js a st0ry acted out in a charming to speakt of a dinner bell in the same Their l_...little cousins, way down in the The little Charles, hardly more than you may read about in history, sent for first prize ;n composition at thc Insti- the side of three empires. Yes, and sentence with a beautiful, classic, Bass, a Polonaise, so need to be variety of dancing steps and gestures. r . Have the hardest of v keep up with baby already felt the sad and mourn- him to come to Rome andteach him tutg of France This prize composi- they have carefully cherished their puzzled. warrior, it seems so like ancient music, too; for the Polonaise ,, , . , , , Augustus III, Elector of Saxony, m ' For while G^A D, F, A each has his own ——character of **this particular COmc - tion must be in the form of a one-act It has always been a favorite form and King of Poland from 1733 to 1763 “ , , line, bination of notes. and the Mazurka, the two leading of composition with the great musicians, was a distinctly pleasure-seeking The large belli our P°nr A, C, E, G cannot spell half so fine, But to go back to our little Gounod. °Pcra- Hls> teacher, Halevy, had also dance-rhythms of the nation, bear in From his- teiiderest years.he betrayed been one of the composers who had as we may see from the works of prince, andf it was he whomlin introduced churches thought to have been in¬ AREZZO'S SYSTEM. their names the story of their primitive Bach Handel, Beethoven and Mozart, this dance into Germany vented by Paulinus, Bishop of Nole, , f such a passion for music that his in- secured this Grand Prix. origin; one—the Polonaise—standing You and 1 call musical sounsa { dulgent father gave him every oppor- Soon after receiving this prize, thc Schubert wrote Polonaises for four The music, which is written ir Campania, about the year 400 A. D. the first seven letters of the alphabet. for the court and' aristocracy, a' * hands, Weber the Opus 21 and the or 3-8 time, usually consists of two But they are also designated by certa‘a was about seven years of age, he w; celebrated Polacca Brillante, Opus 72. parts of eight bars-each part being 0DD SUPERSTITIONS. syllables, especially m singing, _ana tn bMr .vnn Weher’s, on era. “D -~i away from Paris for some time, others in warlike bravery, and were A MUSICAL WALK. held up as mirrors of chivalry i° THE CHOPIN POLONAISE repeated. And there is often a strong Many years ago it was a popular be- Saint-Saens is perhaps the greatest where ^SSStS, C, « *; 3 W. M *T every sense of the word; while the B, foreign^ musicians would speak of me,odies arg said to have produced a !atterly ln England. But it is to Chopin we must turn for The^tune ^ualTy^ends^lls^ ‘on the away^t ^"o C°d^ 11-ned °f Hving French co™P°sers, and Do, Re, Mi, Fa, Sol, La, Si. Mazurka belongs to thc country great impression upon his young mind. In Rome, he devoted himself largely a ^hundred I beat of the bar. ^ ^ S.V’Sir^leaving the Christians ^to go to prayer told^ of himHie thatlove oneof musicday, when early he Itwas is It means the same thing, only that to the study of religious music; and people, and savors much of rustic the little Gounod naturally used the HIS FASCINATION FOR OPERA. applied himself very diligently to the jollity. years ago—who loved his country Mazukka Rhythm. 'oXITbv pZL at Play> as a very small child, a visitor second way, as he had been taught. A few years later, when, as a school- wolks of Palestrina and Bach. He also THE POLONAISE passionately as he hated her op- g w—m , , I __ I churrh H K h ^ WaS ushered int0 one of the adjoining And the story of the way the noi-= pressors, and idealized her character- fense^ a^l rooms of the house, boy, he heard Madame Malibran and studied theology, and decided to be- H g JTj J J J79 J came to get those odd names is t Franz Liszt says that the Polonaise jstic rhythms from mere dance-forms' • \ ' d d | thunder and %htmng. The little one stopped playing, and Long, long ago, when music first be¬ the great tenor, Rubini, sing, in Ros- come a priest, but, happily for the originated sonic three hundred years | “Othello,” he was equally de- cause of music, this was not to be. ago. during the last half of the six- Xga°nTgherTPiCtTS, °f h" CHere is the m0St usual rhythm’ °f Clothaire II, King of Fance was omTd footS"^ ^ ^ U"aCCUS‘ gan to be written down, there was not many “ ^h°Ugh h is occasionally varied, frightened from the siege of Seris by t0^.ed fo.otstePs- lighted. While living- at Rome, in the famous teenth century, at thc court of HeW7 he observed gravely, to the yet invented any systematic way of regeneration wf 1 h.op.ed-fo^ The quicker notes, you will notice, are the ringing of the bells of St. Stephen’s representing the sounds by the five From a child, opera seems always to Villa Medici, he had the pleasure of HI of Anjou, in 1574, after his election regenerationregeneration. „„ „ theMJC muslcai sououuli most t]freque ntly in the first part of Church. V amusement of those present, “That lineses andana four spaces.-- And there was hAavf Ead a feat fasfnation for him. meeting some of the older musicians to *he Polish throne Anarch of Poland, and accomplished for the the bar gentleman, when he walks, marks a much confusion about the signs And his enthusiasm knew no bounds and artists who had known his father Dur>ng that year, the new motta cn dances of his native land what Bach There is endless romance in the story crotchet and a quaver. " V h were then used to indicate inter- when he became acquainted with Mo- as a young man. held a great reception at Cracow, tv ingle note—generally the Sure enough, the visitor, being lame, vaU between the notes that a good mart’s “Don Giovanni.” He was ever He also made the acquaintance of Ci"ef .C'ty °f thc kin«dJom'. were properly for alked with a limp. But we should say One of his biographers divides four do with ships, but with religious that he marked a quarter and an eighth old Benedictine monk who lived at after a devoted admirer of that com- Fanny Hensel, the beautiful ^ that Slxtccnth century “drawing-room ' eight pairs of dancers. But ceremony. Pomposa, in Italy, set about it to make poser; “Mozart-the first, the only ented sister of Mendelssohn, who was ‘procesS p^t'^e THE ETUDE 351 Reprinted Editions The sudden and the etude printed matter rates, two ounces for Reed Organ Music and There is a INDIVIDUALITY IN TECHNIC. for April. more prosperous Instruction Books. special ad- ne cent, or by regular express. Pack¬ condition of busi¬ ages that have been sent out at printed BY C. W. FULLWOOD. The Beginner’s Pipe This new work ness during the last few months seems on next to the last page of the cover Organ Book. which we are assortment of Violin Snugs. Vto^ matter rates are privdeged to come to have had an effect on our publica¬ of this issue, to which we wish to After the fundamental principles of By Geo. E. Whiting, now announc- tions. It has been necessary to reprint, Bow Rosin and 1 jjtude you will back the same way. direct the particular attention of all piano playing have been mastered ing for the first March issue of The ^ f vionn In making returns from Canada, during the month, so many that we those interested in music for the reed there must be an individuality in the time will positively be the most ele¬ find a fist of theIt may unless the package is very large n ,s cannot give as much attention to each organ or instruction books for that Professional Want Notices are lnsei a cost of five cents per word, cash with UmH application of those principles to per¬ mentary as well as complete and prac¬ Strings that we carry knQW that we best to return in four-pound packages one as we would like. instrument. One of the many valuable Business Notices, ten cents per word, casi with order. Do not have replies directed t formance. Hands vary as tempera¬ tical instruction book for the pipe or¬ interest our reade iet;es of Violin by mail, as the express is more likely Phillip’s Technic, of which there was features of our catalogue is an espe¬ thisis offiep.office. handle thirty-five varieties ments differ. Technical difficulties for gan ever offered. This book may be go through the Custom House, a notice in these columns last month, cially well-selected line of original Bridges alone, while m Theater HOME OF REST WITH MUSICAL AD- one pair of hands becomes trivial in the taken up after one year’s instruction thereby causing delay and, oftent.mes, is being reprinted. compositions and arrangements for the vantages. Situated in the histone "Land of Rosins we carry lowest reed organ, edited and prepared with Evangeline,” invigorating air, cool nights, hands of another. Why is it that a on the pianoforte or it may be taken assortment. Our prices are tne Touch and Technic is as much used delightful drives, tennis, croquet, etc Fine particular reference to its requirements, child takes so much delight in “pick¬ up for self-instruction, on the organ compatible with best material. CXplease be very sure to put your name as it ever has been. fruit farm in connection. A comfortable, quite unlike the usual easy piano ar¬ home-like place to rest and tone ud Mrs ing out a tune?” He is unhampered by by pianists of only moderate attain¬ and address on every package returned Choir and Chorus Conducting, by Mr. Woodworth is mprinlllef I nmlnr. A - Album of Favorite The many admirers rangements which some teachers, not someone at his side insisting on “true ment Special attention is devoted to Kinder There |>^ ev“ so that it will be at once identified and Wodell, has passed through its third Compositions. of this popular acquainted with our publications, are Piciotto (Paris), voice. Will give position,” loose wrist and “technic.” touch, to pedaling, to registration and edition. lessons if desired. Mrs. Dr. Percy Wood- By H. Engelmann. writer will hail with Instruraents. ^ dtffi^ts sV delay in credit avoided. compelled to use when in need of in¬ worth, Kentvllle, Nova Scotia. His mind is intent on the expression pleasure the an¬ to the development of the true organ Let us say, as a final word about One of IV. S. B. Mathew’s Series on dividual pieces. In addition to this able for Kinder Sy-P^ies. Eve^ in WANTED—Teaching In Musical Theory. of his idea of the tune. His little hand style It is the result of the ripened returns, that unless there is some spe¬ Phrasing, the “First Lessons,” is being Certilicates, testimonials, references, photo¬ nouncement of the fact that we shall list of sheet music in grades 1 to 4, is untrained but his consciousness is experience of the author gained in cial reason or purpose in view, it would printed for the twelfth time. graph, furnished. Miss Minnie Bishop, Sey- shortly publish a volume containing there are several good collections in mour, Conn. _ guiding it to. obey his mind. He does many years of practical experience as The Presser Collection edition of book form, sold at moderate prices, many of his most successful pieces. be best to wait until the June 1st state¬ FOR SALE—A conservatory of music, lo¬ not trouble about flexibility and relax¬ a teacher and player. Mr. Whiting is ment is received, when full and com¬ Czerny, Opus 599, although published in and in the matter of instruction books cated in the great Middle-West, in a town They will be chiefly pieces of inter¬ ation but he is unconsciously seeking himself a masterly organist and a most the Presser Collection only a compara¬ we are able to recommend the most of 30,000 Inhabitants, splendid interurban mediate or slightly advanced grade, qua ity. We therefore imported from plete directions will be given for use connections in all directions. Owner leaving after that same flexibility; and it will- successful teacher. This book is in¬ Germany the best instruments pro_ tively few months is out of print. successful book of this kind ever pub¬ for the Far-West. Possession given June such as Reverie Nocturne, Songs With¬ in making returns. surely come if his naturally flexible tended to immediately precede his im¬ Plays and Songs for the Kindergarten; lished, viz.: Landon’s “Reed Organ 25. 1^09. Includes free piano rent to cap¬ out Words, and other pieces of poetic curable. We have in course of pr4f*Lr able pianist or singer. Price $100 if taken hand is not cramped by some teacher’s portant work recently published by us tion an illustrated cataiogue of Kinder On Sale Music for There are many Familiar Dances, for Piano and Organ'; Method,” the use of which has prac¬ at once. Address M., care of The Etude. or characteristic type. There will be tically displaced a great number of unwise directions to get “position” - -no dance'numbers or easy teaching entitled “Twenty-four Studies for the Symphony Instruments that the Summer Season, music teachers Duet Hour, a fine collection of easy WANTED—A position as director or teach- duets; the well-known Violin Method, commonplace instruction books which, er of music. I have testimonial of 30 years’ first. The position will sometimes take pieces in this volume. We have had Pipe Organ.” Every organist student send free upon request. who are busier in service; studied at Berlin, Germany. Ad- by B. Tours; the old, but standard' for lack of better material, were care of itself if the hand is guided to many requests for a volume of this and teacher should possess a copy. the summer than during the remainder dress Jan., 369 N. Franklin St., Chicago, Ill. Pipe Organ Instructor, by John Stainer ’; formerly in extensive demand. Lan¬ form a working technic suited to that type and we have exercised great care For introductory purposes during the Ensemble Ensemble music as gen- of the year, and we wish to say to Abt’s Singing Tutor and the game of don’s “Method” is the work of a prac¬ individual hand. present month we are offering the work M„i«. erally unaersww , f, those whose work is heaviest at that in its compilation. It will undoubtedly chamber music written for tical teacher with a thorough knowl¬ Some one has said, “any fingering is for 40 cents postpaid, if cash accom¬ Great Composers are all among other 7 MUSIC STORE FOR SALE—$500. Good prove one of our best and most success¬ a small number of instruments in com¬ time, and who may not be aware of the edge of the reed organ and of what good that makes good phrasing.” panies the order. If the book is works in press at this writing. teachers’ trade in “Schirmer Library,” etc ful books. binations. There is no better school fact, that we are prepared to send should be taught to the pupil, not a Instruments, phonographs, etc. Location Other than that no hard and fast rule For introductory purposes we are charged, postage will be additional. mere collection of tinkling pieces and New York—Uptown. Good chance for musi¬ for true musicianship, but its r music On Sale, just the same in the Elementary Velocity This volume will cian or teacher. O. S., care of The Etpdb. for technic can be given. A study of offering copies of this volume at the alization renders complete unselfish¬ summer as in the winter months. In antiquated exercises. Besides, it has New March Album. We shall con¬ Studies, Op. 141. be continued on ^PROMINENT FIRST-CLASS VOCAL AND the individual is necessary to adapt the especially low price of 25 cents post¬ ness on the part of all Performer^ fact the sending of music On Sale the foreign fingering, a feature of the piano teacher (concert player), 12 years’ ex¬ tinue during the By C. Gurlitt. special offer perience, excellent European cultivation and method of fingering and hand touch paid if cash accompanies the order. In the last month’s issue of The Etude from this house goes on with the usual work which has added greatly to its current month the special advance offer during the pres¬ popularity. A pupil who has studied references, wants suitable position. Address needed. A pupil must himself develop we printed a small list of Ensemble regularity during the summer, but per¬ ent month. It is one of the best books A. R. L„ care of The Etude. on this new and very desirable volume. this book does not need to learn a new an individuality in technic, after he has Hand Culture, A System This is a Music, with particular r^el;encefto.^ of early velocity studies ever written. It is compiled entirely from a practical haps in not quite so large a volume as fingering if she afterwards decided to understood the principles of the con¬ of Double Note Finger unique set of beginner. We have added a father If properly studied it cannot fail to ac¬ standpoint and includes marches which in the winter. . learn to play the piano. SPLENDID CHANCE FOR TEACHER OF trol of muscles and the passing of Training. By technical list this month and one can find, in complish the purpose for which it is can be marched to; marches in every We are prepared to make up special We also publish Landon’s “School Yiolin and Singing in this Province. For thumbs and fingers to make smooth A Busch-Flint studies which its perusal, material for many a social intended and in addition it will inter¬ further Information address Wm. Moffatt, possible style, including the two-step, selections of teaching pieces, studies, of Reed Organ Playing” in four grades Claresholm Alberta, Canada. playing. are intended hour. est pupils and serve to develop musi¬ the military march and the grand etc to be sent On Sale, subject to re¬ published in sheet form. This course to strengthen the fourth and fifth cianship as well as technic. These Why does the average child dislike march. All the numbers are bright, turn at any time later in the season, is very popular with those who prefer Vr It JUT, l0,WIV0 introduce tne Kusseli fingers by increasing the muscular de¬ Kindergarten The teacher’s book, the studies are much used and our new Methods of Music Study—Voice, Pianoforte scales and five-finger exercises, if he is catchy and in the proper rhythmic conformably to the convenience of the not to use a regular instruction book. velopment at the roots of these fingers. Method. By first to be issued in edition will be superior in every re¬ and Choral Class Work. These works are obliged to play them from the printed swing. Landon & connection with this patron. Any of the above named, or a se¬ bringing results everywhere. References, etc , The exercises are in accordance with For introductory purposes we are ot- Teachers who have not taken ad¬ spect. required. Address Headquarters. The Normal page? I think he resents the idea of the principles of the well-known peda¬ Batchellor. method, is now m the lection of reed organ music, will be Institute of Music, Carnegie Hall, New York. fering this book at the low price of vantage of this plan are cordially in¬ For introductory purposes we are the monotony crowding out his indi¬ gogue and writer on the pianoforte hands of the printer. sent “On Sale” to regular patrons on 25 cents per copy if cash accompanies vited to become acquainted with it. offering this volume at 20c postpaid if viduality. I have given five-finger ex¬ technic, Theodore Wiehmayer. The We regret the delay there has been, request, and we would be glad to hear I11 this connection we wish also to cash accompanies the order. r postpaid. __Essex^ Publishing Co., 853 ercises repeatedly, but I did not call exercises are based on the assumption the order. but the preparation of a work of this from new customers who may be in¬ draw attention to the new music that Carnegie Hall, New York. them that—without music; and they that the development of the fourth and size and character takes a great deal of terested in this class of music. Four-Hand Miscellany. This volume we are prepared to send.On Sale during Goddess of Liberty. By This new pa- THAT WORTH COUNTS is proven by the were memorized with alacrity as a sort fifth fingers should not only equal, but time. Especially is this true because reception accorded Reiff’s “Scales, Key' Sig¬ is now ready the summer months. We send out new Camille W. Zeckwer. triotic cantata natures and Related Keys” by teachers and if possible exceed, that of the second we want this book, the first of its kind, Bach’s Little For this of game. That’s the secret. Make the and the special offer is hereby with¬ musicians generally. Price 35 cents. Tes¬ and third fingers. In accomplishing to be as good a book as it is possible music packages in monthly installments announced last Preludes and Fugues, month only timonials mailed. Order from dealer or The child s work a play and you have him. drawn. Much interest has been dis¬ month is now ready. We would ad¬ this purpose the third and fourth during the fall and winter months, but Musical Press, Box 1602, Philadelphia, Pa. A little imagination will do the same played in this collection in advance of to make. we will con¬ fingers are chiefly exercises together. The work for the pupil, the next to unless requested to the contrary, these vise all choral directors looking for ef¬ tinue the special offer on these Bach thing with scales. We children of a publication, and we feel sure that none fective novelties to give this work a These exercises may be used in con¬ be issued, is well under way, and while packages are stopped in May. Those volumes, after which the offer will posi¬ and other new ideas for teat larger growth know that we do con¬ will be disappointed as it is just such nection with any system of technic or advance subscribers will have waited who wish to receive the packages dur¬ careful examination. In addition to a ard System Advertisement. a collection as all lovers of duet play¬ tively be withdrawn, as the volumes genial work better and with a greater to supplement any other technical ex¬ considerable time and with great ing the summer months may have them good-sized and well-trained chorus it GUSTAV L. BECKER, 11 W. 42d ST., are now about ready. The Little New York, will have a small Bummer class zest than disagreeable tasks. Put your¬ ercises, and if practiced industriously ing will appreciate. continued upon request. Any teacher requires a quartet of soloists. The ac¬ Although it is no longer on special patience, we will say in advance, the Fugues are especially good to follow of from ten to fifteen selected, advanced self in the child’s place. Let his fancy and in accordance with the directions work we are sure will repay them for wishing the new issues during the sum¬ companiment is scored for full orches¬ pupils, young teachers. Address giving par¬ offer we shall be pleased to send it for the Little Preludes and should be used ticulars. play as you are fond of letting yours of the author, they cannot fail to ac¬ the delay. The entire work is being mer months will please notify us to tra and is especially brilliant and inter¬ examination to all who may be inter¬ equally as often. Several of these roam in search of an individuality of complish the desired results. sold in advance of publication for that effect. This applies to those who esting. The poem is based on the Fugues are positive gems. TEXAS MUSICIANS DESIRING CRITI- ested. cal teaching, vocal coaching, finished piano expression. For introductory purposes during the $1.00. This will include all the various have been receiving such music during se.ries °f historical events in connection The Little Preludes are too well and organ technique, organ recitals, invited with the making of our country. The to advise Mr. Robert Davidson, formerly of Oliver Wendell Holmes said, “My present month in advance of publica¬ parts which will be connected with it the present season, as well as to those known to call for extended comment. Commencement Music. The selection who may wish to receive it during the solo work is brilliantly effective, and New York, recently prominent Chicago advice to every teacher less expe¬ tion we are offering copies of this new of music and will certainly be a great deal less We will publish the Little Fugues as Church, now organist First Pres. Church, work at 20 cents per copy, postpaid, if summer months only. the chorus work is solid and rich in Galveston. Houston appointments. State rienced than myself would' be, there¬ suitable for commencement programs than the retail price. a separate volume and we will also cash accompanies the order. If Kindly write for detailed information modern harmonic treatment. TexasP°ndenCe soIlcited- Residence, Arcadia, fore: Do not fret over the details you is a matter which should receive the publish the Preludes and Fugues charged, postage will be additional. On Sale Returns The close of the with regard to this matter, and to the The special offer on this work may together in one volume. have to omit; you probably teach al- early attention of all those interested be had on application. It is unfortunately true that, in our day, in making the occasion as interesting and Settlement. present teaching sea¬ On Sale Plan in general. The special introductory price on the together too many as it is >, professor Primer of Facts This valuable work neither opera managers, nor celebrated son is but a few Little Fugues alone is 20 cents per AlletR of Jefferson College, as quoted About Music. is now ready and the as possible from a musical standpoint. singers, nor conductors consider it their We are particularly well equipped for weeks off, and it may be not untimely The April Cover. There were so many Peer Gynt Suite, During the current copy postpaid, and the price on the by Holmes, said that his instruction By M. G. Evans, special offer is here¬ notable features m duty to offer to the public really valuable supplying anything of this character to mention, with regard to the return yric Pieces. month we will still Preludes and Fugues combined is 25 by withdrawn. It is Ey Gneg. offer at a special in_ works, and much less to enable the public • ad successful in proportion as of On Sale music and a settlement of the April Etude that we neglected to cents, postpaid. it had been elementary; and Dr. the most comprehensive work of the that might be desired, whether in vocal to become better acquainted with works accounts, for the benefit of those who call the attention of our readers to the , , troductory price the Holmes adds: “It may be a humiliat¬ character we have ever seen, and we or instrumental music. We have a which do not earn immediate applause. large assortment of two and three-part perhaps do not thoroughly understand fact that the cover depicting Schubert W° ° U~es Grieg announced last ing statement but it is one which I are already in receipt of many favor¬ 1 Tone Silhouttes. Twelve Tone Sil- In this pandering to the most unreasonable songs for female voices, choruses and our On Sale plan, that, if your On composing “The Maid of the Mill” was month. The popular Peer Gynt Suite have found true in my own experience.” able comments upon it. Short, Melodious Pieces houttes is caprices of the public they are like the quartettes for mixed voices, and a Sale package was sent you during the a genuine photogravure, and in no way (or piano solo) has been edited by 1 think we teachers often forget that We shall be pleased to send a copy For Young Players. the title tutors of princes, who indulge their pupils ' great variety of original compositions present season—that is, since August. different from copies that sell for sev¬ e well-known American pianist and we should be guides, not arbitrary rul¬ for examination to all who may be in¬ By Geza Horvath. adopted in their whims without bridling them — and arrangements for one piano, four 1908—it is not necessary to make the eral dollars in stores, except for the teacher, Wm. H. Sherwood. Every terested. for this Liszt. ers, to our pupils. We should not do and six hands, and for two pianos, returns until next season, under certain lettering. By reducing the size of the er If Very carelflly analyzed and new work, which we have had on spe¬ for a pupil what he can do for himself. conditions. If your present selection picture the cover may be used for Amateurs give us so much trouble be¬ Supplement. The pronounced appre¬ four hands, eight hands, etc., covering Snfi°tat-n'L °Ur Special Price for the cial offer for several months. It is We can gmde him to the right road all styles and all degrees of difficulty. is satisfactory, you can, by making a framing, and for the cost of a single Suite will be 20c. postpaid. cause they are creatures of two-fold char¬ ciation shown for the now ready and the. special offer is acter; necessary and useful, when with but he must tread it for himself and We are prepared to send selections of suitable payment at the close of the issue of The Etude our readers can learn to stand alone. That is the aim fine ten-color Supplement given with manymanvnf^ of theC PkceSmost p’ °plar' I2 of> containsGr; -S hereby withdrawn. Teachers in search a sincere interest they combine unassum¬ this class of music on approval, and current season, retain it a second sea¬ secure an art work that would grace of true instruction. So we can guide the April issue has induced us to pro¬ of new and characteristic teaching ing reticence; but contemptible, and to be would be glad to have everyone inter¬ son, thus saving transportation charges the best studios of the country. As 2 P'e,CCS- This volume is to be our pupils into the paths of technic, vide our readers with a means of material in the early grades Which disparaged, when they are bloated with securing a few additional copies of ested write us with regard to the mat- both ways. The amount of payment is long as the limited supply lasts our ‘° the Presser Collection. The cannot fail to prove pleasing to the but they must walk alone after they to be settled by direct correspondence. conceit, anxious to push themselves for¬ Ballestrieri’s famous painting entitled readers can secure additional c°P'eJL®’ and Lh?VeJ bee" very carefully edited pupil should procure a copy of this know the ground. The pupil should We would strongly advise early For the guidance of those who do ward and to give advice. There are few “Beethoven’s Kreuttzer Sonata,” which The Etude for 25 cents each. The satief yiSe^’ an(^ our edition will be work and give it a trial. not depend too much on the teacher, action with reference to the above so desire to make returns, however, we price of “the April” issue was advanced •al .f.cto,y re, „ The artists whom I respect more than a first have heretofore sold for $1.00 per copy. Although it is no longer offered at nor the teacher rob the pupil of his as to be sure of having sufficient time will say—Returns should be sent to us ten cents because it contained neaflv rate amateur, and there are few I respect So long as they last they may be special price, we shall be glad to send individuality. They should be co- for practice and rehearsals after the by the cheapest way, either by mail, in twice as many valuable feature' as any XK' ” “• ”'k “ *'» **• less than a second rate one.—Mendels- secured at 25 cents, the price of the it on inspection at any time. workers to unfold the beauties and music is selected. four-pound packages; by express, at April issue of The Etude. possibilities of music study THE ETUDE 353 THE E T U DJL The soloists, . ai.at the>. AtlantaMme Fremstad Festival torJo this year aie C. petscbnlko(E Germaine melli, ^^Aibert Spaulding, the Dresden ^Renaissance ’ 9uallty 01 tone- Over a Hundred ideas of successful business m South America is giving a wcm and accountants, proved out by many progressive SSa'Ato be placed >««»*A7 in the J The Sternberg School of Music Standard Concert Etudes a*25£35r*■*■= EliPSffidgl kSSs Sfcfie ”, SUMMER SCHOOL ADVERTISING IN THE ETUDE US Ks.rt.^sra.ss,.1*- * mSuS^M US affair. LEARNING THINGS. THE ETUDE ^SiSSSXp^1 |J d a shock four years ago that left liar tSSSscSzS cSfSsj-s; HUGH A. CLARKE, I H§ know thatioffee was ’daily “putting me JBSS3SBL. back more than the doctors could put TisSirjr&.h: Sti “ ““£ COMBS CLASS PINS %mm “ i£3=i oESSTSsS !™rTv“"”ci:s BROAD STREET CONSERVATORY OF BENT & BUSH CO.^ SsSSSrHi- childhood and yet they disappeared for when I quit coffee and took up the use rcpred^ncoieiou^^1 VaJ the of Postum.” Many people marvel at the effects of He Is to receive f'fo. io 8. Ricks Street, Philadelphia »100- s« We Teach Piano Ever read‘the‘above letter? An** Tuning RIGHT theo.presser are genuine, true, and full of human THE ETUDE 355 What Others Say Recital Programs Pi8ll0 Timing Observer, a monthly.nus^ INSTITUTE OF MUSICAL ART Answers to Questions^ A Profession that Can be Converted into 6c Mailed upon receipt of 61 We are advertised by oar loving Music That Progressive Teachers Money at Any Time or Place in the Civil¬ CARL OF THE CITY OF NEW YORK friends.” Shakespeare. FISCHER, Cooper Sq., New York Have Found Desirable ized World, at an Hour's Notice. Frank Damrosch, Director Incorporated ^ f pxoert advice for the use of any ETUDE Catalogue on request Add.ess, SECRETARY,S3 Fifth Avr. A department of exper information upon some I wish to tell,you how entirely satisfac¬ tory the selection of on sale music is which Pupils f Mr.. _ Orth. reader who subject I received last month. It is a boon to one Concerto in 1A Minor, Allegro Moderato, teaching in a city of this size where there Rubinstein ; Impromptu in F Minor, Op. 142. ~ nANA’S MUSICAL INSTITUTE, WARREN, OHIO n why was Haydn called ‘‘Papa Haydn?' are no reliable teaching stocks, and I appre¬ Schubert; Polichinelle (Punch), Rachmani- ciate my on sale music more every day I nott; American Indian Melody, Song of the oldest school of music '**°*™c™**'™devoted SPECIAL NOTICE. a' This was simply a mark of esteem also thank you for your promptness in ’fill¬ Peace, Harmonized by Arthur Farwell; which this composer won from his contem- ing my orders.—Margaret Crooks. March in D Flat, Hoilaender; Novellette, , t“fu^htFini ^Healthful location. Foodstuffs, etc., from our L. All questions * iJhv his ability, his age and his bright m D., Op. 46, MacDowell; Melusina at the XdwTnning personality. Although Haydn Fountain, Wurmbrand-Vrabley; Troldtog rwiU °Odedrepaid tf questions not thus tonwn as the musician of good humor, (March of the Dwarfs), Grieg; In der Ein- ned. „ 5c, r»pr«?onal and not of 1 this portion samkeit (In Solitude), Poldini; Elfe (Puck), ^for?^ PT- fl6 -hh^dawtC Se^wfth1^the ‘Latin “inscription -, , —-—= -— concise. TT I hilipp; Andante from “Lucia,” for the left uatm-ey°thattwill appeal to the majority of meaning "In the name of God ’ (In Nomine print is very plain. I use it a great deal i„ hand alone, Leschetitzky; Danse, Debussy; “readers you will receive an answer uy Domini). teaching and am glad to know of such an ‘everie, Debussy; Etude Impromptu, John excellent edition.—Mrs. H. E. Jewell. rth; If I Were a Bird, Henselt; Nocturne, D What is the meaning of mine et» »«o hopin; Rhapsody No. 15 (Kakoczy), Liszt; THE AMERICAN INSTITUTE OF APPLIED MUSIC (music orders, subseruniou . w ■ term refers to "getting up or put- Accept my thanks for the prompt way In -y Liszt^W^n16’ transcribed for two pianos X (THE METROPOLITAN COLLE2 W^th St^New York City the stage of an opera or a play. Its which you fill my orders, making It easier OyEDQAR O. SILVER^^'paculTY AND EXAMINERS English equivalent is “the produe and quicker for me to receive music from Philadelphia than from Chicago.—Frank E Pupils o( W. S. Dearing. Qui Vive Galop (6 hds), Ganz; Prelude interpreta- Q. Was ,e organum a kind of an organ! ic markings, n refers to early attempts Lt; «/naSOUoTh %. Mian1’ department. A. No. T which the parts moved Hondo, Beethoven; Sonata, Op. 40, No. 1. at part wi Beethoven: Minuet, Borowski; Melodie, Op. not likely is with each other. it to anyone wishing a first-class guide for We teach by PERSONAL correspondence Instruc- teaching.—Lillian Vertress. No. 5. (violin), Dancla; Sonatinas, Op. on.^Each student is « cln«» by himself. Each student •The Etude Questions ie real meaning of “introitr Bo, No. 1, Op. 36, No. 4, Kuhlan; Fantasia, Your complete “School of Technic,” by Op. 8b, No. 6 (Violin), Dancla; Nocturne! a Tn the P E. Church it is a short Philipp, has been received and I am deliglite'l Op- “2, No. 1, Chopin; Polonaise, Op. 40, ^orotugh^Uco ORGAN i~£ PIANO lessons DECKER PIANOS E&3S1& _ jmmmxem iMiW-n:«? Decker <2* Son, Inc., 69new^ork'cuy61 NORTHWESTERN UNIVERSITY —jz. SCHOOL OF MUSIC ssrss I MiSSSSS ■ s EMERSON PIANO CO. STT“ iple but complete, cheap but „ Does 8va ever affect the bass clef when high grade Grand and Upright Pianos. Catalog on request. - _560 Harrison Avenue, Boston FREDERICK MAXSON _Orsna* SSf iw, IT, ^jKsaaasssr*'—■”* •“-"**?>”? «* *»« ~ >«" ■ -*th i, «o,.rai.«i to mmbjr strength end weight very rapidly Visit the Beautiful Land of Evangeline, Nova Scotia '-pHE main highway of „„,d |„m 1 Boston to all points in the Maritime Provinces is via Yar- Way Line, Boston to Yar¬ mouth, Nova Scotia. Daily service from Long Wharf (foot State Street) •*? .**"» Jun'20' *•1 in Nova Scotia” and “Vacation Days in Nova to mm. J. F. MASTERS land Supt. : : LONG WHARF, Bl R. U. PARKER Tlease mention THt, BTUBE when address,ng our advertisers “ THE ETUDE 357 the etude 356 “O ye men who regard or declare PERTINENT QUESTIONS FOR BEAUTIFUL MUSICAL CUS¬ SUMMER SCHOOLS me to be malignant, stubborn or cyn¬ THINKING TEACHERS. TOM. beeta??SNt?oGnEEAI ical how unjust are ye towards me. In the mountains of Tyrol, a prov¬ You do not know the secret cause of . BY DANIEL BLOOMFIELD. ince of Austria, which is bounded on D„» Forms.. my seeming so. From childhood on¬ f - THINK one side by Switzerland, it is the cus¬ ward, my heart and mind prompted me Do I cultivate within my pupils a love ’mo". So”Si means of tom for the Women and children to PROFESSIONAL DIRECTORY never took a . , r man than when • to be’ kind and tender, and I was ever for all that is good in music? How to PRACTICE like an Artist torturing the mind . perhaps inclined to accomplish great deeds. come out, when it is bed time, and she ordained that Beethoven^ ^ „ Do I allow my pupils to fall into a But only think that during the last six sing. And their husbands, fathers, slipshod, slovenly style by neglecting PLAY the greatest mU^ cfi sOU„d was the vears I have been in a wretched condi¬ sweethearts and brothers answer them THEORY AND NORMAL COURSES lived, to whom m and pro¬ details? ARTISTS AND TEACHERS 1 tion. rendered worse by unintelligent back from the hills, as they are return¬ J.WAKKKV Oruiin lnntn Ear Training Specially source of keenest -hould become physicians. Deceived from year to Have I a personal interest in my foundest self-express > fat that ing home from their work. ALCHIN SB?- vear with hopes of improvement, and pupils’ development? THE ANDREWS: deaf. There can be Wtle^ ^ ^ On the shores of the Adriatic Sea SHEPARD PIANO SYSTEM then finally forced to the prospect of Do I insist on having pupils’ ac¬ another such custom prevails. BURROWES his suffering 1 brusqueness lasting infirmity (which may last for counts settled promptly? Is Music Study such as you know if you were BECKERS Do I familiarize myself with new There the wives of the fishermen te :f. § h‘m; vears or even be totally incurable). BUTLERS Born’with a fiery, active temperament, teaching material as it appears? come down to the water, just about the Thoroughly Trained PLUS a Certain Element Such a calamity was..trafglC' th"timc even susceptive of the diversions of so¬ Do I keep up to the times by reading time the sun is setting, and they sing which you DO NOT KNOW, but which raises the “it.. Vlilledelphle, !*»• ven, through all his life, from the t a melody. DAVIS DUNNINGJ? he first detected the symptoms of his ciety, I had soon to retire from the recent musical literature and subscrib¬ work—even the earliest grades—to the Artistic. It maladv was deeply conscious of the world to live a solitary life. At times, ing to good musical journals? But, after singing the first stanza, DAYS? Fletchers irony of the situation and not mfre- even I endeavored to forget all this, they wait a while and listen, until they shows Definitely A MI ( <> M l-O-I I ION It Do I have pupils’ recitals often to but how harshly was I driven back by show parents and the public the prog¬ hear the answering melody from over DENISON rSioroftLaymL0erjTausedhim HARMONY ' .... the redoubled experience of my bad ress and work of the students? the water. HOW TO COMMAND SUCCESS DEVINE.LENADORIA is obtained from the foliowmg extract hearing. Yet it was not possible for Do I cling to old hackneyed methods And thus the women continue to me to say to men: speak louder; from one of his letters, describing his of teaching? sing and then to listen, till the well- •I Every teacher taking the Normal Course acknowledges a NEW shout, for I am deaf. Alas! how could GREENE known voices come, borne on the POWER in Teaching, and NEW RESULTS with Pupils. By it they KINDERGARTENl^sfc symptoms.tru^ ^ Tti^yeArs I declare the weakness of a sense Am I familiar with the principles of educational psychology? waters—nearer, and still nearer—tell¬ make “Average” Pupils Artistic. (Do not say “Impossible,” for we CRICKS wretched one. For the last tw y which in me ought to be more acute Do I insist on promptness at les¬ ing the faithful watchers that their deal with Principles that are NEW to you, and it IS Possible.) Our I have avoided all society, for it is than in others—a sense which formerly loved ones are almost home. HAGERTY impossible for me to say to peop e> I possessed in highest perfection, a sons? SPECIAL SUMMER COURSES and our am deaf.’ Were my profession any perfection such as few in my profes¬ Do I give my pupils material which y successful. HAIGHT other, it would not so much matter, sion enjoy, or ever have enjoyed; no is too advanced for them? CORRESPONDENCE NORMAL COURSES but in my profession it is a terrib I cannot do it. Forgive therefore, if Do I attend good concerts often and HEINK thing; and my enemies, of whom there you see me withdraw, when I would urge my pupils to do the same? We have a Special Condensed Course for Experienced Teachers and Highly Trained Musicians, who desire only to learn the New Educational are not a few, what would they say to willingly mix with you. My misfor¬ Do I make my lessons interesting 3638 Lake Avenue, Chicago IRELAND Principles developed in this System ; and a Complete Normal Course, in¬ this? To give you an idea of thls f*" tune pains me doubly, in that I am and inspiring? Will give her course for Piano Teachers, traordinary deafness, I tell you that certain to be misunderstood. For me cluding Thorough Training in Musicianship and Scientific T eaching, for JOHNSON: Do I insist upon accuracy in every Aug. 2 to 14, 1909 those desiring broader general preparation. when at the theatre, I am obliged to there can be no recreation in the soci¬ detail of the lesson? KINDER lean forward close to the orchestra in ety of my fellow-creatures, no refined Do I arrange evenings when my q Send for (free) “The Secret of the Artist,” “ How to Make Technic Fascinating," and order to understand what is being said conversation, no interchange of thought. other educational matter, with a Specimen Lesson. Do you know our System of pupils can come together socially? on the stage. When somewhat at a Almost alone, and only mixing in so¬ Do I give my pupils interesting distance I cannot hear the loud tones ciety when absolutely necessary, 1 am HARMONY BY MAIL? work? of instruments and voices. In speak- compelled to live as an exile. Mr. and Mrs. Crosby Adams q It is a REVELATION IN SIMPLICITY and PRACTICAL VALUE. ing it is not surprising that there are Poor Beethoven! his hopes that Am I hypercritical? Will conduct Two Sessions of Particulars and free Specimen Lesson upon request. people who have never noticed it, for some day his affliction might be cured Do I adopt any peculiarities of dress Special Summer Classes as I rule I am absentminded, and they were doomed to disappointment. When or manner to make the public think in July and August The Shepard Schools of Music, Carnegie Hall, New York account for it in that way. Often I he conducted his last symphony, he of me a genius, when in reality they think can scarcely hear any one speaking to Summer School (and mail address) Orange, N. J. course had his back to the audience, lies and pieces lo use; who wish to study me; the tones yes, but not the actual and it was not until some one touched Am I patient and painstaking with s and means by with h to broaden the words; yet as soon as any one shouts him on the shoulder and bade him turn every pupil? it is unbearable. What will come _ of round that he became conscious of the Am I cordial and courteous in all all this heaven only knows! Vering n!'m “woTdttoJgahfawfderView'of the fact that the audience was applauding my dealings? IVATORY of MUSIC says that there will certainly be im¬ his work with the warmest enthusiasm. provement, though perhaps not a perfect Do I talk shop in company? which is memorable and beautiful in ic. Faculty of International Reputation cure. I have indeed often—cursed my Do I make use of flaring advertise¬ NEW PUBLICATIONS. ments and methods of the charlatan to 0 work need be piepared by the teachers ; SPECIAL SUMMER SESSION existence; Plutarch taught me resigna¬ are to listen and absorb the studies and tion. If nothing else is possible I will get ahead of my competitors? es interpreted by Mrs. Adams, at the Elocution MUSIC Languages An American Singer in Paris, by Mrs. Also Special Normal Course in defy my fate, although there will be Hanson Workman (The Tribune Pub¬ Do I identify myself with other in¬ has to^give on this important subject of moments in my life when I shall be lishing Co., Cincinnati). terests than music? PUBLIC SCHOOL MUSIC God’s most wretched creature.” The plot of this story is laid in Pans, Do I neglect my general education? where the author spent fourteen Am I familiar with the lives and MISS CLARA BAUR, Highland Ave. and Oak Street, CINCINNATI, OHIO THE SOCIAL EXILE. months in the company of a lyric work of the world’s great men? soprano, who studied in the French Do I take into consideration my Before his great affliction overtook and on through the succeeding grades. capital. The dramatic action of this pupils’ interests when giving them him, Beethoven was by no means the love story is interwoven with gems of First Session, July 19th to the 31st brusque, quick-tempered man he after¬ pieces? classical song. Second Session. Augu.t 4th to the 17th wards became. He was a person of Do I, before all else, cultivate the Founded AUlBflCtlfl COOSCrV^tOfy Kimball Hall decidedly sociable tendencies, and rhythmic sense within my pupils? Pianists Professional thoroughly enjoyed himself in the The Diva’s Ruby, by F. Marion Craw¬ Do I make it a point to teach every Write for further particulars to 1886 Music, Dramatic Art Chicago,Ill. ford (Macmillan & Co.). Price, $1.50. Organists Directory company of his fellow-men. Perhaps pupil the elements of musical theory? CROSBY ADAMS, Oak Park,III. Unsurpassed Faculty of seventy. Course of Study thorough and modern. Probably the most fascinating of Mr. Singers ^ralVn”gme.Sn.,tln,aMe SHENANDOAH , = . he had not the refined elegance of Am I content with the mere mechan¬ Special Department for the training of teachers. Diplomas, Certificates. Crawford’s recent novels devoted to Mendelssohn and Chopin, and it is ical rendition of a lesson by a pupil? Public School Music Department. ST. CLARA SSHS: doubtful if his intellectual attainments musical subjects. It is needless to Do I give my pupils monthly reports Beethoven Conservatory of Music along other lines than music equalled comment upon the excellence with to show their parents? Mr. and Mrs. Special Summer Session virgil rs^,,v which Mr. Crawford has drawn his JOHN DENNIS MEHAN St. Louis. Missouri those of Schumann and Wagner, yet Do I study each pupil’s individual of five weeks, from June 28 to July 31, 1909. Lectures and Recitals by eminent none the less he was the friend of characters. The leading characters, The business of the needs and prescribe accordingly? artists. Terms moderate. Catalogue and special circular mailed free. princes and men of letters, and had Mme. Cordova and her millionaire ad¬ Do I recognize the psychological Boston Musical Bureau enough charm of personality to make mirer, suggest figures in the present- value of illustrating every principle I Carnegie Hall, New York JOHN J. HATTSTAEDT, President some of them his friends for life, in day operatic world. Mr. Crawford is lay down with examples? to be especially commended for the ef¬ Address H. C. UA1IEE. 81» Tremont St., Boston, spite of the rebuffs he himself not in¬ Am I doing missionary work to raise frequently inflicted upon them in later fective manner in which he has caught the standard of musical appreciation MUSIC TEACHERS years. His music previous to his deaf¬ the “atmosphere” of Bayreuth during by impressing upon my pupils’ minds SIX WEEKS’ COURSE VIDfwIf Special Summer Course the festival season. No bettei p.v-t-re h,chTrade positions ness has all Beethoven’s robustness, the necessity of avoiding and eliminat¬ ¥ IKXIlLr SCHOOL For Teachers and Pth^ strength and open-air vitality. It is of the famous musical event in the lit¬ FOR TEACHERS Address The Music Teachers’ Exchange VON UNSCHULD ing so-called “popular” music? $65 tle Bavarian city has yet been presented INCLUDING BOARD Suite 1014-15 Steinway Hall, CHICAGO. not until after the trouble with his u Am 1 acfive in creating a musical 21 West 16fh Slreef, New York JlJNE 23 i0 JULY 23,1909 The Only Teachers’ Agency Exclusively Mu^cak UNIVERSITY OF MUSIC to English-speaking readers. Parts of " THE PHILIP KAYK AGENCY, MANAGERS hearing that his music becomes tinged atmosphere” in my community? PIANO, VOICE, VIOLIN, ELOCUTION, ETC. MRS. A. M. VIRGIL, Director. -SEMD FOR CJITMLOGVE .... with the tragic mockery that character¬ the story are located in the Orient and Do I show my pupils the best meth¬ izes some of it. such as the scherzo to are as harrowing as the most melo¬ Teachers educated in Europe. I.es- ods of practicing? chetizkv Piano Technic. Two private the fifth symphony. How deeply he dramatic flights of Rider Haggard. The Interstate Teachers’ Agency Are my suggestions to the point and lessons per week. Class lessons in Nor¬ felt the ostracism from society which This book has also been issued in stimulating? mal methods. Public School Music, Macheca Building New Orleans his complaint rendered necessary, and connection with the author’s Fair Mar¬ Harmony, other subjects. M'^EAP0L|S SCHOOL OF MIJSfcT' • ,P° * antagonize my pupils and “lord ORATORY AND DRAMATIC ART SUPPLIES SCHOOLS, COLLEGES AND UNI- his own sensitive nature encouraged, is garet and The Prima Donna as a com¬ F over them? VERS1TIES WITH DIRECTORS OF MUSIC. shown in the letter to his brothers, in plete set under the general title of The Marks’ Conservatory of Music PIANO, VOICE AND VIOLIN TEACHERS which he says: Do I give my undivided attention to 2 West I2Ist Street, New York Singer Trilogy. Price, $4-5°- Pupils at the lesson, or am I indifferent? mention THE ETUDE when addre: Please mention THE ETUDE when addressing o THE ETUDE 359 THE ETUDE 358 vou have three notes left to play after -E COMMONS™- reaching the thumb, put the third finger over and end on the thumb. Summer Schools Summer Schools The aim in fingering according to FINEST CONSERVATORY IN THE WEST Y FRANK R. AUSTIN. numbers being to end upon an outside FIVE WEEKS - finger, either the thumb or fifth, ac- beginning MONDAY t is reputed of De Pachmann, one cQrding to circumstances. Often in June 22 Special Summer Normal $25.00 DETROIT CONSERVATORY OF MUSIC the most famous living pianists, sequenceSj a unique fingering can be BROOKFIELD SUMMER SCHOOL Founded 1874 ° t he seldom if ever makes a slip- adopted which will apply not only to OF MUSIC FRANCIS L. YORK, M.A., Director n e his technic being absolutely sure he first phrase, but to every repetition TWENTY-SECOND SESSION NINTH YEAR AT BROOKFIELD i clean On the other hand, we read of that phrase in sequence form, We offer unparalleled advantages in the a: any biographical sketch of the life rule TWO Bush Temple Conservatory Unsurpassed Advantages for a fi STUDY OF SINGING 1 career of the famous Rubinstein RULE two. To this specialty the school is mainly dedicated North Clark Slreel and Chicago Ave., Chicago. KENNETH M. BRADLEY, Director COMPLETE MUSICAL ED- a t his playing was full of wrong Use up the fingers as far as they UCATION. OVER 1,000 t] In which are DAILY CLASSES covering Methods, Interpretation and Train- es and his technic, though remark- go> then only use as many more as the ing of Teachers, all personally conducted by Herbert Wilber Greene. STUDENTS. 50 THOR- " y wonderful in the achievement of notes require, the aim being to finish OUGHLY SKILLED IN- d irult oassages, was not to be relied with an outside finger INSTRUCTION ALSO GIVEN IN PIANO, ORGAN AND THEORY If dean, dear ta.erprei.don. Still. general rale jay be STRUCTORS. u Session Begins June 30th. Ends August 24th . C the fingers of the hand. the thumb for cleanness of execution. Special Summer Session being an outside finger on either hand FOR PROSPECTUS ADDRESS imann made answer, n - ^ bg kept so in piaying chords (oc- :k Ear Training Five weeks, beginning June 28, 1 l cleaner technic than any oi taves)> tfie same applying to the fifth, H. W. GREENE, 864 Carnegie Hall, NEW YORK CITY 1909. PIANO, VOICE, VIO- * v pianists it is wholly due to which’ js a]so an outside finger. In After June 1st, Brookfield Center, Conn. Weekly Recitals by Artist Teachers and Students LIN, ORGAN, THEORY, t s I take in choosing good appiy;ng octaves, some authorities Piano Interpretation Class by Mme. Julie i-King, Vocal Interpr PUBLIC SCHOOL MUSIC. f for difficult passages in the recommend that the fourth finger be Violin Interpretation Class by Maximiliia :k, Organ Interpret* ions I study and play. I Used in preference to the fifth on Theory, Harmony and History Class by K( h M. Bradley. - : ours and hours working out black keys; but this rule has been d.s- CONCERT PIANIST Special Summer Work in JAMES H. BELL, Secy. eous fingering, and if I cam carded as unnecessary and risky m t suitable fingering which will rapid octave playing. In fingenng WM. H. SHERWOOD AND DIRECTOR ACTING, EXPRESSION, LANGUAGES, MUSICAL KINDERGARTEN AND DANCING 530 Woodward Ave. DETROIT, MICH. , t suitaDie nngeriii0 four-note chords, the outside fingers SHERWOOD IV1TJSIC SCHOOL, Chicago, Ill. Write for Catalog (Department A). ;give me absolute surety and comfort the outer noteS) the two middle •iut SUMER SEASON, CHACTACQUA INSTITUTE, CHAUTAUQUA, NEW YORK the interpretation of a certain diffi¬ tones being fingers ; For further information address, E. SCHWENK.ER, Secretary cult passage I simply avoid such fortable for the performer. Bass A. H. HOLMES, 725 Fine Arts Bldg., Chicago, 111. ? VOCAL MUSIC passage, or work with it until some notes in the left hand are taken with THE WE1GESTER SUMMER SCHOOL 01 device of suitable, fingering suggests the fifth finger, and, if the chord suc¬ BRENAU SUMMER SCHOOL AND CHAUTAUQUA MARY WOOD CHASE Piano) ear Elmira, N. Y. itself to me.” In contrast to this ceeding the bass note is a small one, The finest advantages in Music, Art, Oratory, Literary Branches, Domestic Science, HAH L. I At INDIAN STEPS, on the Chemung River, n SCHOOL OF ARTISTIC PIANO PLAYING testimony from such a great artist as part of a larger chord, the fingering etc. The summer climate of Gainesville is ideal. The college has the handsomest concert hall in the South; sixty pianos, two pipe-organs; full courses in Musical History, Pedagogy 1714 Chestnut St., Phila., Pa., ROBERT G.WEIGESTER, Director, JULY 19 to AUGUST 28 the importance of good fingering, which would be employed - *u" give lessons during the summer months. i6page illustrated booklet 868-868 Carnegie llall, SummerCol^hiug tJvroLslonido Harmony, Public School Music, etc. Elegant home surroundings, resort features outings rse foe teachers at special rates. NORMAL COURSE Rubinstein is said to have sorrowfully chord filled out is usecl on the frag- boating, etc. Session begins June 24th. For catalogue with full information address ’ Y WOOD CHASE, but candidly admitted, “I depend en- ment to be played. When extended BRENAU SUMMER SCHOOL, GAINESVILLE, OA. Lh Bldg-, Chicago tirely upon my strength, largeness of broken§_„_ _chords _ played, no matter PIANO normal how large the intervals of space be¬ hand-stretches, and temperament tween the notes, the outer fingers Music teaches most exquisitely the art of development.—D'Israeli WASHINGTON COLLEGE OF MUSIC Loss Angeles, California get my effects.lects. My playingPaying seems no ^ ^ at thc top and DAVID SCHEETZ CRAIG, Director THE JENNETTE LOUDON SUMMER SESSION FOR TEACHERS OF P:AN0 JULY 5 ™ 3 . ,J9°9 thrill audiences, but if they o y bottom of each chord. The fingering SCHOOL OF for Students and Teachers of SCHOOL OF MUSIC M. JENNETTE LOUDON, Director, Work'if^EaFD^ning.^Art of* theTpvcific Southwest knew it, I make enough wrong notes in such instances being assisted by a Music—Pianoforte, Vocal, for the BurrowwCourMrf^A^^amly^AddrKS^^ ^ sixteenth st„ Los Angeles, Cal. during the course of each and every Music teachers and musicians visiting Seattle dur- 420 Fine Arts Building, Chicago side motion of the wrist. ? the Alaska-Youkon-Pacific Exposition are in- concert to compose a new piece. If :ed to make their headquarters here. TEACHER TRAINING COURSE, JUNE 21-JULY 26 MUSIC-EDUCA TION v""i“' SEND FOR ANNOUNCEMENT my playing pleases my hearers, it must RULE THREE. - point, Composition. EATTLE - - - WASHINGTON be due only to my power of covering up my slips with good interpretation.” Keep the outside fingers in their CALVIN BRAJNERD CADY, Principal VIRGIL natural position, using them for ex¬ tremes in executing and for the outer Summer School and Normal Courses SUMMER SCHOOL IN CHICAGO GENERAL PRINCIPLES. notes of all chords and octaves. Lastly, for Pianoforte. Vocal, Kindergarten and Public School Music Teachers and Students. Dunning System of Improved in connection with the Columbia School of Music, beginning Monday, There are some general principles rules of fingering are evolved from the of fingering which are applicable to all construction of the keyboard, accord- June 21st, ending Saturday, July 24th, conditions of hand-construction. ing to the uniform position of white Portland, Oregon send for announcements to Music Study for Beginners MR, and 1VIRS. A. K. VIRGIL For example: We all have five fin¬ and black keys. The position of black June 8 August 6 School of Music Education gers on each hand. Of these, the and white keys guides the fingering personally in charge. For circulars and further particulars address thumb is the strongest, the third 225 Newbury St., BOSTON, MASS. universally recommended for the In response to a demand, which has increased from year to Columbia School of Music, 712 Fine Arts Building, Chicago, Ill., or middle finger the next, and then rang¬ i major and minor scales, well ing in strength follow the fifth, second, known to all students of the piano. year, that the Dunning System be taught at Chautauqua A. K. Virgil, 1002 Flatiron Building, New York. and lastly the weak fourth finger. The old rule, “never put the thumb on SUMMER Lake, the secofid normal class for teachers of the summer These physical conditions are common i black key” has been a good one in SYSTEMS OF will open August 12th, at Chautauqua Lake. This beautiful to all students, and hence we evolve i general, but very often it is necessary NORMAL spot is too well known as the Mecca for teachers, who go fingering which will bring the strong¬ o break this good law. No better sug¬ _ RUSSELL_ MUSIC STUDY Columbia there knowing that at no other place will they be able to EMIL LIEBUNG S est fingers where most needed and t gestion can be offered in acquiring COURSE Five weeks from June 28th. Lectures, Classes judgment i combine the same educational privileges with a summer School of Music placing the clumsy good fingering on the keyboard than a ate of Music, Carnegie Hall, N. Y. College of Mu.ic, Newark, N. J. CLARE OSBORNE REED, Director Piano Teachers’ Institute i ,weak fourth finger where careful__ and diligent study of the major. recreation. The first summer class for teachers will open Special engagement of IN CHICAGO the former’s awkwardness or the lat- m;nor and chromatic scales, under the July 5th, at Buffalo, N. Y., an ideal summer resort on Lake ter’s helplessness will be apparent. guidance of a teacher. Erie. MR. and MRS. A. K. VIRGIL From July 5 to August 7,1909 RULE ONE. RULE FOUR. Mr.D.A.CIippinger As these classes are limited and applications are coming SUMMER NORMAL SESSION PRIVATE LESSONS, LECTURES, RECITALS S. C. BENNETT in earlier than ever before, it would be wise to thoroughly Send lor Circular No. 2 Loud or accented tones should al- Memorize the standard fingering in Virgil Clavier Method. For catalog Will hold an institute for singers and investigate, then register as early as possible. Endorsed by and particulars address ways be played, where possible, with prescribed for major, minor and VOCAL INSTITUTE vocal teachers in his studio in Chicago, Leschetizky, Scharwenka, De Pachmann, Dr. Mason, Wm. A. S. FAULKNER strong fingers. chromatic scales; also for chords and beginning Monday, July 5th, and end¬ Sherwood and many others. 710 Fine Arts Building, Chicago Kimball Hall - Chicago The foregoing rule is evolved ac- their many inversions, ing Saturday, August 7th. The full cording to comparative strength of Two closing suggestions on this sub¬ CARNEGIE HALL, New York City course includes fifteen private lessons, fingers; a second general rule may be ject. There is no necessity as a rule ADDRESS Post Office Bldg,, Asbtiry Park, N. J. ten class lessons, lecture-, recitals, etc. made according to the number of of changing fingers upon the same Send for circular. Address s“ PUBLIC SCHOOL MUSIC METHODS fingers. note w]fich is written to be repeated CARRIE LOUISE DUNNING You have five fingers (the thumb two or more times, unless the tempo MR. D. A. CLIPPINGER CHAUTAUQUA, N. Y., July 3d to Aug. 13th, 1909 being numbered as the first finger by demands a very fast repetition, then bummer School at Asbtiry 410 Kimball Hall, Chicago, Ill. 225 Highland Avenue - BUFFALO, NEW YORK TWO TERMS OP THRBB WEEKS BACH the figure i, for convenience, a much use the third, second and first in quick For particulars address HAMLIN E. COGSWELL, Conservatory of Music, INDIANA, PA. Park beginning June First superior system to the old English succession on the note repeated, wip- styie of indicating it with an X) use ing the surface of the key so played zed Price List ZABEL BROTHERS them all. If the passage be only five with the fingers employed in order to notes in width, place a finger on each facilitate the speed. If the same note note and do not remove it until nee- only repeats twice, do not change, essary. When you have run out of Again, it will prove a great advantage BURROWES COURSE OF MUSIC STUDY, MUSIC PRINTERS fingers, put as many over or under as in playiijg very low notes in the left the notes of what i: come demands, hand to gage the low note by placing Kindergarten and Primary—Instruction for Teachers by Home Studv AU m,,8,c — »««* AND ENGRAVERS i. e., if descending i 827 CARNEGIE HAIL, NEW YORK CITY the right hand, the thumb on the octave of it above. sendy^addr??8and“<,e9CHp- KATHARINE BURROWES. essmtr mir --2221--n" Strcet- Detroit. Mich. THE ETUDE 360 was expelled from the kitchen. Louis “Of all the bete, clumsy, blundering, XIV had compassion on him, and though he could not well put him into SwgonSa Jumanniagt! thai thing. last the Court band, he commissioned MIRTH AND MUSIC night beat everything-** far Lully to form an orchestra of his own, REED ORGAN MUSIC WIT, HUMOR AND ANECDOTE which was named “Les petits violons du Roi.’’ The body of the little fiddlers sss4. soon rivaled the the “big” ones, till this is the most absurd method FARCICAL OPERA PLOTS. ultimately it rose to be the Court band. possible.’- The ex-scullion became a great favor¬ 1 From the days of Addison to the As for the plot of “the celebrated 'i“K,”„dd„b°«deS« 4 ite with the king, and used to talk to present time opera has afforded satir¬ ‘Trovatore,’ ” Mr. Lang confesses that him in a very off-hand manner. Thus, ists a fine opportunity for the exer¬ it produces on his brain much the on one occasion, the performance not cise of their talents, says Gustav same effect as a page of algebra, “or beginning at the proper time, Louis Kobbe in the April Designer. An art- one of those elegant Babylonian ” ’Sr&lfh? iopSaT{” « XIV sent a messenger to the composer form in which five minutes and in¬ records on clay, which look like sound, not excepting railroad whistles, to tell him to make haste. “Tell the numerable trills and roulades are re¬ chocolate inscribed in cuneiform.” as I was by the cessation of the cob king he can wait!” was the reply sent quired to sing “I love you,” a phrase bier’s bellowing; even the serenader s Regarding this same “Trovatore” my back. . which often can be spoken, and with personal experience is that, after hear¬ caricatured twangle was a rest after • On a similar occasion much the same the desired effect upon the person ad- ing it for the twentieth or thirtieth As for the great ‘Lied,’ I never made kind of reply was returned, which this dressed, in less than two seconds, ob¬ time, I know no more of the story out where it began or where it ended time seriously offended the king, and viously differs from the ordinary than at first. Once I conscientiously except by the fellow’s coming off the methods of human communication. do what he would during the perform- read through the libretto from cover horse block.” ch followed, Lully could not Opera is, in fact, delightfully un¬ to cover, with the result that since then trammeled by ordinary consider5*1™1' I know even a little less about it than e made, but all to no purpose. 3 attention to the HOW A COOK BECAME A COURT on, and by a cast at large in Not all the opera plots however musician. ^__ _ _ Lully volun¬ fact farcical, for the works of Wagner s U1C __ ...ien the Pharaohs Lully did much for music in general, teered the part of the hero, and exerted alone in their majesty of concei ruled over Egypt,” say five thousand but especially for the French opera. himself to his utmost, but yet no look ‘ " -egarding the entrance of and dramatic excellence. Ernest or word of admiration passed from the Wildenbruch, one of the fore He was originally a sous-marmiton, or .. “Les Huguenots"—“a under-scullion, in the back kitchen of king. Then, as a final effort, Lully dramatists of the newer Gei Tiled lady is led through the room Mile, de Montpensier, whose page he rushed from the back of the stage and to the gardens on which the window school, has said that Wagner is dashed into the orchestra in front, fall¬ greatest German dramatist since would have been but that his ugly ap¬ pens”—Mr. Lang’s comment is that pearance stood in his way. What with ing onto the harpsichord and smashing i secret visitor would naturally enter time of Schiller. Ruskin, however^ it into atoms. This fall was the means tertained an entirely different opi his fiddling in the kitchen, however, in this. and the offense given to his mistress of throwing the king into convulsions comnromising way, in- and with his remarkable fluent us. by a song he composed, and which be- of laughter, and of Lully’s once more of going around“utside. Other- English describes a performance ...... I,,,,-,,- rvrmnlar at the Court. Lully .. s 6 , , , .. “Die Meistersinger thus: THE FLETCHER MUSIC METHOD SELECTIONS FROM THE ABOVE SENT “ON SALE” AT OUR USVAL LIBERAL SHEET-MUSIC DISCOUNT It is the original Musical Kinder¬ School of garten Method. &eeli <£>rgan jWetfjotr JMusical pictures It was the Best. It is the Best. It is the most highly endorsed CHAS. W. LANDON Reed Organ playing PRICE, 50 CENTS Method, commanding the respect of COMPILED BY CHAS. W. LANDON educators as well as musicians. Price, $1.50 Foreign Fingering The method is superior in many practical points to those A MORE POPULAR COLLECTION OF MEDIUM IN FOUR GRADES It is not only preparatory for the in general use. It is carefully graded ; every point is concisely GRADE PIECES HAS NEVER BEEN PUBLISHED Price of each, $1.00 (Sheet Music) instrument, but is invaluable to teach¬ explained and illustrated ; not only the how, but the whys and wherefores^are given. ^Every piece especially arranged for A complete ^school, consisting of a melodious set of ers and mature students, teaching them Every piece in this work is a gem. They are adapted to play with intelligence, to analyze, memorize, transpose, modulate, etc., £at| fate?Jll“a book" ut have musjeal inferestTi/must It^is worth any sacrifice to the technicforth!organHooking*towfidfine andlrristic pkying. jftrst gear for tfje touch^to"use for^hevariou^pleasing’effe ^ °f ment, as it supplies instruction gener¬ °l Them am more Than 30 compositions by as many com- ally neglected. |3iano or Cabinet ©rgan Every prcgressive teacher realizes Jfor Cburcb anD Ibome the necessity cf a course cf training to equip her to teach children. No mere instruction bock can adequately Classic and JYIodern Gems train the teacher to meet the modem Little Rome player educational demands. PRICE. 50 CENTS EUGENETH AYErTMusJ Doc. Reed Organ as\hTpianaS ^ th'S W°rk "S SU“able f°rthe °rgan as wel1 Organ Music^from Grade^III°to’vT^whkh1*^ neva There are twenty-nine selections in the volume, covering a wide range of composers. A few of the pieces mentioned here may give some idea'of the character of the work: “ Gaily Chanting Waltz,” by Behr; “ The Young Recruit ” mmmstz Waltz,’’ Jry Engelmann; Hau£ (Urgant One hundred Voluntaries THE FLETCHER METHOD SUMMER SCHOOL WILL OPEN EARLY IN JULY IN ELIOT, H Graded Course of Instruction Three Volumes Price, $1.25 Each By CHARLES RINCK PRICE. 50 CENTS Classes last Summer and during the year have been larger than for many years, and the demand for the method is steadily _ Cabinet Organ Every teacher of music to children should have the Fletcher Music Method. It is an inspiration to the teacher, it is a nece joy to the child. Iam ready to extend every reasonable help to the energetic and aspiring teacher who desires to study with me. By M. S. MORRIS Price, 10 cents each EVELjVTM FLETCHER Players. ?ew°'UmeS ‘° merely stnet style and will make an excellent study fa Home Address, 31 York Terrace, Brookline, Mass. or P. O. Box 1336, Boston, Mass. THEO. PRESSER, PUBLISHER, 1712 CHESTNUT ST., PHILADELPHIA, PA The Necco Seal highest in honors The Special Reason for Approval WHERE you really care for appreciation and want espe¬ Walter Baker & Co.’s cially to please—take NECCO SWEETS. Don’t run chances of disappointment. The Necco Cocoa and Chocolate Seal identifies the package and guarantees the same sure, de¬ Years of Constantly licious goodness every time. 129 Increasing Sales The more particular the taste the Highest Awards in more reason for NECCO 52 Europe and America SWEETS. Until you’ve tried A medical writer says—“The use of a thoroughly reliable preparation ^exvo^^pe-' of cocoa should be universally en¬ couraged, and it is the consensus of opinion among medical men as well you’ve missed a treat. as Laboratory workers that the break¬ 'here are some 500 varieties of NECCO SWEETS. fast cocoa manufactured by Walter Every kind is as wholesome J Baker & Co. Ltd., not only meets and good as we know the indications, but accomplishes even how to make it and we more than is claimed for it.” have a reputation for ^ * Registere TJ. S. Rat. O knowing how to make good, wholesome con- fectionery WALTER BAKER & CO. Ltd. Estabi^hed DORCHESTER, MASS. NEW ENGLAND CONFECTIONERY CO.. Boston, Mass. =JUST ISSUED Complete School of Technic Ivers & Pond FOR THE PIANOFORTE By ISIDOR PHILIPP pianos PRICE $1.50 We can furnish yon with an Comprehensive, Exhaustive, Practical. The Last Word from a Ivers & Pond Piano no matter Great Living Authority where yon live, with as little in¬ convenience as if your home were in Boston. From every view-point, Ivers & Pond Pianos reveal superi¬ ority. Our 1909 models, now ready for shipment, are masterpieces of scientific pianoforte construction m and are unequaled for refine¬ .... ment of tone, beauty of case design and durability. octaves from the wrist, legato octaves, linked octaves and broken octaves. Information About Buying. molo and repeated nc If we have no dealer near yon, we can stt ply you directly from our large Boston esta lishment, guaranteeing entire satisfactio or the piano returns at our expense. Attract¬ ive arrangements for time-buyers available throughout the United States. This work may be used in DAILY PRACTICE and should becor Full Information If You Will Write Vs. pensable portion of the routine work. IVERS & POND PIANO COMPANY, 141 Boylston Street, Boston. THEO. PRESSER, Publisher, Philadelphia, Pa. have been established over 55 YEARS. By our system of payments every family in moderate circumstances can own a VOSE piano We take old instruments in exchange and deliver the new piano in vour PIANOS home tree ot expense. Write for Catalogue D and explanations. vose VOSE & SONS PIANO CO., Boston, Mass.